Una hora de vida

Bogart is a former nightclub owner who returns to postwar Japan to pick up his life with a wife (Florence Marly) he had deserted, only to find that she had remarried and was the mother of his seven-year-old daughter…

In the ensuing complications, Bogart is placed in a position where he must smuggle some Japanese war criminals back into Japan or his daughter will be killed…

Bogart is much less convincing than in his "Across the Pacific" days, where he was also required to deal with villainous Japanese…

For an actor who had belabored the point that he had been forced to do too many bad films because he had no control over the properties, it is disappointing to see him making extremely bad films now that he did have full control...

Humphrey Bogart's lesser watched films are so often passed by because the standard for Bogart films is so incredibly high. Is this film as great as "To Have and Have Not"? No it isn't. On the other hand I guarantee you it is more sophisticated and interesting to watch than 90% of the films that came out last year.

People often seem to over look the unique virtues of this film as an interesting film in history. Coming so shortly on the heels of World War 2 one would expect to find a certain amount of racism towards the Japanese and yet (unlike slightly later films like Sayonara) it is almost devoid of any remarks of that kind.

Humphrey Bogart is a superb actor as always as is the rest of the cast. The plot is well written and the direction style suited well to the film. Over all I highly recommend that anyone who wants a sharp and fun movie check this one out just don't expect it to be the classic that "Treasure of the Sierra Madre" or that one of the many other "classic" films he made was. It is nonetheless worth watching and, to my mind at least, quite a bit better than the cookie cutter system they use for suspense films now.

"Tokyo Joe" from 1949 was the first film that was allowed to film in post-war Japan. Produced by Bogart's Santana Productions, it's just fair.

Bogart plays Joe Barrett, who returns to Japan after the war to start a business. While there, he discovers that his wife Trina (Florence Marly) is still alive. However, when he finds her, he discovers that she has divorced him and remarried a man named Mark Landis (Alexander Knox). Joe is determined to get her back and needs to extend his visa; he is approached by Baron Kimura (Sessue Hayakawa) who wants him to front an airline freight company for him. He would be importing frozen frogs. However, there is some additional freight, and for that, Kimura blackmails Joe by telling him what Trina was involved in during the war, which he will make public if Joe doesn't work with him.

This film bears a passing resemblance to Casablanca, and Bogart is clearly going through a transition which would lead to some of his greatest films and performances in the '50s. Rick of Casablanca is clearly pretty tired out. Being a small company, Santana Productions did not make big films or hire actors equal to Bogart, so the effect here is mediocre.

Florence Marly as Trina is a disaster - cold, very haughty looking, without much acting ability. It's impossible to see why Joe fell for her in the first place. She is no Ilse Lund, and she has no chemistry with Bogart. Her intentions are very unclear as well - as an actress, it doesn't look like she made any decisions about the character. Alexander Knox and Sessue Hayakawa are very good. Bogart, for my money, is always terrific.

Definitely worth seeing for the Japanese location and for Bogart. It's not horrendous, but considering that Bogart starred in so many classic films, it's not that good.

Picture Bogart's Richard Blaine character renamed Joe Barrett for this film. Instead of Casablanca, he's got a place in Tokyo just like Rick's named Tokyo Joe's. World War II interrupts things and he gets out of Japan and goes in the Army Air Corps where he spends a good deal of time bombing a lot of Japanese real estate. Including Tokyo which because of the wooden buildings pre World War II was particularly vulnerable to Curtis LeMay's incendiaries. It's a miracle, but his place survived intact and he'd like to resettle in Tokyo and pick up where he left off.

Bogey gets an even better piece of news. His Ingrid Bergman who he married before the war and thought dead is alive. He goes to her and finds out she divorced him for reasons the plot really doesn't go into and is now married to a high civilian official with the American occupying authority, read MacArthur. That would be Alexander Knox in the Paul Henreid part and Ingrid, in this case Florence Marly has a daughter now.

Still Bogey who would now like to make money as a civilian flier as well is being used at cross purposes by the American Army Intelligence and by some Japanese led by Sessue Hayakawa who haven't adjusted to losing the war.

Tokyo Joe follows in plot lines laid out by Casablanca, but it sure treads softly in those giant footsteps. It was nice to see Sessue Hayakawa appear for the first time in an American film since silent days. He became a star in the early silent era in Cecil B. DeMille's The Cheat and left for Japan with the coming of sound where he stayed a popular film star right through World War II.

Hayakawa came here for Tokyo Joe. Other than establishing newsreel shots, this whole production was done on Columbia's back lot. Humphrey Bogart gives it the old Casablanca try, but he must have been wondering why he left Warner Brothers he was certainly doing a lot of the same stuff over at his home studio.

Tokyo Joe has Casablanca influences in several of the characters and scenes. Bogart must have figured that if he could achieve great success with Casablanca, why not repeat the formula for Tokyo Joe? He was partially correct, but the film is obviously not as compelling as Casablanca. Florence Marly (who is curiously a look-a-like for real life wife, Lauren Bacall) is just not up to the emotional depth of Ingrid Bergman. Bogey is fine in his role; and Alexander Knox is good as the noble husband of his old flame. Sound familiar? It should; it's pretty much the same triangle you had in Casablanca. The old flame now married to a noble guy who is at risk. And Bogey has to do the patriotic thing. Not quite scene for scene, but close enough. For the most part, the formula still works again, despite the relatively sterile Marly. Be sure to catch this Bogart film; he does a fine job.