Visez cette voiture de police

Twisty detective flick from the director of Branded to Kill. After the police van of which he was in charge is ambushed by a sniper, prison guard Michitaro Mizushima (the star of the earlier Suzuki film Underworld Beauty) is suspended from his job. Upset over his failure to protect those under his charge, Mizushima conducts his own investigation. This is an extremely convoluted mystery - a fact to which the film cops. Suzuki's master direction keeps it moving. The opening and closing sequences in particular are brilliant. I just wish I knew what the Hell was going on! I was very tired while watching it, I should say.

An exceptionally well-shot if bitterly average and utterly bewildering mystery, Take Aim at the Police Van marks the very early days for Seijun Suzuki, far less abstract than what I've heard about his more well-known works. He's shooting to a formula but delivering where it matters, be it the woman killed by an arrow to the boob or the faceless gunman who lovingly strokes his rifle's stock before sticking his bubblegum atop its scope. It's a film I wish was slightly more cohesive (and less jazzy) than it is but Police Van benefits from the endless swagger of its lead and fun filmmaking flourishes to stop it from being a frustrating or bad time. A testament to how artists pumping out quickie exploitation movies can often work in truths about their times that prestige filmmakers can't.

Film 3/5 in the Nikkatsu Noir boxset I'm working through, and I'd rank this behind Rusty Knife (film 2/5), but ahead of I Am Waiting (film 1/5).

I'll give it this: Take Aim at the Police Van has a great title and a great opening- both work well to get you hooked early to the simple premise (prison guard is partially blamed for deaths that weren't his fault, so he goes looking for the real killers himself) that soon balloons out and gets very complicated.

While some of the complexity and mystery is intentional, given the main character doesn't really know what's going on much of the time, I think it may have left the audience in the dark just a little too much. You could say that about a lot of classic noir, though- I think it's The Maltese Falcon where the writer even admitted he didn't really understand 100% of the plot.

(EDIT: legend actually goes that it was The Big Sleep where the screenwriters were confused by what they were writing. Do remember Maltese Falcon also having a confusing plot, for what it's worth)

But in any event, it stays entertaining because of the fast (if almost a little too quick) pace, the stylish direction, and some exciting sequences. Plus the mystery is a pretty decent one.

It all makes for an overall solid watch.

Great opening, but got messy quickly, and ultimately was an unsatisfying 79 minutes. The frumpled lead character (48 year old Michitaro Mizushima) reminded me a little of Glenn Ford in The Big Heat and the befuddling, often nonsensical plot reminded me of The Big Sleep, but Seijun Suzuki's work lacks the star power and atmosphere of those films. Questions piled up for me as I watched, and not just about the sequence of events from one scene to the next, but about basic character motivations for pretty much all of these people. The grand reveal of Akiba near the end was silly and a letdown too.

I never began actively disliking it though, because I never really knew what Suzuki was going to put on the screen next. There's a topless stripper shot in the chest with an arrow, and a James Bond like escape from an attempted execution (when of course a simple bullet would have made so much more sense). One of the mysterious young women being tracked down loves American rock 'n' roll, and has a gang of teenage friends pile out of car to protect her. There are several murders, but the main character believes in the goodness in people, and improbably the beautiful young femme fatale (Misako Watanabe) softens and falls in love with him. It's an absurdity set to a jazzy soundtrack and doesn't really work, but somehow held my interest. You can do better though.

(1960) Take Aim At The Police Van/ 'Jûsangô taihisen' yori: Sono gosôsha o nerae (In Japanese with English subtitles) CRIME DRAMA/ MYSTERY/ ACTION

The set up regards a prison guard, Daijirô Tamon (Michitarô Mizushima) getting suspended for six months as a result of failing to protect two prisoners. He then goes on an odyssey to find out why. First he would interview another former inmate prisoner who was also there by the name of Gorô Kashima (Shôichi Ozawa), as Tamon realizes he scribbled something onto the window on the bus they both riding on before the other two inmates were executed. And he tries to follow him after seeing the name Aki written on a piece of paper. Leading him to uncover two objectives which is to find out who was that lady he had seen on the fateful night during the bus ride and the identity of Aki who we find out is actually Akiba.

Despite it's short running time of less than a hour and a half, this was quite boring until it got to the very end with the gun shootings to be quite relative.