Tokio Joe

Several years ago I stumbled upon a 35 cent biography of Humphrey Bogart written shortly after his death. In it he comments on many of his films, including Tokyo Joe. "Utterly worthless picture" he noted. Many critics agree as they dismiss this piece of hokum about what happens when a former soldier returns to what was his "home town" before the war. Thing have changed. It is not the paradise it once was to him and it is certainly no "Rick's" Instead of "As Time Goes By" we hear "These Foolish Things," a better song but not nearly as famous.

Tokyo Joe was made not long after Bogey had left Warner Brothers and it has more than a whiff of a "message picture" that strikes to find some meaning in postwar Tokyo. But like "House Of Bamboo" this film works not only as melodrama but as historical artifact of a period that is now forgotten. We don't think of the Japanese as a defeated power. Ever since the Honda Accord and the Toyota Camry started blowing away American competition we have thought of the Japanese as a superpower economically, not as a crippled defeated country. This film captures a mood that is rarely expressed in movies and it captures it with rather high production values. The rest of the cast isn't much but they play it straight and thus Tokyo Joe stands up even better after the initial viewing. The DVD transfer is very good and it remains a worthy addition to the Bogart canon.

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" is rightly called a "lesser Bogart effort." In fact, there is much in this film that obviously derives from earlier Bogart classics, especially "Casablanca." However, this Santana production/Columbia release is by no means without its interesting points. I would point to Alexander Knox's performance in a supporting role, for one. Sessue Hayakawa, as the old fascist surviver, is also good.

On the other hand, Florence Marly is pretty weak as the love interest and the plot is somewhat routine. The main plot problem is the Bogart/Marly relationship. There is just too much resemblance to the relationship between Rick and Ilsa in "Casablanca." When you add in Marly's unconvincing performance, the chances of a having a first-rate film are slim. I must also add, reluctantly, that Bogie seems to be walking through this role, much as he did in another Santana film, "Sirocco" (1951).

That brings me to my final point. Bogart had started Santana Productions in about 1948. "Knock On Any Door" was the company's first effort, and it was somewhat popular at the time. "Tokyo Joe" was the second Santana production. As a small start-up independent production company, Santana did not have a stable of outstanding actors to call upon. Perhaps that is why they had to make due with a Florence Marly instead of a top female lead to go opposite Bogart.

It's also true that "Chain Lightning," 1950, Bogie's next to last Warner Bros. release, wasn't so hot. Maybe the era of the tough but decent Bogart character had simply run its course.

I might add here that the third Santana production was "In a Lonely Place," 1950, one of Humphrey Bogart's best, though perhaps most under-appreciated, films.

Give "Tokyo Joe" a try. It's no world beater, but I have watched it several times, and still find it entertaining.

Did like the idea for the story, not an original concept but an intriguing one. Tokyo is a lovely location and an inspired and interesting one for this kind of film. The main reason for seeing the film was for me Humphrey Bogart, one of the best actors at that time (especially in the hard-edged kind of roles that require intensity) and it's most evident in one of the finest and most iconic screen performances there's ever been as Rick Blaine in the timeless 'Casablanca'.

'Tokyo Joe' is not one of Bogart's best though. If anything it's somewhere in the weaker end. Bogart himself is one of the best things about it actually and the main reason for anybody to see it, and some of the supporting cast are good. The problems were the female lead, the script, some of the story and direction, all of which heavily flawed. All of that will be elaborated upon soon. 'Tokyo Joe' is a long way from a bad film, but considering how interesting the story sounded and how good an actor Bogart was it could have been a lot more.

Good things are quite a lot. The best thing about it is Bogart, who brings his usual authority and hard-boiled intensity to a role that suits him perfectly. Also good are an appealing Alexander Knox and especially a sinister Sessue Hayakawa (Kimura is one formidable threat). Lora Lee Michel is cute without being overly so and her chemistry with Bogart is touching.

It is a stylishly and atmospherically photographed film too, the production values in general had an authentic grit. The first half an hour was very intriguing but it was the last twenty minutes and the climax where the film hit its stride and became exciting and had the edge that was missing in the middle. There is some intriguing scripting early on and when the film comes alive finally. Suitably ominous music from George Anthell as well.

Florence Marly however brings things down significantly, her performance isn't just bland and uncharismatic. At its worst, it was pretty inept. There is no chemistry between her and Bogart, which always looked awkward and distant, and her character is pretty sketchy. The rest of the supporting cast other than those already mentioned are fairly forgettable in come and go roles. The direction had its moments towards the end, but is generally undistinguished and doesn't bring out enough of the tension needed for such a story.

While not without its moments, the script could have been tighter on the whole with it tending to be bogged down by talk of the waffling kind. It could have done with more edge and purpose. The story starts off well and ends even better but what happens in between is rather derivative, with no real surprises, and at times drawn out when the story is especially thin. Some of the rear projection is obvious in a somewhat phony way.

Overall, decent but could have been a lot more. 5.5/10 (was very conflicted on what rating to give between the two)

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.