Femmes et voyous

The story follows four characters: Tokiko (Kinuyo Tanaka), a gang moll who works a legit job as a secretary at a large firm so that she can get extra cash from the company's president's son, money that she uses to keep Joji (Joji Oka), a former boxer turned minor criminal gang boss. When young hothead Hiroshi (Koji Mitsui) joins the gang, his nice-girl sister Kazuko (Sumiko Mizukubo) implores Joji to help set her brother back on the right track. Joji starts to fall for Kazuko, which causes Tokiko a lot of grief and sets her on an unpredictable path.

This is Ozu's most technically accomplished film to date, even if he is still making them in the silent format. His camerawork and use of evocative shadowing are notable. Tanaka gives a splendid performance as a complicated character making rash decisions that only make sense coming from someone who is desperately vulnerable. Ozu continues to place American movie posters in his settings, this time featuring some from The Champ and All Quiet On the Western Front. Sharp-eyed viewers may notice Ozu regular Chishu Ryu in a small bit as a cop. Recommended. (

A gangster with feelings, mirrored in the young boxer who is eager to drop out of school to join the gang: boyish impertinence and bravado in this part, a recalcitrant code of honor among thieves, the common tropes of the gangster film.

The boxer's quiet, unassuming sister, mirrored in the gangster's moll who gradually opts out of the glamorous life in favor of true happiness: deep female selfless intuition, enduring, indomitable caring.

The four of them are intertwined in a dance between many different faces for the one life - all of them fit but some make you agonize. The whole plays out like a response to Sternberg's Underworld, a prototypical gangster film that culminated in a similarly sacrificial denouement. As is common with these films, having experienced the thrills of an outcast life, we're meant to leave the theater rehabilitated into common social mind.

This is fine and the film generally slick and efficient, but I want to direct your attention to these specifics.

• one is the shot of a chrome plate from inside a moving car, that reflects distortions of the surrounding world as the car speeds ahead. This encapsulates both cinematic eye and internal mind, modern and anxious, that give rise both to events depicted and the type of film that frames them.

• the other is the series of static shots that end the film, with cops signaling each to each that the chase is over and departing and the quiet interior of the empty house greeting the first morning light. Now Ozu's journey is from superficial Western adoration (except for the sister everyone is dressed in western garb here, the brother has taken up boxing, the whole recalls Western film above all) onto a discovery of a contemplative Japanese heart. The transition is vividly exemplified here: from the neon marquees of tumultuous movie night into the stillness of morning. We'll see a lot more of this in the future.

Kinuyo Tanaka works in an office, where she has caught the attention of the boss' son. She means to take him for a bundle, because after office hours, she's the moll of Joji Oka, a washed-up boxer and gangster. However, when Sumiko Mizukubo, a nice, old-fashioned shop girl, asks Joji to let her brother, Koji Mitsui out of their gang, the two lovers see a vision of a decent life. Is it beyond their reach?

This movie gives the impression that Ozu was trying to shoot a movie half in the style of Joseph von Sternberg and half in the stye of Frank Borzage -- what would happen if George Bancroft in THUNDERBOLT met a Janet Gaynor character? Visually, it's very Germanic, with lots of half-lit faces and many tracking shots, nothing at all like the style Ozu would adopt after the War. The set design is typical for Ozu in this period, with lots of American posters on the walls.

It has often been stated (which is a slovenly way to not have to cite sources) that Film Noir arose from filtering German expressionism through French Poetic Realism and American Pulp Mystery. Although it did not begin to take shape until the late 1930s, nor flower until the mid-1940s, there's an interesting early sideline in this movie, complete with a femme fatale who leads people to their doom -- who is a nice girl!

Josef von Sternberg doesn't get as much mention as Frank Borzage or Ernst Lubitsch as an early Ozu influence, but those familiar with the dense arrangement of objects onscreen in Sternberg films may see the resemblance in both early and late Ozu films. This moody, expressionist pre-noir potboiler exhibits plenty of inspired clutter (most memorably the RCA Victor dog) and stylistic fluorishes (tracking shots, pull shots, and memorable use of shadow) as it tells the story of a gangster and his good-girl-gone-bad moll (Kinuyo Tanaka) as they experience an spiritual awakening through the good graces of an innocent girl. Redemption seems to be a recurring motif in Ozu's gangster movies (WALK CHEEFULLY, THAT NIGHT'S WIFE), and one wonders if bad guy heroes turning themselves in is a convention of the genre or indicative of Ozu's feelings about the criminal life he was assigned to depict. Whatever the case, the climax (involving the single gunshot fired in the entire existing Ozu canon) is as suspenseful and emotionally powerful as anything Ozu filmed.

I've watched a couple of very early Yasujiro Ozu films recently, and wasn't thrilled with them. Dragnet Girl was the last of his silents I wanted to check out, and I was very glad to find this one was really solid. I feel like the director is starting to come into his own here, even if the crime elements of this story are at odds with the more grounded dramas he became best known for making (though there are sequences of Dragnet Girl that do foreshadow the focus on drama to come; it's not "just" a crime/gangster movie).

Maybe the first couple of years of Ozu's filmmaking career were a little shaky, but by the time he got to 1933, he was capable of making some good stuff... and then obviously got even better by the time the 1950s came around. The plot here can be a little muddled, but there are some emotional moments that ring true, and I think it's shot really well for a film of its time, making it an early Ozu film that feels pretty easy to recommend.