Tokyo dossier 212

A B-Movie must. The lousy dialogue is compensated for by the fact that a lot of key scenes are in Japanese - without subtitles.

Filmed entirely on location, it provides some interesting shots of post WWII Japan and the cast includes real soldiers who were part of the American occupation force. Francis Marly is great as a broadly sketched femme fatale. A trivia buff's footnote: the producer was famous San Francisco attorney Melvin Bell

There's no doubt about it--"Tokyo File 212" is a terrible movie. The acting is often terrible (by a cast of mostly unknowns), the writing and dialog silly and the plot is also rather silly. Yet, it's still worth seeing because the film is an interesting look into the Cold War.

The film is set in Japan during the Korean War and was made with the cooperation of the Japanese and American governments. What it appears to be is a film that is trying to cement positive relations between the two countries since they were partnered against communism and it was made during the Korean War (and Japan was a staging point for the UN's forces aiding South Korea).

The film concerns an American reporter who works as an undercover agent. His job is to locate an old college friend---one who is Japanese and is working for the commies. Through much of the film, the American is assisted by a woman who looks a lot like Natasha from "The Adventures of Rocky & Bullwinkle"! Eventually, they are able to get the old friend to see the goodness of democracy and the find ends on a very explosive note.

The bottom line is that although the film has a few exciting scenes, many of the actors had great difficulty reciting their lines and the film came off as super-duper cheap. You'd think with the US and Japanese government behind it, the film would have been a lot better! Instead, it looks a lot like a film created by some government hacks with little input from film professionals. Laughably bad at times--but an interesting look into the Cold War and the sort of films that were produced during the height of this tense period.

The noir "cliches come thick and fast," begins both the first review here as well as on the videobox, I was a sucker for the box description but the film never approaches being noir. It is a propaganda spy film for America fighting "Commies" in Korea, with the novelty of being entirely filmed in Japan(not a "re-creation of Japan"). Wouldn't Ike and Hawkeye Pierce be shocked to know the war was masterminded by a couple of Japanese guys in tweed jackets? The plot is basically the same as the political drama "The Ugly American," and though there is some intrigue and a femme fatalistic Marlene Dietrich impersonator, it is mainly filmed without a noir look or moody soundtrack. It has all the subtlety and nuance of the low-budget serials of the 1940's, not so odd a coincidence since the distributor (VCI) specializes in serials. While it might be entertaining given the expectation that it is a mild war-spy drama, it will only disappoint anyone looking for noir.

Lee Frederick gets off the plane in Tokyo. He's a newspaperman, there to conduct a survey. In truth, he's an intelligence officer. There's information leaking from someone through the Communists in Tokyo, and his old college room mate, Katsuhiko Haida, in involved. After getting his assignment, he goes to his hotel room to find stateless Florence Marly there. She announces she is going to be his secretary.

It's an ambitious movie in its own way, trying to offer a view of post-war Japan as more than updated Terry & The Pirates Character. Unfortunately, Frederick is not a particularly good actor, and tries to substitute emphatic delivery for emotion.

Where it succeeds is in offering a different view of Tokyo than is usually seen. A lot of footage was shot onsite by uncredited cinematographer Ichirô Hoshijima. He shows a city quite a bit different from the Tokyo seen in the Japanese movies of the time: not from afar, where the grace and symmetry of the great public works are on view, nor the carefully constructed backlots of the studios, but street views, where crowds jostle each other and the dirt, grime and decay sit right next to the proud civic monuments. It's a livelier city than the quiet alleyways of Ozu, or the jumbled offices of Kurosawa. It's not a place where actors perform for audiences, but a place where people live and work.

It's great camerawork. Unfortunately, the story is simplistic and straightforward, and even such distinguished Japanese actors as Tatsuo Saitô and good intentions can't overcome a mediocre story and a poor lead actor.

The acting and direction in the film is C level. It was hard to tell the obvious amateur actors in the military intel office from the supposed professional actors. But despite the horrible acting and direction, the characters were well-developed and a few were even sympathetic. The commie Jap who sees the light was one of those. This was not your usual phony commie scare movie of the fifties. This was the real McCoy, because North Korea did try to disrupt Japanese shipping from Tokyo to the war effort. And there was quite a large communist movement in Japan after Japan was returned to the Japanese; it gave some Japanese men a way to oppose American occupation of their homeland. Fortunately, making money became more important than regaining international honor in the eyes of the world, and the vast majority of Japanese rejected communism naturally. Socialism really did not appeal to the Japanese masses. Capitalism was far too attractive. The movie does not bring this out well, but the story was more interesting than the acting.