Visez cette voiture de police

Suzuki would go on to do wonders with abstraction and suggestive atmosphere in his later films but this is mostly a compact potboiler that doesn't have any time to spare. In fact there's so much plot here we need to get inside the protagonist's head to hear him try and clear some of it out. Voice-over narration tells us that "Fuychita had a sister, she's my next lead" and we're immediately transported to a tavern where that sister may be spotted. The movie jumps like that from place to place and character to character, gathering very little as it does but a growing number of names and intertwining relationships which are only as meaningful as the next person or clue they lead us to, and then at some point a sharpshooter is shooting at the protagonist and an underground prostitution ring is revealed. This is the kind of movie where people are presumed dead only to reappear later, where the protagonist goes back to his place to find a key character waiting for him in his living room with no explanations given or asked, and where the bad guys stage an elaborate death for the protagonist and his girl to escape when two bullets would have sufficed. It's not film noir by the American standard of the term and it's not even film noir compared to some of the stuff Teruo Ishii was doing at the time in Shintoho studios. It's a comic-book murder mystery with onedimensional characters and convoluted plot (one to make up for the other), a couple of cool scenes, and a swinging jazzy score. Like a dimestore viper novel, it keeps you turning the page but you know you're reading something mostly cheap and disposable by the end of it.

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.

Take Aim at the Police Van is action-packed, fast-moving Japanese Noir. Perhaps though, it's a little too fast moving. And unfortunately employs some rather erratic editing.

The story itself has all the makings of a good noir-ish detective murder mystery. Daijirô Tamon (Michitarô Mizushima) is a prison guard who has convicts murdered during a prison transfer. Tamon decides to hunt down those responsible. He quickly stumbles upon an "agency" that supplies young women as "showgirls" and "masseuses". There is no need to read between the lines or even get metaphorical as the fact they are being used as call-girls is blatantly evident. However, Tamon begins to have feelings for the agency's madam, Yûko (Misako Watanabe).

Directed by Seijun Suzuki, Take Aim at the Police Van builds up a good mystery and adds in a number of chases and shooting sequences. Yet the speed of the story and the choppiness of the editing truly shows that this was simply another movie quickly being fed through the Nikkatsu Studios machine. As swiftly Tamon decides to solve the case, the source of all the woe is discovered (also, such identity is not a shock), and the credits roll.

Take Aim at the Police Van is faster than service at a ramen house. But also quite tasty.

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.

(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.