Hot diggity. Kurahara is emboldened by a lack of sympathy and utilisation of improv that justifies his obvious love for jazz, never missing an opportunity to place the camera in the weirdest position. This and its sibling film are his feral masterpieces, unwieldy and unpleasant, but few US films of the 60s capture a black despair like here. Racist? Ha, jumping from fetishism to humiliation, the end is total release
Obviously not without its flaws (for example, shouldn't the gun have run out of ammo by the end?). But it's strongly shot and composed with weighty themes about alienation, freedom, and race, as well as featuring a relatively complex lead. So I'd say it does enough to be considered a solid film.
After promising opening credits a crazed Japanese thief stumbles upon a wounded African American G.I. wanted for murder and rejoices with excitement! Thus begins a very frantic film about escaping the authorities, that never ceases to go over-the-top with just about everything. Director Kurahara's love for jazz music prevents his film from being a gunned down disappointment, pluss a few good laughs are guaranteed.