As I said in a blog I used to run: "There seems to be a statement being made concerning the clash of the American and Japanese cultures, but the Japanese female lead tended to drag the story. It works best as the brutal crime film it truly is, allowing Fuller to craft that tough guy characters that he loved to work with."
Certainly not his finest, but even with that this film has been imitated and studied by us all.Robert Ryan and Robert Stack match wits and get to say all these cool lines. Plus the climactic ending is a beauty in cinematography. Incredible use of cinemascope.
War hero and motormouth individualist, certainly beholden to no man's ideology, Fuller was never gonna run into trouble w/ HUAC, but there's nonetheless a sardonic Un-American streak coursing through his work. In the painterly HOUSE OF BAMBOO, the critique of American power (and its ruses) is built around Robert Stack's belligerent functionary, who is supposedly the hero, but whom Fuller clearly sees as contemptible.
"Novelty of scene and a warm, believable performance by Japanese star Shirley Yamaguchi are two of the better values in the production. Had story treatment and direction been on the same level of excellence, House would have been an allround good show. Pictorially, the film is beautiful to see; the talk's mostly in the terse, tough idiom of yesteryear mob pix."
S'inspirant du canevas traditionnel du genre policier, Samuel Fuller a réalisé un film dans lequel il a projeté sa personnalité. En utilisant habilement les ressources du cinémascope, il nous présente un véritable documentaire sur le Japon moderne. Les séquences d'action sont époustouflantes. Un chef-d'oeuvre ! www.cinefiches.com
A directors fascination with eastern culture, more closely introduced to US after the war, as well as further exploration of cinematography within his classic genre. First part didn't work as planned, and feels rather naive, especially by the end. Filming it, on the other hand, steals the show! If it was left on mute, camera work alone could retell the entire thing.
Sandy disobeys his own order to save Eddie's life; Mariko breaks her culture's norms by visiting Eddie. Both fight to make Eddie their ichiban. With the spectre of World War II looming in the film's background, the actions are also unmistakably contradictory to military attitudes: the preservation of human relationships is a cause célèbre beyond conformity to established power structures.