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.
A film set in Japan, with Japanese characters, coming from a respectful viewpoint of the culture, yet the Japanese seem also entirely absent. Maybe should be seen in a double bill with Stray Dog, or even better, one of Ozu's colour films. Loved the opening scene with the train.
Usually this is not considered as one of the main picks of Fuller. Because, its grand sryle and unlike splendor such is not a hollmark from the director. Some says the picture is full of plot contradiction and misunderstandings of Japanese culture. But, so what! It is a Fuller fiim, and certainly this one is. I agree with Godard or Dave Thomson, that the film is a gem with full of creativity. What a masterpiece.
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."
"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." Variety