Decidedly, there is in Yujiro Ishihara an air of John Garfield, more for the ethos of his characters than by a physical or performance proximity. In this "proper", and often very inspired appropriation of the North-American film noir, this actor carries with him a sensation of "dust is his destiny" and that's filmed with entire fairness.
Not my favorite, though The Perfect Game from the same year, of which little information seems to be out there, is as good if not better. I'm more and more convinced that Akira Kobayashi is the real gem of this period's films. I'm curious to see what happened to him after he became the rambling cowboy Elvis for a few years.
A nice bit of business: the gang rattles off their mercis and au revoir monsieur-s, acknowledging the competition from French crime films (the Nikkatsu crime cycle is after all a homegrown reaction to imported pleasures). To be a suave gangster you gotta dress American and talk French.