Tamon is constantly putting himself in danger, but luckily the bad guys keep coming up with reasons not to shoot him directly. Instead they come up with elaborate plans to kill him, a la Batman, that he somehow wriggles out of. And of course there's the bad girl that he turns into a good girl. Good stuff.
After the gripping opening, it isn't entrancing. The mystery lacks a punch, and the tension isn't raised until your attention span has long faded. Even bad art must not make one bored long, it must have a vibrancy, akin to a writer that keeps you turning the pages. It not only has to be purposeful, but you want to keep watching. I didn't want to continue watching here, in one of Seijun Suzuki's worst.
This Suzuki movie does not seem to have much to do with his later work in the 60's like Tokyo Drifter or Branded To Kill. It comes across as a combination of a procedural and a light noir, with a bit more focus on the procedural aspect (especially the "one-last-job" trope on the part of the cop). It is competent and provides a sense of that period of time in Japanese society, but it is not particularly compelling.
Noir di stampo classico, essenziale nella forma quanto incasinato negli sviluppi. Suzuki un po' si perde a livello tramico (tanto che spesso il protagonista fornisce riassunti della vicenda a mezzo di flashback o pensieri in voce off), ma sforna alcune belle scene, azzeccando soprattutto il finale ***1/2
While the narrative is (self-awareingly) convoluted, Suzuki emphasizes a story in which a man of public service, a suspended prison guard, sees how business dehumanizing interactions to rise above itself. The horrid casualties result in revelation for young Yuko, a woman that has inherited a position of management, that capitalism has an agenda into which she is not able to integrate, nor emotionally accept. Amazing.