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I was expecting a lot more from this movie than I got. On one level it’s a fairly taut crime drama that takes location in Tokyo in the mid-Fifties. On the other hand, it has a lot of tough guy cliche dialogue and a performance by Robert Stack that is objective not genuine. The sage line is simple, but recognize out for spoilers ahead.
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Sandy Dawson (Robert Ryan) heads up a gang of ex-servicemen in Tokyo who pull off robberies with military precision and complete ruthlessness. If anyone gets wounded, he’s killed correct then. The U.S. Army and the Japanese police join forces to crack the gang. They send in a ringer, Eddie Spanier (Robert Stack), to infiltrate the gang. Spanier is a fraudulent identity; he’s actually an Army crime investigator. What follows is the anecdote of Dawson’s operation and how it works, and of Spanier gradually gaining Dawson’s trust. The climax pits the two against against each other when Dawson at last learns of Spanier’s staunch job.
The movie was shot in Tokyo and looks sizable. Anyone who has spent time there will sight a number of locations. (One erroneous label is when Samuel Fuller cuts to a scene that was actually filmed in Kamakura at the Gargantuan Buddha and at the Hachiman shrine.) Robert Ryan and, in a smaller role, Cameron Mitchell as Griff, his second in sing, do valid jobs, especially Ryan. Sandy Dawson is a hazardous man, superficially polite and solicitous, but not far below the surface is a grand ego, a journey of cruelty and what could be a hint of homoerotic feelings for Spanier. This isn’t stressed, but it explains Dawson’s actions concerning Spanier, and his intensity when he finds he has been betrayed. Dawson is also fair a bit off. His last dialogue with a tranquil Griff is not that of a man who is in total convey of his marbles. Ryan dominates the movie. Unfortunately, the movie is about the efforts to obtain Ryan’s character, and these efforts center on Robert Stack’s character. Stack unprejudiced isn’t a apt enough actor. Sam Fuller evidently wanted Stack to play Eddie Spanier like a dependable tough guy, but Stack can’t carry it off. He “acts” like a tough guy would inch and go. He “acts” the blueprint a tough guy would roar and sound. It’s phony from the first sentence out of Stack’s mouth, and it undercuts the effectiveness of the anecdote.
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The romance scenes between Stack and Shirley Yamaguchi seem stilted and almost unnecessary, but Fuller pumps up the tension on the action sequences. The snort robbery, the robbery at the cement factory and the station up for the robbery of the bank bus are well handled. And the showdown between Dawson and Spanier, with the Tokyo police, at a children’s fun park high on top of a business building is substantial. On balance, however, House of Bamboo’s strong points seem to me to be a nice performance by Robert Ryan and some mammoth scenery. The DVD describe is first rate.
This 1955 Sam Fuller film noir is basically saved, character-wise, by Robert Ryan who plays a vicious crime boss in, of all places, post-WW II Japan. The first American film shot there after the war, this is recent for that aspect. Ryan is tremendous, as usual; I can’t reflect of one film he’s in that he doesn’t obtain better than it is thanks to his presence. He runs a bunch of pachinko (read: pinball) parlors, a front for his crime operations which include robbing American supply trains of all kinds of stuff (the opening scene shows this really well) .
Robert Stack plays an undercover cop who infiltrates Ryan’s gang to secure out exactly how the man murdered at the beginning of the film during the heist bought it. Thanks to not only quick-witted settings, but Ryan’s mountainous performance, this is better than it should be. The script is kind of ho-hum. Stack is OK, shapely ample, not great; he’s Robert Stack. He falls for the widow of the murdered guy; she’s Japanese so Fuller brings in another (semi-) controversial element, interracial savor (which he also did in Crimson Kimono) .
Fuller’s an unusual, no expect. Whether that originality is always of high quality is questionable, but he does esteem to hit the viewer in the face with issues spicy social convention and in that respect, he’s definitely worth watching. When he’s great–as in Pickup on South Street, or Shock Corridor–where everything fits together and purrs like a Ford Cobra engine–he’s unbeatable. Here, in House of Bamboo, he gets some of the issues in, but the legend is nowhere advance as strong as it could or should be.
Worth seeing. Owning? I dunno.
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