Jo (Jo Shishido) manages to get a job with the Nomoto gang because he
has proved himself ruthless, violent, and handy with all kinds of weapons.
However, it soon becomes clear that he is after more than just a job with
good pay, because he asks an awful lot of questions about the big bos of
his organisation, who might be Tatsuo Nomoto (Akiji Kobayashi), his
violent half-brother Hideo (Tamio Kawachi), or some mystery woman.
Eventually, Jo hooks up with Onodero (Kinzo Shin), boss of a rival
gang, and offers his services as informer, but it soon becomes clear that
he only want to cause a gang war between Onodero's gang and the Nomoto
clan. After one of Nomoto's drug deals goes wrong thanks to Onodero, bits
and pieces about Jo's past are found out, like the fact that he has been a
cop until recently - but also that he has spent the last three years in
prison. The prison time convinces Nomoto and gang that Jo is one of
theirs, but what they don't know is that Jo is actually investigating the
death of his partner Takeshita (Ichiro Kijima), who is said to have
committed suicide, but Jo suspects it was murder, and someone in Nomoto's
organisation was behind it all.
When Jo's best friend among Nomoto's men, Minami (Eimei Esumi) is
injured in a fight with Onodero's men, he drags him to the house of
Takeshita's wife (Misako Watanabe) to hide him, and once there tells her
how he's planning to find out the truth about her husband's death. Soon
after, Nomoto tells him he has been fond out, and they know everything
about his motives. Nomoto and company now want to torture and kill him,
but Jo eventually wins the upper hand and tortures the truth about both
nomoto and his brother Hideo - and finds out the woman behind everything
was actually Takeshita's wife, from day one on. Not wanting to kill her
himself, he lures her into a trap and waits for hideo to kill her, then
lets the police take care of the rest.
On a pure story level, this is a routine crime film, solid but hardly
remarkable, and featuring a few too many plottwists to remain wholly
believable. On a visual level though, this film is something else, a
carefully orchestrated work of art full of unusual camera angles,
extraordinary setups, colourful pictures, weird details and the like - in
other words, this is a typical film from director Seijun Suzuki's early
years: not one of his masterpieces he would later become famous for but a
quirky piece of genre entertainment that might not be perfect, but it
doesn't disappoint.
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