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Life in post war Japan is a theme not often explored in Hollywood film making and that alone gives “Tokyo Joe” an extra element of interest. Often referred to as second-string Bogie misfortune, the film I feel has noteworthy to commend it and it weaves an inviting account of intrigue, corruption and lost cherish against the background of a Japan impartial coming benefit to life after the conclusion of the war.
Humphrey Bogart had most of his astronomical roles already gradual him by 1949. “Casablanca”, “High Sierra”, “The Maltese Falcon”, “The Like Of Sierra Madre” to name a few cemented his name as one of Hollywood’s most memorable stars over almost two and half decades of work. This might be a lesser disaster than those examples but time had passed and being now a bit older suits Bogie very well in his playing of Joe Barrett, a man returning to Tokyo to reclaim both his pre war saloon/gambling den and to pick up that his supposedly dreary wife is very remarkable alive and holding a couple of sad secrets. Bogie handles both elements of the account, ie the rekindled romance with his wife Trina (Florence Marly), with the racy second half of the fable dealing with high level corruption, kidnapping and people smuggling rings.
Upon arriving in Tokyo Bogie finds things have changed greatly since the period prior to WW2. Not only does he glance his wife is tranquil alive and remarried to an Americam Official Tag Landis (Alexander Knox) but that she has a young child who is actually his. His thriving pre war business is impossible to reestablish and he finds himself interested in some shady transportation activities with a prominent Japanese businessman, Baron Kimura (played by the ample Sessue Hayakawa) who actually is bringing relieve to life the mysterious fanatical society of the Dusky Dragon which is intent on smuggling support into Japan convicted war criminials. What develops is Bogie finding himself playing two sides in helping the Americans flush out the terrorists and having to deal with their kidnapping of his daughter as a guarantee that he will cooperate with them. The second half of the film weaves a fairly captivating legend of adventure and suspense which sees Bogie undertake to rescue his daughter from the kidnappers and fight off the Baron where he is shot. The conclusion of the legend leaves up in the air Bogie’s fate, whether he survives the gunshot afflict during his valiant rescue lisp and reclaims his wife, or whether he dies a hero and allows Trina to continue her affluent life as the wife of an American Official. This ending is quite different to what one can normally put a question to and it allows us as the audience to originate our have conclusion, in a diagram similiar to th efamous ending of “Gone With The Wind”.
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“Tokyo Joe” which for interest sake was the pre war name of Bogie’s establishment, benefits greatly from some exciting on-location photography in Tokyo. While it is definite that the necessary cast never left Columbia Studios in Hollywood the meshing of space footage with the actors scenes is very well done. The major Japanese actors frail in the film also bring a very welcome recognize of authenticity to the narrative. Faded actor Sessue Hayakawa is really advantageous as the villian of the portion and Teru Shimada who appeared in impartial about every movie or television note requiring Japanese actors over a 30 year period creates a precise impression as Ito, Bogie’s best friend and pre-war partner in the running of Tokyo Joe’s who pays the ultimate note for getting keen with Bogie in Baron Kimura’s schemes. It is righteous to spy at this time in Hollywood that talented Japanese actors were able to gain prominent roles in major Hollywood productions such as this.
Humphrey Bogart always managed to maintain the interest in no matter what movie he was appearing in and while “Tokyo Joe” is certainly not his best remembered film it is a very appealing film with a kindly anecdote that serves up equal parts romance, adventure, and suspense. The record is at all times believably played and that’s what keeps your interest as the characters are those that are not fair Hollywood fiction. Films in general were changing by the beginning of the 1950′s and “Tokyo Joe” in a device was one of the first to display the after effects of the war on defeated countries like Japan. Indulge In this though-provoking legend with the always trenchcoated Bogie in a generous performance.
Humphrey Bogart is equal to himself in this tightly devised status. First a certain state : Japan after the war under occupation by the Americans who are trying to walk the remnants of a militaristic and fanatical new past. The Americans advance attend to Japan too to initiate some joint ventures with some Japanese. Then a personal state : Joe had a joint business before the war and he tries to recuperate it and finds out it is impossible though he goes along with his ex-partner in another business that is a lot more shady than it should be. Then a sentimental site : his ex-girlfriend and wife is married to a mammoth shot in the American embassy or something. She has a daughter and this daughter is Joe’s though she had her adopted by her second husband. This daughter was the backmailing tool of the Japanese during the war to force this woman to broadcast propaganda aimed at American forces in the Pacific during the war. But Joe and his current business is former to bring some ancient militaristic fanatics wait on to Japan to gallop some difficulty for the Americans. Joe, as an ex-colonel, has to go along with the allied forces, but his « business associates » kidnap his daughter to force him to do what they want. Then the rest is resistance and heroism, courage and back-fighting. Humphrey Bogart cuts the character quite convincingly and gives us an bright thriller.
Dr Jacques COULARDEAU
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