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House of Bamboo: DVD Savant Review

In the DVD Savant review of “House of Bamboo,” the film is praised for its captivating storytelling and visually stunning cinematography.

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Set against the backdrop of postwar Tokyo, the movie weaves a tale of crime, betrayal, and redemption within the mysterious world of the yakuza.

Director Samuel Fuller’s keen eye for detail and dynamic camera work are highlighted, creating a compelling and atmospheric narrative that keeps audiences on the edge of their seats throughout this classic noir thriller.

House of Bamboo: DVD Savant Review

This impressive film, ostensibly a straightforward crime narrative, is best appreciated as a unique creation from the imaginative mind of Samuel Fuller.

“House of Bamboo” stands out as a pinnacle in Fuller’s collaboration with Darryl F. Zanuck, who initially proposed a movie set in Russia but redirected the project to shoot 20th Fox’s inaugural picture in Japan post-World War II.

Fuller merged his concept for a gang of crooks with military-inspired capers, crafting an adaptation of the earlier noir “The Street with No Name.”

House of Bamboo
House of Bamboo

Despite its improbable premise, the film gains authenticity through stunning CinemaScope photography on the streets of Tokyo.

Sam Fuller’s dynamic directorial style earned acclaim from French Cahiers du Cinema critics.

This unconventional gangster epic, paired with Fuller’s “Hell and High Water,” a more eccentric comic book take on Cold War nuclear paranoia, solidified his reputation.

Set in Tokyo in 1954, the plot unfolds as a gang of thieves, led by Sandy Dawson (Robert Ryan) and Griff (Cameron Mitchell), hijacks a joint U.S.-Japanese army train under Mt. Fuji.

This brings Army cop Capt. Hanson (Brad Dexter) in collaboration with local inspector Kito (Sessue Hayakawa).

Dawson plans his raids meticulously, operating with military precision, and recruits Eddie Spanier (Robert Stack) to replace a fallen comrade.

However, unknown to Dawson, Spanier is Eddie Kenner, a military policeman working undercover within the gang, escalating tensions within the criminal unit.

House of Bamboo stands out as a thrilling cinematic experience, particularly cherished by film students for its unconventional narrative.

In the 1950s, prevailing beliefs assured Americans that Japan was a tranquil nation with minimal crime and limited civilian weaponry.

House of Bamboo
House of Bamboo

While this perception held for the most part, alternative sources revealed the emergence of organized crime syndicates, the Yakuza, overseeing gambling and vice activities.

The film presents a fantastical scenario wherein a group of American criminals, unfamiliar with the language, operates Pachinko parlors and conducts audacious crimes in the heart of Tokyo, challenging the credibility of such a premise.

Despite potential post-occupation crimes involving service members, the depiction of Gangland USA thriving on Tokyo streets seems more fitting for comic books.

Fuller’s script, viewed as an escapist fantasy, portrays Sandy and his men enjoying a surreal existence with Japanese mistresses, referred to as “kimonahs,” engaging in activities like the Lindy Hop.

Fuller’s nod to protests during filming suggests a deliberate oversight of genuine post-occupation issues, reflecting an occupation daydream rather than an accurate portrayal.

Sam Fuller’s intention in his film was far from insulting the Japanese; instead, he conveyed a sense of respect for their unique culture.

The movie goes beyond the typical Hollywood narrative by appreciating Japan’s distinct cultural identity.

While the seemingly absurd premise might deter another director, Fuller saw the potential for an intriguing story set in an exotic locale, resulting in one of his most captivating and engaging films.

For a more realistic portrayal, one could explore Sydney Pollack’s The Yakuza, which, while also exaggerated, offers a different perspective.

In Tokyo, Robert Stack’s character, Spanier, exhibits the stereotypical “Ugly American” behavior, berating locals for not speaking English and intimidating Pachinko operators working for American gangster bosses.

House of Bamboo
House of Bamboo

Amidst this, he allies with the composed Sandy, impressed by Spanier’s stern demeanor. Fuller’s cinematic style can be described as a blend of comic book aesthetics, travelogue elements, and graphic storytelling.

Despite the apparent authenticity of the locations, such as a complex gangplank scene on a canal, Fuller strategically incorporates these settings to showcase the genuine atmosphere.

While searching for Mariko, the widow of an American gangster, Spanier encounters a kabuki troupe rehearsing on a theater roof, emphasizing Fuller’s creative use of authentic backdrops.

The film cleverly integrates California stage settings with Japanese locations, requiring a second viewing to discern the careful juxtaposition.

Despite the film’s journey to Japan being a significant financial commitment, Fuller economized where possible.

Many actors portraying Sandy’s gang likely stayed in Hollywood, with only glimpses of authentic Japanese settings.

A closer examination of the film reveals the meticulous matching of Japanese locations with presumably more cost-effective California stage settings, demonstrating Fuller’s resourceful filmmaking approach.

A decade later, Jean-Luc Godard, transitioning from critic to director, drew inspiration from Eddie Spanier when shaping the character Lemmy Caution in his film Alphaville.

Both secret agents navigate unfamiliar cultures with an air of disdain for their surroundings, at least until an alluring figure captures their attention.

House of Bamboo
House of Bamboo

House of Bamboo explores enduring themes across decades of crime films.

Sandy, in a gesture reminiscent of Little Caesar, provides Spanier with money to purchase a new suit, expressing a preference for a polished appearance that introduces a subtle homoerotic element to Sandy’s evident psychological complexity.

Scenes like the ruthless execution of an injured comrade during a getaway and a train robbery beneath a railroad overpass foreshadow elements later found in The Wild Bunch. This film blends Western and gangster narratives.

The film’s climax offers two distinct spectacles. Fuller orchestrates an intense shootout set atop a multi-story department store on a captivating kiddie playground—a location, according to Fuller’s autobiography, owned by Nikkatsu, a renowned movie studio.

The thrilling scene unfolds with children suspended high above the street on a giant ride, providing a unique backdrop for the showdown.

Alongside Fuller’s realistic portrayal of bullet impacts and the use of stereophonic sound effects, the globe-shaped ride evokes themes reminiscent of “Top of the World” in White Heat or the recurring motifs of “Cook’s Tours” and “See the World” in early gangster films.

Sandy Dawson’s escalating madness reaches a sensational peak in the lead-up to the climax.

Though Fuller asserts that it might have gone unnoticed by the other actors, the unmistakable evidence of Sandy’s particular fascination with Robert Stack is apparent.

Sandy questions the entire gang about Stack’s deviation from the established rule of saving Spanier, with Griff appearing hurt and jealous in the background.

House of Bamboo
House of Bamboo

Sandy’s military fixation is revealed to be just one aspect of his psychosis as he takes personal charge of Spanier, overseeing him as if he were a proxy for himself.

Despite Stack’s consistently blank stare in most scenes, the film is unmistakably dominated by Robert Ryan.

(Spoiler)

In a pivotal turn of events, Sandy’s misguided vendetta against an informant leads to one of the most unconventional acts of violence in film noir history.

He storms into a Japanese bath and, without hesitation, empties six shots through a wooden bathtub.

Following the act, he gently lifts the head of the deceased man and explains the necessity of his actions.

Even today, the scene remains so shocking that it often elicits unintended laughter, serving as an audience defense mechanism against the outrageousness of the moment.

Fuller’s direction and Ryan’s performance in this one-shot sequence are genuinely noteworthy.

Shirley Yamaguchi, a Boston resident and accomplished actress, contributed to the film, which was filled with notable performances, big and small.

Cameron Mitchell (Blood and Black Lace) stands out despite the absence of a close-up, as does DeForest Kelley in the uncredited role of henchman Charlie, characterized by a wicked grin and clever remarks.

Brad Dexter (The Magnificent Seven) appears colorless as the military policeman, and Sessue Hayakawa (Bridge on the River Kwai) has minimal involvement as his counterpart in the Tokyo police.

House of Bamboo
House of Bamboo

Members of Sandy’s gang without dialogue include Robert Quarry (Count Yorga, Vampire), Biff Elliott (I, The Jury), John Doucette, and Harry Carey Jr. Mariko’s uncle is portrayed by Teru Shimada, who later plays the industrialist Osato in You Only Live Twice.

Darryl Zanuck transitioned into an independent producer at this juncture, marking the end of his intriguing partnership with Sam Fuller.

Their collaborative Tigrero! The project faced setbacks, and in the subsequent years, Fuller created noteworthy yet only moderately successful films.

During this period, he conceptualized his epic war film, The Big Red One, although its production took place on a modest budget 25 years later.

Only with Warner Bros.’ Merrill’s Marauders did Fuller have the opportunity to direct one of his combat films on a grand scale once again.

House of Bamboo presents a truly unconventional portrayal of American criminals in a Japanese setting.

House of Bamboo
House of Bamboo

While it attains a higher credibility level than Hell and High Water’s peculiar Cold War narrative, it stands out as a more accomplished overall film.

Be sure to pay attention to the memorable bathtub scene! The Twilight Time Blu-ray edition of House of Bamboo emerges as another success, showcasing this vintage film with a transfer that rivals contemporary releases.

Although the DVD was satisfactory, the colors and sharpness truly stand out in this version, highlighting the cinematography of Joe MacDonald.

The film was reportedly shot during a cold Tokyo winter, with Fuller’s travelogue-like scenes capturing the city’s essence.

Even the interiors filmed in West Los Angeles are visually appealing despite Fox’s distinctive penchant for blue tones.

For those sensitive to this trend, the old prints viewed at UCLA had slightly faded colors, with blues being the first to diminish.

The disc includes the anticipated Isolated Score Track and two commentaries. Alain Silver and Jim Ursini contributed an academic commentary in 2005, providing insightful analysis.

Additionally, Twilight Time decided to include a new commentary featuring Nick Redman and Julie Kirgo.

The release also incorporates a couple of Fox newsreel shoots, which appear to be vault items that were possibly never integrated into an official release.

In her liner notes, Julie Kirgo commends the film’s visual aesthetics, considering House of Bamboo one of the most beautifully composed pictures ever.

While I may not fully agree, especially during dialogue scenes where characters are arranged across the frame in a somewhat flat manner, the film’s overall dynamism maintains a high level of viewer engagement.

I still associate Sam Fuller with the visual style of comic strips.

The 5.1 mix uses the film’s original 4-channel stereo, with Fox’s audio department doing commendable work to enhance Fuller’s brief action sequences.

Fuller’s firsthand experience with the sounds of gunfights is reflected in the audio, providing an authentic and immersive auditory experience during these intense moments.

Mandip
Mandip
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