Ôsen chitai (1960) Poster

(1960)

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8/10
Nasty, loved it!
gordonl5630 November 2015
Warning: Spoilers
"Osen chitai" aka "Yellow Line 1960 This Japanese production is really something to behold. It blasts onto the screen and just keeps going at speed.

Freelance hit-man, Shigeru Amachi, takes a contract to bump off a customs inspector. He does the job, but as he is leaving the area, he sees the Police arriving. It seems that the mob decided it was cheaper to rat him out to the Police, than pay him. This turns out to be a bad mistake.

Amachi manages to evade the Police by grabbing a young woman out of a street phone booth. He uses the woman, Yôko Mihara, as cover to get away. The girl is a dancer on her way to Kobe to work at one of the clubs. The two end up taking the train to Kobe. The girl however has tossed one of her distinctive red shoes out onto the train platform. And as it so happens, her boyfriend, Teruo Yoshida, was at the station to see why her call to him was cut off.

Yoshida is a reporter with a Tokyo paper. He of course smells a rat and is soon looking for her. He finds the red shoe and the chase is on. He is soon on his way to Kobe as well. Mihara, is not sure what to make of the Amachi. She behaves though, having had the hit-man's gun shoved in her side.

The two hit Kobe and the first place they go is a shoe store. Mihara told the gunman she had lost her shoe when he dragged her onto the train. She manages to write a call the Police note on a 100 yen note as she pays for the shoes. The clerk just sticks it in the cash drawer. (This bill comes into play later)

The two then end up in flea bag hotel in the red light district, a real seedy part of the city known as "The Casbah". It is all clip joints, drug dealers and working girls. Being a port city, there is plenty of call for the ladies of the night. The boyfriend, Yoshida, is desperate to find his girl. He fears she has been grabbed up to be sold into prostitution.

Now everyone ends up playing a big game of cat and mouse. Amachi is out to get even with the mob boys, the reporter, Yoshida wants his girl and Mihara just wants to get away. They are all soon crisscrossing the city while just missing each other. The bodies start to pile up as Amachi works his way through the mob connections.

This one is well worth the time spent to see how it all ends. It goes quite fast with only a 79 minute runtime. A top flight bit of Japanese noir, even if it was filmed in colour.
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9/10
"The Yellow Line Laid Bare."
morrison-dylan-fan11 November 2019
Warning: Spoilers
Since viewing the terrific French Noir Le faux pas (1965-also reviewed) early last week,I've been in the mood to dig into my Japanese Noir viewing pile, but due to things such as attending a film festival, had to sadly keep delaying this plan. Having found his Pinky Violence Giallo hybrid Female Yakuza Tale: Inquisition and Torture (1973-also reviewed) to be a exciting flick,I was pleased to stumble on a Noir quartet Teruo Ishii had made,which led to me following a yellow line.

View on the film:

The first and only entry in the " Chitai" series to be shot in colour,writer/director Teruo Ishii & cinematographer Hiroshi Suzuki enter the murky side-streets assassin Amachi stays in hiding, with startling blemishes, via the crimson red and brown walls of the gangsters seedy apartment being broken by Ozuki's ruby red shoes marking her kidnapping, picked up on by her journalist boyfriend Mayama, who enters the underworld like a homing beacon in his pristine white trench coat.

Unrolling a unique long zoom-in shot between the legs of a woman (!) Ishii superbly reels in a documentary rawness, spinning on the stylisation of Film Noir, where sawn-off tracking shots curl on Mayama just missing from catching the Gangster and Emi in his sights.

Greasing palms so no questions are asked in the flat the Gangster holds Emi in, Ishii presents the Casbah as a maze of corruption built on a intense Film Noir atmosphere, weaving the camera in tightly held tracking shots dipping into each drug den/ brothel Mayama enters in the hope of reuniting Emi with her shoe.

Left to fend for himself after the backers leave him high and dry once the target is killed, the screenplay by Ishii brilliantly taps into the high-wire anxiety just under the surface of the Gangster/hit-man brute confidence, whose simmering gun-point phone call hold-up with Ami, leads to IshII freeing Ami to come up with invented note write in a attempt to leave a paper trail.

Keeping Ami on his knife edge over threats if his orders are not followed, Shigeru Amachi gives a mesmerising turn as the Gangster/ hit-man, whose to-the-point dialogue is delivered with a brittle relish by Amachi. Entering the Casbah as a outsider, Teruo Yoshida gives a terrific performance as Mayama, with Yoshida bending Mayama's fearfulness when confronted with the laid bare underworld, with a rush of blood to the head desire to free Ami from this Casbah. Taken at gun point to join the Gangster, the alluring Yoko Mihara gives a outstanding turn as Emi, via Mihara balancing Emi's burnt-edge raw nerves with a sharp slyness to fold the Gangster plans on him.
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