Red Handkerchief - Akai hankachi (Toshio Masuda, 1964)
Languages: Japanese
Country: Japan
Genre: Action
All Genres: Action
Director: Toshio Masuda
Cast: Yujiro Ishihara, Ruriko Asaoka, Hideaki Nitani, Nobuo Kaneko, Shinsuke Ashida, Tamio Kawaji
eFilmCritic wrote:
There are some that rank "Red Handkerchief" as the best film produced by Nikkatsu studios during its peak, and I certainly can't contradict them. It's the sort of thing that makes for surprisingly great movie: The outer form of a detective story surrounding a core of regret, deception, and love.
It opens with a couple of Yokohama detectives chasing a gangster through crowded back alleys. Makimi (Yujiro Ishihara) is the rising star, a college-educated youth on Japan's Olympic shooting team, and Ishizuka (Hideaki Nitani) his working-class partner. Their quarry is hit by a truck, and the only witness - an old man running a ramshackle food stand - won't say anything.
This is the type of movie Nikkatsu called "mood action", a sort of soapy shoot-em-up. Ishihara and Asaoka were frequent co-stars in these pictures, and they're a good pairing. Ishihara was one of the studio's matinee idols, and though the script sometimes plays to that - Mikami carries a guitar with him and Ishihara sings the film's theme - but he gives the character more weight than that. Mikami is a guy who has had all his illusions shattered multiple times, and Ishihara makes him wary and weary, not really wanting to believe the worst of Ishizuka, with anger only gradually and tentatively entering his performance.
Asaoka also plays somewhat against type; usually cast in more glamorous roles, she comes across as sincere when playing the poor factory girl in the beginning, and somewhat adrift when we meet her again later as Ishizuka's wife. Nitani is good as Ishizuka; he switches places with Ishihara's Mikami in terms of class, and though he doesn't obviously carry an inferiority complex around with him, he does make it clear that jealousy could have been a motive back at the start. Kaneko was a busy character actor, and fits into the crusty old cop role with ease.
Director (and co-writer) Toshio Masuda handles his duties masterfully; he steers the setting between respectability and squalor with ease, piecing together a story about a man who seemingly has redemption forced upon him. The emotional stories peel back perfectly, so we as the audience feel like we're solving a mystery even though we basically all know the score.
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