Whether or not and to what specific degree it's true I don't know, but I recognize a definite kinship in this with films out of Hollywood, whether contemporaries of the 50s or snaking back into the 40s and late 30s. The story gives us a sleazy gangster ruling over a den of no-good hooligans, the innocent woman he abuses, the wicked landlady he conspires with who mistreats her tenants, and a well-meaning university student who enters the fray and finds himself sucked into the mire. There are unmistakable touches of film-noir here, and the crime flick, in a drama that by its plot alone we can easily envisage with famous American stars. Those echoes are firmly cemented with Kinoshita Chuji's flavorful music, placing emphasis on jazz and big band and readily invoking similar fare from across the Pacific. Of course, maybe this is part and parcel of the underlying intent; after all, 'Black River' takes place in Japan in the years following soon after World War II, when the United States occupied the land. With a military base operating right next door to all these goings-on, one may even deduce a narrative correlation between the presence of the Americans, the introduction of and insistence on Western values, and the corruption and iniquity we see infecting the town. Whatever connections we may make as viewers, though, the fact is that this is a fantastic movie, and it definitely continues to stand tall almost seventy years later.
Master filmmaker Kobayashi Masaki gives us a peek at a nation in flux, and it comes with a severity of tone that doesn't flinch away from the violence and sexuality like comparable Hollywood titles did under restrictive production codes. Where all the credit belongs between Kobayashi, author Tomishima Takeo, and screenwriter Matsuyama Zenzo I don't know, but the tale is raptly engaging and compelling as the tableau shows us the poor conditions of a country in transition, the ramshackle dwellings in which all variety of people lived, the rampant exploitation in which the seedy and dubious took advantage of those in no position to fend for themselves, and the struggles everyone had just to get by. From the outside looking in it doesn't sound like anything super special, but it takes no time at all after we press play" that we're fully absorbed in the saga. The characters are interesting and complicated, written with stark personalities, and the dialogue carries its own measure of spunk befitting the tenor of the picture. The scene writing is marvelously strong in fueling the storytelling - and everyone who helped to bring 'Black River' to life turned in consistently fantastic work.
The cast give vibrant performances commensurate with the charged pitch of the proceedings and the bent of their roles, and even those in smaller supporting parts like Awaji Keiko and Katsuragi Yoko have a moment to shine. Watanabe Fumio and Arima Ineko, starring as Nishida and Shizuko, have the most opportunity to demonstrate their skills given the intense, complex emotions of their characters; would that it were as reliably easy to find the credits of international players as those of domestic ones, for as the length draws on and events escalate they only impress more. Moreover, in that they quite match Nakadai Tatsuya, with the unyielding forcefulness and ferocity he bears in his portrayal of Joe. And as if the actors needed any help, Kobayashi's direction buzzes with a revitalizing energy that allows every detail, nuance, feeling, and thought in the feature pop off like sharp firecrackers of vigor. Accentuating the point: "party scenes" in the third act, reduced to a handful of actors, bristle with a fierce current of tension that is as potent as any scene of violence here, or any we'd get elsewhere, cementing a phenomenal finish for a film that grabbed us from the beginning as characters have changed over the course of the plot.
Outstanding production design and art direction lend substantial verisimilitude as they define the visual aesthetics with stupendous minutiae, making this fictional story all the more vivid and real; much the same goes for the attentive costume design, hair, and makeup. Smart editing and cinematography are boons nearly equal to Kobayashi's direction in facilitating the electricity herein while spotlighting every subtlety; sharp audio boosts every sound effect and line of dialogue, let alone Kinoshita's superb score as it reflects the sordid undercurrents and harsh atmosphere. Those stunts and effects that are employed are excellent; even the use of lighting is fetching at some times. The result of all this careful craftsmanship, rich writing, shrewd direction, and terrific acting is an engrossing, low-key brilliant drama that is far more, and more worthwhile, than it may seem at first blush. Even as I've loved anything I've seen to date from Kobayashi I admit I entered with mixed expectations, but when all is said and done I believe it stands shoulder to shoulder alongside his most celebrated pictures. Just as much to the point, I wouldn't hesitate to pit this against its Hollywood counterparts, and considering the space it plays in, that's a very high compliment indeed. Given the subject matter it may not appeal to all, yet I'd have no qualms in suggesting it to just about anyone. Whether you're a fan of someone involved, a connoisseur of the relevant genres, or just looking for something good watch, I'm thrilled with how tremendous 'Black River' is, and I'm happy to give it my very high, hearty, and enthusiastic recommendation!
