House of Bamboo

In the mid-1950s, using the same screenwriter (Harry Kleiner) and cinematographer (Joe MacDonald) as in the original, the unpredictable Samuel Fuller remade 1948's The Street With No Name as House of Bamboo. For starters, he set in not in anonymous Center City but in post-war Japan -- the first American movie filmed there since the Second World War.

Even in color, Fuller's Tokyo has a grey, slummy look to it, punctuated only by women in blood-red kimonos shuffling through the Ginza. It's an open city where vice flourishes and where ex-G.I. Robert Ryan runs a string of pachinko parlors as a cover for a crime ring. Military investigators and Japanese police tumble to these activities when a U.S. guard dies during a train robbery. And thus enters Robert Stack, sent by the army to infiltrate the gang and solve the murder.

Fuller deals his cards from a deck shuffled differently from his predecessor, William Keighley (who directed Street). It's not clear at the outset who Stack is, keeping us off-balance for a while; there's also a cross-cultural love affair between Stack and Shirley Yamaguchi, the widow of a slain gang member -- Ryan's standing orders are to leave no wounded to tell tales. A twisted erotic charge links Ryan to his pursuer; hinted at in the original, here it deepens the dynamic of Ryan's jealous obsession with his "ichiban," or favorite lieutenants.(There are enough sliding rice-paper screens to fill all of Douglas Sirk's movies with metaphorical barriers, too.)

Far from merely capitalizing on the 50s fad for shooting on locations around the newly opened globe, Fuller seems to construct another metaphor -- for the Occupation of Japan as exploitative, parasitic. Luckily he doesn't press this too far, and House of Bamboo stands as an offbeat, deftly made crime thriller from late in the noir cycle -- albeit with Mount Fujiyama squatting serenely in the background.

No need to recap the plot. The movie's one-third caper film, one-third romance, and one- third travelogue. Cult filmmaker Fuller tries to bring them together, but only partially succeeds, despite that colorful climax with the revolving globe and the rooftop view of Tokyo. Two of Fuller's usual concerns prevail here as elsewhere—culture clash and military organization.

Mariko and Eddie must work through their cultural differences before establishing a real relationship. Screenwriter Fuller spends a lot of time with this, maybe too much since it drags out the pacing. However, I suspect he was revealing a timely cultural glimpse to American audiences—remember this was less than a decade after the war and, generally, Americans knew very little about their new Cold War partners or traditional Japanese society.

Surprisingly, the robbery capers are dealt with only briefly and without the expected rising tension. In fact, Fuller seems more interested in the para- military discipline that defines the gang than in the robberies themselves, an aspect that produces more talk than action. Getting the great Robert Ryan (Sandy) as the gang's "5-star general" was the real casting coup since it's his fierceness that delivers the film's main impact. (In passing—Griff's {Mitchell} attachment to Sandy appears ambiguous enough to be interesting for the time.)

Frankly, I liked the travelogue parts best. Fuller does a good job working these into the story, while the scenes themselves of Japanese landmarks and street crowds are colorful as heck. Anyway, the movie's too uneven and diffuse to have real impact. Still, it does remain a visual treat despite the passing decades.

House of Bamboo may look like a standard B crime-picture, but in amongst the noirish trappings, the somewhat forlornly straight-forward plot, the workmanlike performances, there lurks one of the few genuine portraits of post-War Japanese life ever attempted by an American filmmaker. The director, Sam Fuller, is clearly in love with Japan; his fascination with Japanese culture, art, daily ritual, suffuses House of Bamboo so completely that one almost forgets, at times, what it's supposed to be about. Its story - an undercover army cop infiltrates a group of ex-soldiers running a robbery ring in a rebuilding Tokyo - seems little more than a pretext, an excuse for Sam Fuller to indulge his Japanophilia, his fetish. But Fuller, always the pro, at least pays some attention to his story between excursions onto the Japanese street in search of background detail, local color, bits of peripheral business, and manages despite his preoccupations to deliver a satisfyingly vigorous, if slightly routine-seeming, exercise in crime melodrama.

Fuller, schooled as a journalist, had mastered the art of hard-hitting, well-paced, detail-oriented storytelling, and House of Bamboo is one of his stronger, more tightly-structured works. It's set in Japan in the years just after the war, a time when there is still a strong American military, and criminal, presence in Tokyo. Eddie Spannier (Robert Stack) has just arrived in Tokyo from the U.S., intending to hook up with his old army buddy Webber (Biff Elliot); he learns to his dismay, however, that Webber has been killed by hoodlums, leaving him twisting in the wind. Some casual thuggery at a pachinko parlor brings Spannier to the attention of Tokyo's resident American crime-boss, Sandy Dawson (Robert Ryan); after screening Spannier, Dawson decides to invite the ballsy newcomer into the gang. Spannier, we soon discover, is actually an undercover army cop (he never knew Webber, isn't named Spannier) trying to track down the perpetrators of a recent train robbery which left a soldier dead. As part of his cover, Spannier recruits the dead man Webber's ex-girlfriend, Mariko (Shirley Yamaguchi, merely adequate), a Japanese woman, who poses as his "kimono girl."

Fuller's staging is remarkable from the first moments of the story; the train-heist is carried off with terrific economy and skill, a memorable three-tiered image of the train poised atop an overpass with Mt. Fuji looming in the background (the "real" Japan hovering over the new, American-infested one), punctuated by two grimly matter-of-fact images of the dead soldier's shoes sticking up from the snow. In Tokyo Fuller goes into Pickup on South Street mode, cluttered waterfronts, a sense of teeming life all around the action, if not the sweaty intimacy and sense of menace he brought to his Widmark-starred masterpiece. No one had a better sense of a location than Fuller, who jammed more side detail, more realistic human activity into a few frames of his under-estimated Western classic Forty Guns than exists in all of Fred Zinnemann's hopelessly limp, over-praised High Noon. A perusal of House of Bamboo uncovers such nuggets as the scene where Spannier, played by the disheveled, mainly inexpressive Robert Stack (he wears his trenchcoat like a bathrobe), happens upon a Noh theater rehearsal going on atop a roof, and a later moment where a quaint Japanese fan-dance suddenly morphs into a raucous jitterbug, the dancers ripping off their traditional attire to reveal the '50s get-ups underneath. These scenes are, of course, more than just bits of color; Fuller penetrates the surface of his melodrama by suggesting all sorts of simmering tensions, the sense of American culture bleeding into Japan, changing it maybe not for the better. This material makes up the real, underlying film, the incongruity of traditional Japanese costumes, architectural forms, performance styles finding their way into what would seem to be a standard Hollywood cops-and-robbers exercise, and the larger cultural struggle this would seem to embody. Only the scene where Gary Cooper and Burt Lancaster happen upon the court of the Emperor of Mexico in Aldrich's Vera Cruz tops for aesthetic disjointedness the scene of an apparently half-wasted Stack in his comically shabby hood-just-off-the-boat get-up stumbling upon the garishly dressed and made-up Noh performers, and nearly being knocked off his feet by one of them.

It's amazing the way Fuller uses the camera, not just the fact that he conceives brilliant shots, but that he always knows how and when to use them. He has an almost Griffith-like instinct for the big moment, the expressive image: for instance; the scene where Webber lies dying on a gurney, Fuller shooting the entire thing from a wide, high angle, then slowly coming in when the interrogating officer shows him a picture of his girlfriend, at which point Fuller cuts to a devastating P.O.V., the photograph coming poignantly into focus. Another shot shows his playfulness: a Japanese guy sits at a desk, the camera pulls back, we see that the desk is actually poised atop a balcony over a frantic room where Robert Stack is being prodded by the Tokyo cops. The best moment is less acrobatic but far funnier: Spannier is trying to shake down a pachinko boss, he gets attacked from behind and thrown through a paper wall into an office where his mark, the crime-boss Sandy (played by Robert Ryan with a psychotic pleasantness, that strangely tender note in his voice contrasting his completely deranged behavior), sits balanced on a chair, waiting to greet him. There's always this touch of eccentricity in Fuller, this out-of-leftfield quality, which is what distinguishes his work from that of more predictable, generally better-publicized, unforgivably more-highly-regarded directors (Zinnemann, Kazan, Robson, et al).

It is 1954 in Tokyo and American soldiers and local forces are working together to protect shipments of ammunition moving around the country. Whenever a group of men rob one such shipment and kill one of the US guards, the US army get involved in the investigation along with the local police. The trail is cold until a different turns sour and an injured criminal is finished off by his own gang using the same gun that killed the US guard. The man dies of course and turns out to be a former US GI; days later the dead man's friend (Eddie Spanier) turns up in Tokyo and, finding his friend dead and no hope of work turns to the protection racket, bringing him to the attention of the same gang his friend was in – a gang run by former US soldier Sandy Dawson. Eddie gets into the gang thanks to his criminal record – a record falsified by the army in order to get him on the inside and take the gang down.

The daytime cable stations are littered with crime b-movies from the 1950's etc and they all pretty much try to stay to the same formula, what made me sit to watch this one though was the presence of Sam Fuller in the director's chair. The plot here is a typical crime thriller regardless of the Oriental setting and we have a man infiltrating a tough gang to bring it down. As a story it kinda goes where you expect it to and has some elements that don't really work but overall it is tough and gritty enough to entertain for the most part. The Oriental setting appears to be only a novelty and it isn't used to any great effect, with only Japanese stereotypes making it onto the screen and no real sense of place – this could have been Chicago for all the difference the location makes to the story. The script makes up for this though by throwing in plenty of tough dialogue for the cast to work with and it is impressive in a typical b-movie fashion; meanwhile Fuller does frame a good shot and add a tense edge to the telling, even if he doesn't use his Japanese cast that well.

Stack and Ryan were another big draw to me; maybe not known as the best actors in the world but they can do gritty well enough for this film to work. Stack is good value as he does suggest angry layers to his character even if we are not allowed to see them – certainly some sense of "justice" seems to drive him to take such risks for little pay and his demeanour backs this up. Ryan is much more relaxed and he suits the gang leader role, nicely cracking a bit towards the end. Using Yamaguchi seemed a bold move but really she is as American as you could get without using a white actress in gap jeans; her character is a little interesting but is ignored in favour of the tougher male dynamics within the film. The support cast are OK and buoy up the tough aspect of the film but really it is Stack and Ryan who own the film and it is best when they share tough scenes together.

Overall this is a standard b-movie that is worth seeing on that level while also having enough else going for it to make it an enjoyable film. Fuller's direction may not make great use of his exotic location but he still directs well whether it be tough talk on sound stages or the brutal shoot out on the fairground, high above the Tokyo streets. Stack and Ryan play off each other well and the dialogue is tough and crisp, making it an enjoyable piece of b-movie entertainment.

I vacillate on whether the 20th Century Fox studio claim that HOUSE OF BAMBOO is film noir is really accurate or not. For one thing, it's in color. For another, it's shot in Cinemascope. Also given it's made in 1955, I have to think of it more like a new gas/electric car: it's a hybrid. But unlike most compact hybrids out these days, this one's a full-size truck.

There are action sequences that feel more like they belong in Frankenheimer's THE TRAIN or Sturges' THE GREAT ESCAPE than in a so called noir picture, but I'm not knocking them. They're well staged, and like the entire film, terrifically photographed. But then there is the use of silhouette and high contrast more akin to noir, and the story too feels more in that vein, although more on the sparse side; certainly not a Raymond Chandler THE BIG SLEEP kind of story! Honestly, I found it no less thin a story than Fritz Lang's THE BIG HEAT. As critical as the story is, if films were only that, I'd just be reading books. What's done visually plays a pretty big part in this format.

Speaking of the cinematography, some critics have stated the widescreen use is overkill here, but I must beg to differ. With so many modern films shot more and more like television, with only close-ups and two-shots, and barely a moment of establishing frame to see where everything is happening - and with action sequences and dance numbers shooting this way now - it was refreshing for me to see the entire frame used, with characters often at either end, and action allowed to play out wide, without fast moving camera-work to pump it up. Of course the problem is that many will view a DVD of the film now, where wide shots just look far away (unless you've got a large home theater screen). But that's not the fault of the filmmakers - Cinemascope was meant for the big screen.

When the camera does move, it's clever work. The blocking is also terrific and surprisingly fresh (or again perhaps just not used anymore and so fresh all over again to my eyes). Some say it's all too tricky, but it's far less tricky than all of the motion-control work we're used to seeing now, and often (in this film at least) more involving. Director Samuel Fuller is doing the right shots at the right time here, and that takes everything on screen up a notch.

I'm not sure why there's criticism over the location, but I found the setting in post-war Japan to be as crucial to HOUSE OF BAMBOO as post-war Vienna was to THE THIRD MAN, or for that matter Monument Valley to a John Ford western. Sometimes the setting becomes one of the characters, which when done right as it is here, can only be a plus for the picture. Fuller puts it all to good use. Perhaps it's the Hollywood techniques brought into play, but I can't think of another picture, including all of Kurosawa's work, that looks exactly like this. I'm not saying it's better, just a different take on the locations, and so enjoyable as such.

I'll make the argument that Kurosawa, for example, would film a Japan he knew, but overlooked images because he was used to them, just like I wouldn't take a picture of the Golden Gate bridge because I live 45 minutes away from it. But Fuller looks at it more like a tourist if you will, and so commits to film here things that are unique or uniquely shot. You have enough of these memorable images and you start to have a memorable film. If this were another kind of film, I might not think all those fascinating shots were of such importance. But if this is trying to be noir, then it's all about the atmosphere that the landscape and settings convey. Noir or not, it truly got me caught up in the story.

I have to admit being swayed by a great score from Leigh Harline (as conducted by none other than Lionel Newman), but that's what a good score should help to do: make a decent film good and a good film great. But I also must admit that if I just look at the pieces of this film, I would never rate it so highly. It's a case, for me at least, of the whole being greater than the sum of its parts, of everything working together just right to make a solid piece of entertainment, noir or otherwise.