A Colt Is My Passport

As many have noted, the ending confrontation s terrific. And the opening set-up --a hit man and his sidekick getting double-crossed by their boss, and having to hide out while they try to come up with an alternative getaway plan -- is also promising. But the long muddled middle drags the movie down to a non-classic level; the plot moves dutifully from point-to-point without generating much tension or interest in the mostly stoic characters. If you're a Jo Shishido aficionado, be aware that there were better vehicles for him -- in particular, this is not up to the level of Cruel Gun Story, Branded to Kill, or Youth of the Beast. Not a bad film, but from clips of the (admittedly great) ending and the cool title some have tried to portray this as the summit of Japanese noir, which it definitely is not.

(1967) A Colt is My Passport/ Koruto wa ore no pasupooto (In Japanese with English subtitles) ACTION THRILLER

Consist of remnants of "Yojimbo" and "For A Few Dollars More" Japanese gangland style. Adapted from a crime novel by Shinji Fujiwara, starring Jo Shishido as hired hit man Shûji ordered along with his partner, Shun (Jerry Fujio) to take out a former rival of another syndicate. And upon leaving, they are then get themselves double crossed for the purpose of money to capture and then execute the hit man responsible. Who are then stranded in a seedy hotel until further orders. It is their he builds a rapport with a young female worker of the Nagisakan hotel, Mina (Chitose Kobayashi). The last of 5 of the Nakkatsu Noir Criterion box set.

A Japanese New Wave Spaghetti Western-styled noir thriller and one of the rawest titles ever, A Colt is My Passport is a down-and-dirty but gorgeously photographed yakuza film, brimming with formal experimentation. The winning combination of Takashi Nomura's supreme emulation of the American noir formula with the sheer badassery of Jo Shishido trumps the often slow middle portion of the film. The climax alone, especially the final 15 minutes and masterful ending, more than makes up for the cluelessness of the majority of the storyline; ending not too dissimilarly to that of Sergio Leone's masterpieces. Rounding off the film with a musical score that sounds almost identical to that of Morricone's works, A Colt is My Passport is a lean, mean and efficiently entertaining piece of trans-cultural fusion where one's passport gives you a fast ride straight to hell.

Imagine, if you will, that instead of making westerns, Sergio Leone had decided to make crime thrillers on the model of RIFIFI, but set in Japan. That's something like what you get here. Jô Shishido is a hit man hired to kill a rival crime boss muscling in on other territory. While waiting for his flight out of town, the dead man's son shows up and offers to make a deal for the assassin's head. Jules Dassin might want us to think there is honor among thieves, but Leone never would, and neither does the director of this movie, Takashi Nomura.

It had a deliberately 1950s 'B' movie look, with its b&w photography and "stolen shot" camerawork, but the constantly moving camerawork and stunt gags are clear signs that this is serious film making.... and talented, too; Nomura is not that well known, but this is a good flick. Harumi Ibe's soundtrack starts out sounding like Morricone, but then switches to jazz arrangements for the crime story.

Like most of the other reviewers, I was struck by the similarities between this Japanese crime thriller, clearly modeled after 1950's American film noir, and Sergio Leone's iconic 'spaghetti' westerns. Briefly, hitman Shuji Kamimura (Joe Shishido) and his assistant Shun Shiozaki (Jerry Fujio) are hired to assassinate a yakusa boss only to be betrayed by their employer. On the run, they hole up in a seedy hotel, where Kamimura attracts the eye of former mob moll Mina (Chitose Kobayashi) who agrees to use her connections in the local merchant fleet to help them escape. The mob closes in and Kamimura has to make some tough decisions. Joe Shishido is very good in an atypical way as the impassive contract killer, as is the rest of the cast (especially Kobayashi), and the story moves along at a brisk pace to a satisfyingly bloody conclusion. The black and white cinematography is striking and, while the look is pure noir, the score is an unusual (but effective) mix of discordant jazz (typical of period crime thrillers) and music that is clearly an imitation of (or homage to) Ennio Marricione's iconic spaghetti-western themes. The climactic shoot-out, despite being fought between dapper Japanese gangsters, could have come from a '60's anti-hero western, with a stark landfill site substituting for the desert and choreographed gunplay featuring a variety of weapons and a number of ways to die. This was my introduction to the Japanese crime film (having run out of kaiju and tokusatsu films) and I was equally entertained and impressed and look forward to watching other films in the canon (many of which, I have noticed, have equally evocative titles).