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Category Archives: Crime film
Emperor of the North
A couple of months ago I stumbled across the existence of Melbourne-based independent movie distribution company, Bounty Films. The movie that introduced me to them was their release of the hard to get 1955 heist film, Violent Saturday.
Following on from that, Ben Hellwig, Bounty’s Acquisition Manager, was good enough to send me a few of the choice selections from their rapidly expanding catalogue, including a film I’ve been wanting to see for ages called Emperor of the North (or Emperor of the North Pole as its otherwise know).
Made in 1973, Emperor of the North has three big things going for it.
First, Robert Aldrich, who did The Dirty Dozen and one of my all time favourite film noirs, Kiss Me Deadly, directed it.
Second, it stars one of my cinematic icons, Lee Marvin.
Third, it has steam trains. Lots of them.
Emperor of the North takes place in the Pacific Northwest of the United States at the height of the great depression. Economic chaos has created an army of drifters and hoboes who roam the countryside hopping trains when they can.
Except for the number 19, watched over by a sadistic train guard known as Shack (played with eye popping intensity by Ernest Borgnine). With the aid of the large hammer he carries in his belt, Shack ensures that no one rides the number 19 for free.… Read more
Posted in 1970s American crime films, Crime fiction and film from the Philippines, Crime film, Ernest Borgnine, Filipino genre films, Lee Marvin, Robert Aldrich
Tagged Bobby Suarez, Cleopatra Wong (1981), Emperor of the North, Ernest Borgnine, Hell in the Pacific, Keith Carridine, Kiss Me Deadly (1955), Lee Marvin, One Armed Executioner (1983), Robert Aldrich, The Dirty Dozen (1967), Toshiro Mifune
The Yellow Sea
South Korea seems to be leading the pack at the moment in terms of knocking out top-notch crime movies that are not afraid to play with genres. Take for example, The Yellow Sea, released in 2010.
This 156-minute film starts off as a tightly plotted and gritty neo noir, transforming half way through into a blood soaked chase/revenge movie. Topping it off is a big dollop of social realism about the plight of Chinese of Korean decent or the Joseonjok.
The Yellow Sea begins in Yanji, a city in the Chinese region between North Korea and Russia. It’s your standard Chinese industrial town, endless rows of anonymous apartment blocks swathed in low hanging haze.
Gu-Nam is a Joseonjok taxi driver whose life is rapidly disintegrating. He’s heard nothing from his wife since she left to work in Seoul six months earlier. Gu-Nam strongly suspects he is being cuckolded and has drunken dreams about her sleeping with other men. More seriously, he’s racked up 60,000 Yuan in mah-jong gambling debts to a fearsome local gangster and people trafficker, Myun-Ga.
Myun-Ga offers to wipe the debt if Gu-Nam agrees to go to Seoul and kill a man. It’s a chance for Gu-Nam to start again. There’s also the lure of being able to search for his missing wife.… Read more
WUSA
Has anyone ever done dissolute as well as Paul Newman?
Cat on a Hot Tin Roof, Hud, The Hustler, Cool Hand Luke, and the little known WUSA.
WUSA numbers among that great batch of films made in the early seventies, when the Hollywood studio system was in crisis and desperate to give anything a try. The counter-culture had worked its way into the mainstream (but was dying on the streets), the country was struggling to come to terms with its increasing violent engagement in Vietnam.
Released in 1970 and set in New Orleans, WUSA is a character study of three people, all in the wrong place at the wrong time, even if they don’t know it yet.
Joanne Woodward is Geraldine, a dishwater blond with a razor cut across one check courtesy of the abusive husband she left behind in Texas.
Anthony Perkins is Rainey, an idealistic Christian who thinks he’s been employed to do a survey to help the city’s black population, but has actually been set up by the city’s right-wing politicians to help them throw people off welfare.
Newman is Rheinhardt, a cynical alcoholic drifter. His first point of call after arriving in New Orleans is a church service on skid row being run by a fafe priest, Farley, who owes Rheinhardt a hundred dollars from a previous scam in New York. … Read more
Viva Riva!
Can someone please tell me why we are still obsessing about crime fiction and film from places like Scandinavia when there is so much interesting material coming out of Africa and Asia?
I ask this because last week I saw the 2010 Congolese crime film, Viva Riva! and thought it was great.
Viva Riva! is set in Kinshasa, the capital of the Democratic Republic of Congo. The nearly three-decade rule of Mobutu Sese Seko, Africa’s most corrupt despot (and that’s saying something) is over, and the city is recovering from brutal street fighting in the aftermath of the disputed 2006 elections.
Small-time gangster, Riva, has returned from neighbouring Angola with a truckload of stolen petrol. Kinshasa is in the middle of a fuel shortage. Riva and his crew aim to get rich quick by selling the lot at top dollar.
Hot on his trail is Cesar, an enforcer for the Angolan interests Riva has stolen the fuel from. Cesar wants the petrol back and proceeds to cut a bloody swathe through Kinshasa to get it. Helping Cesar is the Commandant, a female Congalese military commander whose sister is being held captive by the Angolans.
Everyone in this film is on the make, whether it’s for money, sex, food, or safety. And everyone is corrupt.
Street Mobster
Kinji Fukasaku’s Street Mobster focuses on the short, fast life of Isamu Okita (Bunta Sugawara), a chinpira or low–level street punk with no firm gang allegiance, trying to carve out a criminal living in an unknown Japanese city sometime after World War Two.
His mother was a prostitute who drowned while on a drunk, his father unknown. As Okita’s narration over a photomontage at the beginning tells us the date of his birth, August 15, 1945, the day Japan formally surrendered, is considered unlucky.
Okita doesn’t care, he makes his own luck, pimping, brawling and extorting his way through life with his gang of fellow chinpira, until their activities come to the attention of the local yakuza, the Takigawa, who want their cut of the takings. His refusal to pay homage results in a severe beating, which Okita pays back by charging into a sauna and slashing several yakuza goons with a butcher’s knife.
Upon his release from prison many years later, Okita finds the world has changed. The streets are full of “straight people” enjoying the prosperity of Japan’s economic boom in the sixties. The yakuza, meanwhile have retired to their glass and concrete office towers to manage their illegal activities.
It’s not long before Okita has formed another gang of chinpira.… Read more