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Dragnet Girl (1933)
"Hijôsen no onna" (original title)

 -  Crime | Drama | Romance  -  27 April 1933 (Japan)
7.3
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Ratings: 7.3/10 from 236 users  
Reviews: 4 user | 8 critic

A gangster tries to find redemption with the inadvertent help of an innocent shop girl and his jealous girlfriend will do anything to keep him.

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Title: Dragnet Girl (1933)

Dragnet Girl (1933) on IMDb 7.3/10

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Cast

Credited cast:
...
Joji Oka ...
Sumiko Mizukubo ...
Kôji Mitsui ...
Hiroshi (as Hideo Mitsui)
Yumeko Aizome ...
Yoshio Takayama ...
Koji Kaga ...
Yasuo Nanjo ...
Rest of cast listed alphabetically:
Shunsaku Kashima ...
Bad guy at Dance Hall
Seiji Nishimura ...
Policeman
...
Policeman
Nobuo Takemura ...
Boss at Boxing Club
Reikô Tani ...
Secretary
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Storyline

Tokiko is an office typist who is more pleased at catching the owner's son attention than he knows. That's because her real boyfriend is Joji, a washed up boxer turned gangster and her employer is a great opportunity to milk him for them both. However, when Kazuko, the innocent sister of Hiroshi, a hopeful new member of the gang, comes to Joji to plead with him to send Hiroshi away, the gangster is warmly affected by her. However, Tokiko is jealous and determined to win Joji back no matter what the cost while Joji has his own decisions to make about his life. Written by Kenneth Chisholm (kchishol@rogers.com)

Plot Summary | Add Synopsis

Genres:

Crime | Drama | Romance

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Details

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Release Date:

27 April 1933 (Japan)  »

Also Known As:

Hijôsen no onna  »

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Aspect Ratio:

1.37 : 1
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Connections

Referenced in The Life and Works of Yasujiro Ozu (1983) See more »

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User Reviews

Yasujiro von Sternberg
13 December 2003 | by (United States) – See all my reviews

Josef von Sternberg doesn't get as much mention as Frank Borzage or Ernst Lubitsch as an early Ozu influence, but those familiar with the dense arrangement of objects onscreen in Sternberg films may see the resemblance in both early and late Ozu films. This moody, expressionist pre-noir potboiler exhibits plenty of inspired clutter (most memorably the RCA Victor dog) and stylistic fluorishes (tracking shots, pull shots, and memorable use of shadow) as it tells the story of a gangster and his good-girl-gone-bad moll (Kinuyo Tanaka) as they experience an spiritual awakening through the good graces of an innocent girl. Redemption seems to be a recurring motif in Ozu's gangster movies (WALK CHEEFULLY, THAT NIGHT'S WIFE), and one wonders if bad guy heroes turning themselves in is a convention of the genre or indicative of Ozu's feelings about the criminal life he was assigned to depict. Whatever the case, the climax (involving the single gunshot fired in the entire existing Ozu canon) is as suspenseful and emotionally powerful as anything Ozu filmed.


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