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

7.2
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Ratings: 7.2/10 from 295 users  
Reviews: 5 user | 9 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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, (story) (as James Maki)
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Title: Dragnet Girl (1933)

Dragnet Girl (1933) on IMDb 7.2/10

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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 ...
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:

Dragnet Girl  »

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Technical Specs

Sound Mix:

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

 
In search of a contemplative heart
31 January 2012 | by (Greece) – See all my reviews

A gangster with feelings, mirrored in the young boxer who is eager to drop out of school to join the gang: boyish impertinence and bravado in this part, a recalcitrant code of honor among thieves, the common tropes of the gangster film.

The boxer's quiet, unassuming sister, mirrored in the gangster's moll who gradually opts out of the glamorous life in favor of true happiness: deep female selfless intuition, enduring, indomitable caring.

The four of them are intertwined in a dance between many different faces for the one life - all of them fit but some make you agonize. The whole plays out like a response to Sternberg's Underworld, a prototypical gangster film that culminated in a similarly sacrificial denouement. As is common with these films, having experienced the thrills of an outcast life, we're meant to leave the theater rehabilitated into common social mind.

This is fine and the film generally slick and efficient, but I want to direct your attention to these specifics.

  • one is the shot of a chrome plate from inside a moving car, that


reflects distortions of the surrounding world as the car speeds ahead. This encapsulates both cinematic eye and internal mind, modern and anxious, that give rise both to events depicted and the type of film that frames them.

  • the other is the series of static shots that end the film, with cops


signaling each to each that the chase is over and departing and the quiet interior of the empty house greeting the first morning light. Now Ozu's journey is from superficial Western adoration (except for the sister everyone is dressed in western garb here, the brother has taken up boxing, the whole recalls Western film above all) onto a discovery of a contemplative Japanese heart. The transition is vividly exemplified here: from the neon marquees of tumultuous movie night into the stillness of morning. We'll see a lot more of this in the future.


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