Matt Brennan runs into Jo Holloway, the Red Cross girl he romanced in Europe when he was a flyer in World War II, when he is offered a job by jet manufacturer Leland Willis as a test pilot.... See full summary »
Andrew Morton is an attorney who made it out of the slums. Nick Romano is his client, a young man with a long string of crimes behind him. After he lost his paycheck gambling, hoping to buy... See full summary »
Joe Barrett returns to Tokyo after World War II where he once owned a bar, Tokyo Joe's, and deserted his wife Trina. They have a seven-year-old daughter. Kimura forces Joe into piloting war criminals by revealing that during the war Trina made treasonous propaganda broadcasts. Written by
Ed Stephan <firstname.lastname@example.org>
SCAP, an acronym used several times in the movie, stood for "Supreme Commander of the Allied Powers." This was not only the title given to Gen. Douglas MacArthur, head of the Occupation forces, but was also used to refer to the offices of the Occupation - a staff of several hundred U.S. civil servants as well as military personnel who administered the Occupation of Japan. See more »
When Joe begins to fight with Ito, he takes off his coat and gives it to Kanda, who holds it with his right hand. In the next shot, Kanda has nothing in his hand. See more »
Bogart action less than outstanding but worth a look.
"Tokyo Joe" is rightly called a "lesser Bogart effort." In fact, there is much in this film that obviously derives from earlier Bogart classics, especially "Casablanca." However, this Santana production/Columbia release is by no means without its interesting points. I would point to Alexander Knox's performance in a supporting role, for one. Sessue Hayakawa, as the old fascist surviver, is also good.
On the other hand, Florence Marly is pretty weak as the love interest and the plot is somewhat routine. The main plot problem is the Bogart/Marly relationship. There is just too much resemblance to the relationship between Rick and Ilsa in "Casablanca." When you add in Marly's unconvincing performance, the chances of a having a first-rate film are slim. I must also add, reluctantly, that Bogie seems to be walking through this role, much as he did in another Santana film, "Sirocco" (1951).
That brings me to my final point. Bogart had started Santana Productions in about 1948. "Knock On Any Door" was the company's first effort, and it was somewhat popular at the time. "Tokyo Joe" was the second Santana production. As a small start-up independent production company, Santana did not have a stable of outstanding actors to call upon. Perhaps that is why they had to make due with a Florence Marly instead of a top female lead to go opposite Bogart.
It's also true that "Chain Lightning," 1950, Bogie's next to last Warner Bros. release, wasn't so hot. Maybe the era of the tough but decent Bogart character had simply run its course.
I might add here that the third Santana production was "In a Lonely Place," 1950, one of Humphrey Bogart's best, though perhaps most under-appreciated, films.
Give "Tokyo Joe" a try. It's no world beater, but I have watched it several times, and still find it entertaining.
10 of 11 people found this review helpful.
Was this review helpful to you?