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Kinjite: Forbidden Subjects (1989)

A brutal Los Angeles police Lt. is determined to bust up an organization that forces underage girls into prostitution.

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Cast

Cast overview, first billed only:
...
Lieutenant Crowe
...
Eddie Rios
...
Duke (as Juan Fernandez)
...
Hiroshi Hada
...
Kathleen Crowe
...
Lavonne
Marion Yue ...
Mr. Kazuko Hada (as Marion Kodama Yue)
...
Father Burke
Gerald Castillo ...
Captain Tovar
...
DeeDee
...
Rita Crowe
Kumiko Hayakawa ...
Fumiko Hada
Michelle Wong ...
Setsuko Hada
Sam Chew Jr. ...
McLane
Sumant ...
Pakistani Hotel Clerk
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Storyline

A Tokyo businessman (Hiroshi Hada), transferred to L.A, molests a teenage girl on a train. It turns out that the girl is the daughter of a vice cop. But in one of those plot twists that can only occur in the movies, the cop is assigned to find the businessman's own daughter who has been kidnapped and forced into a teen prostitution ring. Written by John Sacksteder <jsackste@bellsouth.net>

Plot Summary | Add Synopsis

Taglines:

Desire. Temptation. Revenge See more »


Certificate:

R | See all certifications »

Parents Guide:

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Details

Country:

Language:

Release Date:

3 February 1989 (USA)  »

Also Known As:

Apagorevmenoi karpoi  »

Filming Locations:

 »

Box Office

Gross:

$3,416,846 (USA)
 »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

Color:

(TVC)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

The last movie Charles Bronson made for Cannon Films See more »

Goofs

The car in the Harbor Scene in which Crowe (Bronson) and his partner sit is smashed up twice by the car crane . See more »

Quotes

Duke: I'm dying!
Lt. Crowe: No you're not... But you are gonna have to stick your head between your legs to tell the time.
See more »

Connections

References El día de los Albañiles III (1987) See more »

Soundtracks

Meotoshunju
Written by Shosuke Ichikawa (JASRAC)
Courtesy of Nippon Columbia, Japan
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User Reviews

 
Rising Sun: The Archie Bunker Version
18 January 2009 | by (London, England) – See all my reviews

Offering a killer combo of terrible writing, terrible acting and terrible direction, it's a tossup whether Kinjite: Forbidden Subjects is offensively bad or just hilariously bad. It's almost as if someone ran a competition to make the sleaziest, seediest Cannon film. As if a glance at a cast list including characters like 'Lesbian Pedophile,' 'Perverted Gentleman,' 'Porno Actress' weren't enough, it's your only chance to see Charles Bronson's cop throw a lowlife on a bed and grab a dildo - but don't worry, it's okay, as the offscreen screams make clear he's only torturing him for information. After all, even if he is a bit overprotective of his nice Catholic daughter, he's a nice Catholic cop who regularly brings local Catholic priest William O'Connell a packed lunch and who believes in poetic justice - or at least ensuring that the bad guys end up in the slammer with the horniest inmates maximum security can provide to give them a taste of their own medicine. But then that's what you get for telling him "Look, I think you're a little bit unstable." Still, when later offered a bribe, he may snarl "I'd like to shove this up your ass, but I don't want to get my hands dirty," he's clearly learned where to draw the line: instead, he just makes him eat a $25,000 watch and sets fire to his Cadillac. The anal obsession even follows through to the film's title: despite the poster featuring a naked Japanese girl on a porn film set, the film's only direct example of Kinjite/forbidden subjects, as Alex Hyde White's English teacher explains to a group of Japanese businessmen, is, er talking about your bowel movements in polite society.

Bronson isn't just too old for this, as the opening fight makes only too clear, he's too old for love interest Peggy Lipton, and she looks old enough to have grown-up kids. A better actor than he ever got the credit for when given the right material, here's he's given less a properly thought out character than a series of outrageous reactionary quirks. When he's not widening the circles of suspects he's accidentally dropping them to their death off the sides of buildings. He's definitely not a P.C. copper, with a special loathing for the Japanese - as if it wasn't bad enough that they're buying up American businesses, what's worse, they double-park on a public thoroughfare! No racial minority goes unassaulted, be they black pimp or Pakistani hotel clerk, no cop cliché unrecycled, be it a boss who bangs his fist on the table or a dead meat partner (Perry Lopez and his spectacularly bad hair dye that's so prominent it deserves screen billing all its own). The twin plot strands - Bronson's L.A. cop trying to take down Juan Hernandez's pimp who deals in underage girls and James Pax's porn-obsessed Japanese businessman – take forever to intertwine, and then in the most unlikely of ways: after copping a feel of Bronson's daughter on a bus ("Some Oriental guy touched my holy of holies!"), in the film's idea of poetic justice Pax finds his own daughter kidnapped by Hernandez. You half expect the writer to pop his head round the corner of the screen and say, "How d'ya like them apples?"

Somewhere underneath all the laziness is the germ of a good idea even if it is too muddily developed to ever be clear quite what that idea really is, but the execution is pure Rising Sun: the Archie Bunker Version, shot like out-takes from an R-rated 80s music video with an outrageous and rather lazy dockside shoot-'em-up-and-blow'em-up finale that sees a small army of machine-gunning sidekicks suddenly appear to up the gratuitous body count. The last of Bronson's mostly bad to in different collaborations with J. Lee Thompson – and sadly Thompson's last film as director - it's a poor signoff for two undervalued players who increasingly never seemed to be that discerning about what pictures they said yes to.


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