A hit-man, with a fetish for sniffing boiling rice, fumbles his latest job, putting him into conflict with his treacherous wife, with a mysterious woman eager for death and with the phantom-like hit-man known only as Number One.
After World War II, some Tokyo prostitutes band together with a strict code: no pimps, attack any street walker who comes into our territory, defend the abandoned building we call home, and... See full summary »
In Okayama in the mid-1930s, Kiroku attends high school and boards with a Catholic family whose daughter, Michiko, captures his heart. He must, however, hide his ardor and other aspects of ... See full summary »
The melancholy, homely Kamimura is a hit man who takes a job to kill a mob boss who's gotten greedy. The rival gang lord who hires Kamimura and his driver Shun pays them and sets them up in a hotel for a night while arranging safe passage on a ship. The son of the dead man comes to his rival and offers a partnership and cash in exchange for Kamimura's death. The boss considers his choice: morals or money? A maid at the hotel tries to aid the escape of Kamimura and Shun. As the two gangs close in, Kamimura chooses honor. Will his stoicism be his shroud? Written by
A Colt Is My Passport, one of a series of popular crime films produced in the 1950s and 1960s by Japan's Nikkatsu studio, is a gripping, superior "tough" underworld film, which is particularly interesting for its blending of film genre influences, among them Japanese chanbara samurai film, French gangster movies, spaghetti westerns, and American film noir. Like some of the Clint Eastwood films, the movie gets you cheering for a cold-blooded killer because he's not quite as bad as the people trying to murder him. The killer in this case is Jo Shishido, a fine actor whose understated style effectively conveys the iciness of a professional assassin; as the gangster genre requires, unlike his enemies, he has his own strange sense of honor. I think this film would appeal to viewers who like the related genres mentioned.
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