insomma, un film che vale la pena vedere - Ismaele
…Noir targato Nikkatsu intricatissimo quanto essenziale,
molto ben fotografato in bianco e nero e Nikkatsu Scope (il CinemaScope della
casa nipponica).
…Take
Aim is a classic
whodunit tale penned by Shinichi Sekizawa and Kazuo Shimada. They try to keep
you guessing until the very end of the film and have just enough seedy
character types and a level of mystery around the main cast to keep you doing
just that. Without giving too much away, the main villain is quite the bastard,
so the ending feels more satisfying than one would expect. There are a couple
of plot points that are left dangling in front of the viewer, such as why the
prisoner transport van was attacked in the first place. There is also the bit
about the main containing a certain set of skills that probably shouldn’t
belong to a simple prison guard, but the film never really touches on Tamon’s
past…
…Each scene is carefully
composed and frames our characters (good and bad) appropriately. I have to
think that this particular film was included in the Nikkatsu set as a representative
sample of Suzuki stretching past the point of being able to snap back. After a
film like this with its obvious stylistic devices, how could he go back to
shooting something generic?
The plot is purposely confusing and Suzuki has likely jumbled it a bit just to keep the viewer off a step and allow them the chance to play catch up. He's created an artful and sumptuous film to look at while always keeping in mind the goal of also entertaining his audience. I may be biased towards his films, but there's a good reason why that is.
The plot is purposely confusing and Suzuki has likely jumbled it a bit just to keep the viewer off a step and allow them the chance to play catch up. He's created an artful and sumptuous film to look at while always keeping in mind the goal of also entertaining his audience. I may be biased towards his films, but there's a good reason why that is.
…Take Aim at the Police Van is rarely anything more than an efficient
programmer, but Suzuki does a more than adequate job of transferring the
narrative machinations of the American film noirs of the era to the Nikkatsu
production line. The occupation of the film’s hero enables him to inherit
one of the key characteristics of the more popularly utilised private detective
in that Daijiro occupies the economic middle ground with sufficient social
mobility to be well-acquainted with both ex-cons and law enforcers. In
addition, Suzuki’s tour of the criminal underworld takes in both the seedy club
circuit and more exclusive inns that provide services to men whose wives think
they are away on ‘business’. Yet such conformity to the rules of the film
noir genre and the studio suits does not entail that Take
Aim at the Police Van is an entirely impersonal undertaking; Suzuki is
less interested in the story than he is in staging some energetic action
sequences and setting up a series of encounters between Daijiro and people who
are more in-the-know than he is, while also indulging in a fever dream
sequence. Take
Aim at the Police Van is
terrific entertainment from a filmmaker who was starting to have fun with the
script en route to throwing it out of the window.
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