May 26, 2016
Dragnet Girl –
Japan, 1933
In the run up to the Second World War, it is said that Japan
was dealing with a contradiction of massive proportions. On the one hand, there
was an official coordinated effort to convince people that the West was Japan’s
enemy. However, even as the drums of war began to beat even louder, young
people craved all things Western, from the fashion of the day to the vibrant
beats of Jazz music. That contradiction cannot have made the government very
happy, and it is not hard to imagine that hints – whether subtle or obvious –
were given that the film industry had better toe the line. Kurosawa would
eventually make Most Beautiful (1942),
a film that extols the virtues of a female factory worker who sacrifices her
health for the war effort, and Yasujiro Ozu would make There Was a Father (1944), a film in which a father practically
calls his son unpatriotic for wanting to spend more time with him. However, in
1933, there was no reason to make films that had the obviously propagandist
elements that characterized those later films. Make no mistake about it, though:
Dragnet Girl is an example of subtle
propaganda.
In the film, we watch a group of petty criminals holds down
regular jobs by day and lets loose at night. Their leader is a young woman
named Tokiko, excellently played by Kinuyo Tanaka, who dresses like Bonnie
Parker, smokes, drinks, and speaks of her boyfriend’s ability to beat up people
with an almost erotic zeal. In other words, she’s “western.” She and her
boyfriend, Joji (Joji Oka), a former boxer, live in sin and are always on the
prowl for the next money-making scheme. One day, at his old gym, Joji happens
to meet a young boxer named Misako (Koji Kaga). It turns out that Misako
idolizes Joji, and once he is under his tutelage, his behavior goes from bad to
worse.
Enter Joji’s sweet, caring, traditional sister, Kazuko
(Sumiko Mizukubo). We know she is the film’s moral center almost immediately
because she is the only character who consistently wears a kimono. She also has
an interesting habit of looking apologetic when people are rude to her; in
other words, she’s such a good person that she feels ashamed at having provoked
negative feelings in another human being. It’s only a matter of time until she
becomes involved in trying to prevent her brother from going down the wrong
path, and this of course involves arranging a meeting with Joji.
With a set-up like this, Dragnet
Girl could easily have gone down the well-tread path of movies about
terrible gangsters who fall in love in the most innocent of women. Fortunately,
Dragnet Girl does not follow that
script too far. I kept expecting Joji to confess his feelings and promise to be
a better person, and I was rather enjoyed the fact that film avoids this
scenario. Unfortunately, this does not mean that the film has any other
original ideas, for just as quickly as one established genre is disposed of, it
employs another one, that of the last job, and we all know how those turn out.
And that may be part of what hampered my enjoyment of Dragnet Girl: I was simply too familiar
with films like it to be surprised by anything I saw. I could see what was in
store for the characters before they did, and on the few occasions in which
something happened that I hadn’t predicted, the actions of the characters
seemed forced and slightly exaggerated, as if screenwriter Tadao Ikeda had
purposely set out to avoid subtlety. Several conversations go on too long, one
in particular in surprisingly creepy (you’ll know which one), and the ending
scene goes on much longer than it realistically should, with characters
repeating phrases over and over as they run around from one place to
another. In the end, I was more
exhausted than moved.
Still, I like the movie. It is an interesting take of Ozu’s
favorite subjects, contemporary Japan and its effect on families. Here, the
families are broken. The gang, as well as its anti-social actions, is likely
the product of absent or deceased parents, and Misako and his sister resemble the
kind of makeshift family we so often see when either death or an economic
crisis befalls a family. Therefore, there is no one to guide these families, to
pull them back from the brink, or to act as the moral glue that binds them to
each other and to tradition. These imperfect characters are tasked with keeping
their families together, and with possibly putting them on a better, more
law-abiding path. Again, I like all of this – I just wasn’t especially moved by
much of it, and I should have been. The cast, in particular, Ms. Tanaka, is
excellent, and fans of Ozu’s later films will notice some of those trademark
Ozu’s images. Yet, this is one time when Ozu’s magic just didn’t work on me as
well as it has in the past. It all just seemed so standard. (on DVD as part of
Eclipse’s Silent Ozu – Three Crime Dramas)
3 stars
*Dragnet Girl is a
silent film with English intertitles..
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