646f9e108c A prison truck is assaulted and the two convicts inside are murdered. The prison guard on duty gets suspended for negligence and takes it upon himself to track down the killers.
A sharpshooter kills two prisoners in a police van at night. The guard on the van is suspended for six months; he's Tamon, an upright, modest man. He begins his own investigation into the murders. Who were the victims, who are their relatives and girlfriends, who else was on the van that night? As he doggedly investigates, others die, coincidences occur, and several leads take him to the Hamaju Agency, which may be supplying call girls. Its owner is in jail, his daughter, the enigmatic Yuko, keeps turning up where Tamon goes. Tamon believes he can awaken good in people, but has he met his match? Will he solve the murders or be the next victim? And who is Akiba?
While the plot of this film is pretty confusing at times and the film is no technical masterpiece, "Take Aim At The Police Van" certainly is entertaining and it was nice to see what Japanese film noir looked like.<br/><br/>The movie begins aboard a bus filled with prisoners headed to prison. At the same time, you see an assassin readying his rifle and scope…and you assume are going to kill the guards and free at least one of the prisoners. However, in a twist, the man simply kills two of the prisoners–and you assume somebody wanted at least one of these guys dead to stop them from talking.<br/><br/>Oddly, the man in charge of this transport was made a scapegoat and given a 6 month suspension from his prison job. Tomon is not angry about this but vows to spend this time off locating the person or persons responsible. His path always seems to lead to a lady named Yume and again and again, she just seemed to be nearby. How she relates to all this and the identity of 'Mr. Big' is something you'll need to see for yourself.<br/><br/>As farthe noir elements go, in some ways this is a lot grittier than traditional noir. A lot of the plot involves prostitution and you see a woman's breasts (something you'd never see in a Hollywood noir film–but nudity like this was a lot more acceptable in Japanese society then and now). However, the film also pulled its punches and didn't become nearlydark in regard to its central character, Tomon, who was a nice guy! He believed in the goodness within everyone–a conceptalien to noiryou can get! And, at times, Tomon was way, way too lucky and was able to beat huge numbers of hired thugs–again, not exactly a realistic or noir pattern. But, the film did have some nice gritty moments and some cool moments (suchthe arm in the piano and the gasoline scenes)–and it never failed to entertain even if the plot seemed a bit too confusing and complicated. Worth seeing–even if technically the film was no masterpiece–suchthe badly filmed scene on the train (the angle outside the window was ridiculously off)wellthe scene where Tomon was dragged a 100 or more yards by a car and didn't even have a scratch!!
Viewed on DVD. Cinematography =ten (10) stars; restoration = ten (10) stars; sound = four (4) stars. Director Seijun Suzuki is unable to overcome a nonsensical scrip or direct/edit scenes to maximize action and suspense. The basic ingredients are there for a potentially top-notch, exciting photo play, but the Director's plodding approach pretty much neutralizes the dynamics. This movie "cries out" for re-editing especially of the climatic scenes which are highly original, but squandered by poor direction/editing. Suzuki also seems to be fixated on showing high-speed vehicles on deserted country roads and sliding around city corners. There is a boatload of these "padding" scenes which add little (if anything) to the story (and often don't make much sense either). The script is just plain lame. For example, it fails to explain the film's title: just why is a police bus shot up (at the start of the film) or, for that matter, why do any of the subsequent murders take place? Trying to turn a dodgy, minor talent agency into a bigger prostitution ring is not much of a plot device. Leading actress Mari Shiraki is allowed to overact in the closing scenes which humorously diminishes rather than enhances the impact of her performance. The jazzy film score is fine, but sound dubbing leaves much to be desired. All vehicles sound the same especially the squealing of tires whenever a car goes around a corner (chronically under-inflated tires?); all gun shots from a variety of weapons sound the same; and sporadic background noise (perhaps from an air conditioner?) in some interior shots only serves to highlight (instead of hiding) the mechanics of how scenes are spliced together (sound comes and goes for even single-sentence line readings!). Cinematography (wide screen, black and white) is excellent with deep focus lighting and some of the best shots from inside moving vehicles on film to that date (practically no phony rear-screen projection is employed–what the viewer sees is really happening!) Using filters to render day for night, however, is a bit of a distraction, since it is obviously phony (other night scenes appear to have been filmed in the dark and look great). Recommended for film-school students studying how not to make a movie. WILLIAM FLANIGAN, PhD.


the Chaalbaaz full movie in hindi free download hdRefugio full movie download mp4hindi FearlessCar Trouble hd mp4 downloadhindi Episode 1.6 free downloadBroken Promises: Part 1 full movie in hindi 720pKara Bela in hindi 720pPLAN Z 720p moviesDragonaut: The Resonance downloadLaal Rang full movie in hindi 720p download