Amid a racial tolerance plea and a complicated love story that blossoms and battles its truthful way to a happy and promising conclusion, there is amid this and lurking there somewhere to be found a murder melodrama too.
In one mouthful cheap and cheerful buddy noir when buddy noir was not really a thing — nobody should trust anybody in film noir — least of all your partner.
But perhaps here, amid that plea for racial tolerance. There is some bold love across the races material in this late and end of the cycle film noir from Fuller.
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Gloria Pall as Sugar Torch The Crimson Kimono (1959) |
The vision of tolerance is pure in The Crimson Kimono. As film noir is not just a style of crime film but expresses something more — something darker most usually. To call noir cynical might be one way to best express it, and that cynicism can be with life, with society, with romance, with the family, with all aspects of human nature.
In film noir a picture about an alcoholic becomes an Oscar winning deep dive into more problems than just the drink itself, in The Lost Weekend (1945). What a picture to make about World War 2 from America's point of view.
Pain and prejudice in the 1940s and 1950s are therefore a part of film noir, and so this is what turns a police procedural into a film noir. Buddy movie might also be a call to make on The Crimson Kimono, and as far as the handful of admittedly strong racial buddy-movies there are from this stretch of the 1950s — The Defiant Ones (1958) being the brightest and best.
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Cops on the case backstage in The Crimson Kimono (1959) |
Samuel Fuller's films can tend towards the genre-busting and the satirical, as well as cynical. Films like Shock Corridor, The Naked Kiss and White Dog, looking within the underbelly of America. As a director, Fuller's personality was charismatic and large hearted and he was never without his cigar. Is it true that instead of calling action, he would fire a revolver on set?
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Straight up pals — James Shigeta and Glenn Corbett in The Crimson Kimono (1959) |
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Glenn Corbett in The Crimson Kimono (1959) |
Charlie and Joe, the two buddy cops of The Crimson Kimono, do not actually start the film with the film noir world view that most afflicts cops. They are not cynical at first. They are pals and palsy, and Glenn Corbett's cop really does flirt nice with Julia Shaw's artist character, and real love blossoms in his beating young cop heart. With no cynicism on their hard smokin chops, Corbett and Shigeta share locker-room memories and seem to care properly about catching a villain. They are heroic, honest individuals with the duty of weighing through this noir world as part of their vocation.
However, personal hang-ups that tear them apart, and it is then that race do its work.
Their investigation leads them to the Japanese quarter of LA, an everyday environment that is almost a point of drama in itself, it's so un-American at times. into a point of drama. Again, this locale is shot for realism, unlike the great film noir streets of Anthony Mann, John Huston and so many others from the decade before. The streets of Little Tokyo, so-called, are not bathed in shadows, the camera is usually horizontal, and there is a certain curious tension, especially as already mentioned, the Los Angeles City Hall is also visible.
For race relations noir, The Crimson Kimono is a key part of a tight picture. Key race relations film noir from this year also include Odds Against Tomorrow (1959), in which Robert Ryan plays a racist in a duet with Harry Belafonte, in a situation that is set in the more traditional line of crime and film noir work — to explode.
Previous to this a theme of racism against the Japanese is a motivating plot factor in Bad Day At Black Rock (1955). This is a superior and excellent tension-filled thriller which pits a quite enigmatic Spencer Tracy against the whole town of Black Rock because they are all complicit in the killing of a Japanese man named Komoko whose son fought with honour overseas during WWII. The Japanese characters in question however remain unseen in Bad Day At Black Rock (1955).
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Street throwin' Japanese wresler guy in The Crimson Kimono (1959) (note cardboard boxes stage right) |
A further cinematic nod must be made to No Down Payment (1957), which is a conscious drama from 1950s which does well to prod out the hypocrisies of the time and places. Iko (played by Aki Aleong) is a Japanese-American employee for a local store run by Pat Hingle. He wants to move his family closer to improve his commute — however, resistance goes up as WWII veterans and churchgoers shudder and grimace at what will become of the neighbourhood. The moviethemes could be summarised as alcoholism, racism, promiscuity, and discrimination. All of which — film noir.
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A gun pointed ominously in a girls' dorm The Crimson Kimono (1959) |
Blending the regular police format with a bit no-nonsense street corner crime drama The Crimson Kimono offers a lucid dialogue about Japanese-American identity — especially for the time — The Crimson Kimono focuses on a friendship between two detectives (Glen Corbett and James Shigeta).
The crime and the chases — there are three chases in The Crimson Kimono — pale next to the love interest which is played heavily, and existentially. Popular wisdom and the philosophies of France were working their way into the great culture jam of Hollywood, and this love interest is explored by tteh three parties through flirting, fun and then soul-searching.
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“I was born here. I’m American but what am I? Japanese, Japanese American, Nisei? What label do I live under?” Victoria Shaw and James Shigeta The Crimson Kimono (1959) |
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Victoria Shaw and James Shigeta The Crimson Kimono (1959) |
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Buddy moves — James Shigeta and Glenn Corbett in The Crimson Kimono (1959) |
“Yes, this is a beautiful American girl in the arms of a Japanese boy!”
“What was his strange appeal for American girls?”
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James Shigeta |
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Denouement and unmasking — shadow cops included The Crimson Kimono (1959) |
Racial identity is no joke, and Bridge to the Sun (1961), based on the true story of a Japanese diplomat (James Shigeta) and a southern belle (Carroll Baker) who met during the 1930s and wed, is a couple of years down the line from The Crimson Kimono. In this story the proclamation of war between the United States and Japan throws their lives into a spin. The couple represent how love can bring people together in troubled times. Generally forgotten today, it’s quite an extraordinary story.
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Telephone paranoia — classic film noir The Crimson Kimono (1959) |
It's out like this because this is the unthinkable situation, odd even to the progressives of the day, an unthinkable case of outcome. It happens by the way, and this after this incredible noisy chase. The noise is because of three different clashing styles of music playing — Japanese, classical, and hot-jazz style. The music certainly reflects Joe's and Charlie's confusion — and most cynically too, they seem to leave The Crimson Kimono, not real friends anymore.
A reasonably complete essential-noir and relevant other Fuller picture Sam Fuller filmography might include:
- Adventure in Sahara (1938) (writer only)
- I Shot Jesse James (1949)
- The Steel Helmet (1951)
- Park Row (1952)
- Pickup on South Street (1953)
- House of Bamboo (1955)
- Run of the Arrow (1957)
- Forty Guns (1957)
- The Crimson Kimono (1959)
- Underworld U.S.A. (1961)
- Shock Corridor (1963)
- The Naked Kiss (1964)
- The American Friend (1977) (actor only)
- The Big Red One (1980) (Re-Cut version released in 2004)
- White Dog (1982)
The Crimson Kimono (1959) at Wikipedia
Gloria Pall as Sugar Torch, had small roles in films such as Ma and Pa Kettle on Vacation (1953), Abbott and Costello Go to Mars (1953), The French Line (1954), 20,000 Leagues Under the Sea (1954), The Night of the Hunter (1955), Jailhouse Rock (1957), The Brothers Karamazov (1958), The Crimson Kimono (1959) and Elmer Gantry (1960).
She appeared on the cover of several national celebrity magazines and twice was a centrefold in Esquire.
In late 1954 and early 1955, she developed a television show called Voluptua for KABC-TV that caused a furore for what was then seen as obscenity.
Cancelled after seven weeks, Voluptua got Pall feature stories in Life and Playboy magazines. In 1959, Pall began developing a career in real-estate and in 1962 opened her own office on Sunset Strip. Her final known screen credit is the 1964 TV short Low Man on a Totem Pole.
She had earlier in the 1950s worked as a showgirl in both Reno and Las Vegas as well as in Hollywood where for a time she was chosen to be "Miss Earl Carroll" from the huge cast. This was at the Earl Carroll Theatre on Sunset Blvd. in 1952. She dated Howard Hughes for a time.