Did like the idea for the story, not an original concept but an intriguing one. Tokyo is a lovely location and an inspired and interesting one for this kind of film. The main reason for seeing the film was for me Humphrey Bogart, one of the best actors at that time (especially in the hard-edged kind of roles that require intensity) and it's most evident in one of the finest and most iconic screen performances there's ever been as Rick Blaine in the timeless 'Casablanca'.
'Tokyo Joe' is not one of Bogart's best though. If anything it's somewhere in the weaker end. Bogart himself is one of the best things about it actually and the main reason for anybody to see it, and some of the supporting cast are good. The problems were the female lead, the script, some of the story and direction, all of which heavily flawed. All of that will be elaborated upon soon. 'Tokyo Joe' is a long way from a bad film, but considering how interesting the story sounded and how good an actor Bogart was it could have been a lot more.
Good things are quite a lot. The best thing about it is Bogart, who brings his usual authority and hard-boiled intensity to a role that suits him perfectly. Also good are an appealing Alexander Knox and especially a sinister Sessue Hayakawa (Kimura is one formidable threat). Lora Lee Michel is cute without being overly so and her chemistry with Bogart is touching.
It is a stylishly and atmospherically photographed film too, the production values in general had an authentic grit. The first half an hour was very intriguing but it was the last twenty minutes and the climax where the film hit its stride and became exciting and had the edge that was missing in the middle. There is some intriguing scripting early on and when the film comes alive finally. Suitably ominous music from George Anthell as well.
Florence Marly however brings things down significantly, her performance isn't just bland and uncharismatic. At its worst, it was pretty inept. There is no chemistry between her and Bogart, which always looked awkward and distant, and her character is pretty sketchy. The rest of the supporting cast other than those already mentioned are fairly forgettable in come and go roles. The direction had its moments towards the end, but is generally undistinguished and doesn't bring out enough of the tension needed for such a story.
While not without its moments, the script could have been tighter on the whole with it tending to be bogged down by talk of the waffling kind. It could have done with more edge and purpose. The story starts off well and ends even better but what happens in between is rather derivative, with no real surprises, and at times drawn out when the story is especially thin. Some of the rear projection is obvious in a somewhat phony way.
Overall, decent but could have been a lot more. 5.5/10 (was very conflicted on what rating to give between the two)
'Tokyo Joe' is not one of Bogart's best though. If anything it's somewhere in the weaker end. Bogart himself is one of the best things about it actually and the main reason for anybody to see it, and some of the supporting cast are good. The problems were the female lead, the script, some of the story and direction, all of which heavily flawed. All of that will be elaborated upon soon. 'Tokyo Joe' is a long way from a bad film, but considering how interesting the story sounded and how good an actor Bogart was it could have been a lot more.
Good things are quite a lot. The best thing about it is Bogart, who brings his usual authority and hard-boiled intensity to a role that suits him perfectly. Also good are an appealing Alexander Knox and especially a sinister Sessue Hayakawa (Kimura is one formidable threat). Lora Lee Michel is cute without being overly so and her chemistry with Bogart is touching.
It is a stylishly and atmospherically photographed film too, the production values in general had an authentic grit. The first half an hour was very intriguing but it was the last twenty minutes and the climax where the film hit its stride and became exciting and had the edge that was missing in the middle. There is some intriguing scripting early on and when the film comes alive finally. Suitably ominous music from George Anthell as well.
Florence Marly however brings things down significantly, her performance isn't just bland and uncharismatic. At its worst, it was pretty inept. There is no chemistry between her and Bogart, which always looked awkward and distant, and her character is pretty sketchy. The rest of the supporting cast other than those already mentioned are fairly forgettable in come and go roles. The direction had its moments towards the end, but is generally undistinguished and doesn't bring out enough of the tension needed for such a story.
While not without its moments, the script could have been tighter on the whole with it tending to be bogged down by talk of the waffling kind. It could have done with more edge and purpose. The story starts off well and ends even better but what happens in between is rather derivative, with no real surprises, and at times drawn out when the story is especially thin. Some of the rear projection is obvious in a somewhat phony way.
Overall, decent but could have been a lot more. 5.5/10 (was very conflicted on what rating to give between the two)