The Crimson Kimono

The potentially interesting main foci of this (barely-a-)noir are jealousy, racism and how people will imagine what others think of them and extrapolate, even when they might easily be mistaken. But Fuller only manages to scratch at the surface level.

Fuller in 1957: we can't possibly have Natives playing natives but two years later we can do this! Also people lauding this for being PROGRESSIVE or whatever when the thesis is basically that the Asian character is imagining that racism is happening to him LOL. Great movie tho. Composed beautifully

Fuller uses a seedy crime to launch into an exploration of identity and race relations. A Burlesque dancer, two cops and two artists take center stage, and while all five are initially presented as just that, the the plot that intertwines their personal and professional lives uncovers quite a bit about how they're perceived by others, how they perceive themselves, and the interplay between the two.

This film is a sterling example of Fuller's extremely pulpy style. It's full of hard, sudden edits into action and extreme close-ups of faces, often yelling. A hard cut from Corbett on the phone with Shigeta telling him to wait for his help goes straight into someone punching Shigeta. It's a big, bold, brassy film that uses this energy to overcome some budgetary limitations.

Enjoyable pulpy noir with an interesting setting in a Japanese section of LA and some exploration of racism.

Average noir, differentiated by an interracial romance. The dialogue is pretty poor, even by pulp standards, and the murder plot gets mostly lost to focus on the love story. It makes up points by being daring in the racially-charged love triangle.

Went into this expecting a film noir and Chris to be a femme fatale. Instead I got an enjoyable melodrama with positive depictions of race relations. Fav scene: the men waking up in their apartment.

Star Rating: ★★★★

Feels like the 80-minute cut of a 2-hour film. Everything is truncated, especially the love story and the conflict between the partners. Still worth watching for the ideas expressed, Fuller's camera work and a great performance from James Shigeta.

god what a weird movie. i can't imagine it being made now, then, or any time at all.

A noir that to it's detriment forgets about the crime that it begins with in favor of a melodramatic love story, and only returns to the beginning at the very end of the film.

Doesn't have quite the same punch as Fuller's best movies, but it has some great moments. In particular, the opening is, on some level, pulp brilliance, with a stripper performing a routine and leaving a club just to get shot down in the streets of LA. C'mon, that's just great.

watched: 2013, 2023

Love, love, love the locations of this film--authentic shots of 1950's Los Angeles give the movie a gritty sense of place that helps to root the fundamental dilemma--Joe's identity crisis--in the real world. Both of the cops are full characters with complex motivations, while appearances from the always enjoyable Anna Lee help with the pacing.

A shockingly, refreshingly socially liberal film for its time, and even for today in too many ways. A gritty noir, romantic melodrama, and moving buddy picture all in one delicious confection. It also has lovely performances from the four main actors, including a scene-stealing turn by Anna Lee as the full of piss and vinegar, booze swilling, lovelorn, hard-bitten feministic painter Mac. It doesn't hurt either that Shigeta, Corbett (those eyes!), and Shaw were all easy on the eyes here.

A delightful surprise. It may be as subtle as a sledgehammer but Fuller creates a brisk crime mystery/drama which is willing to go from exploitation to a fascinating take on Japanese American culture within the space of a few minutes. James Shigeta steals the entire film as an exceptionally charming but thoughtful homicide detective, but everyone else is just as good.

Part noir crime thriller, part love triangle, part racial issues movie. It handles all parts with some finesse, but it's the last that is the most striking. Fuller treats Japanese-Americans with a respect and dignity you don't see much of, even in today's films. Not a condescending stereotype in sight, even Asian music is incorporated into the score without a hint of caricature. The film has a good deal of style and makes excellent use of Los Angeles locations.

Fuller's crime melodrama deals bluntly with issues of racism and miscegenation. Graphic and fascinating, but not a major film.

Hard to find, but worth the effort.

Cliched noir, pretty boring.