[The following review contains MAJOR SPOILERS; YOU HAVE BEEN WARNED!]
At first glance, The Crimson Kimono appears to be a rather vanilla example of film noir. The plot revolves around a murder investigation: after a popular burlesque dancer is shot dead in Los Angeles’ Little Tokyo district, a pair of hardboiled detectives must use their grit, wits, and fists to track down the perpetrator—so far, so formulaic. The narrative abruptly veers into unexpectedly melodramatic territory, however, when both gumshoes fall hopelessly in love with their star witness, straining the bonds of their partnership—and their friendship, which stretches back to the foxholes of the Korean War.
This dilemma hits Joe Kojaku—the Asian American half of the buddy-cop duo—particularly hard; perceiving his pal’s jealousy and resentment over the budding romance as evidence of repressed racism, he begins to question his entire identity. A man of Japanese parentage born and raised in California, he is the quintessential outsider, feeling as though he belongs to neither culture. James Shigeta’s layered, nuanced performance (combined with Samuel Fuller’s sensitive, insightful direction) enriches every frame; the scenes in which his psychologically tormented character aimlessly wanders the dark, empty, labyrinthine streets convey a palpable atmosphere of angst, insecurity, and loneliness.
This emphasis on interpersonal relationships and internal conflicts allows The Crimson Kimono to transcend its otherwise conventional genre framework. While the movie’s familiar stylistic flourishes—moody cinematography, jazzy soundtrack, snappy dialogue—are sublime, its deliciously complex substance is what truly elevates it.
Comments