I find myself a little surprised by how straightforward this is. It carries definite airs of film-noir, and the crime thriller, as protagonist Tamon independently pursues an investigation into a spiraling series of events. The body count rises amidst seedy business and pure underworld dealings, and there are plenty of turns to come as the plot develops. Even so, the movement is fairly linear, and with infrequent exceptions the tone is unexpectedly muted if not just plain flat. Granted, that tone is no mark against the picture per se as it doesn't speak specifically to the substance, though it does reduce our engagement to some degree. On the other hand, stood next to the most readily comparable fare, the relative lack of sophistication in the narrative does specifically impact our opinion to at least some extent - and when we learn who is behind the deaths and why, the explanations aren't entirely convincing on paper, nor satisfying. A major component of any murder mystery or kindred story is the dramatic reveal of the killer and their motives, or at least the underlying scheme, and if these aren't adequately compelling, then our viewing experience will be diminished. I'm definitely not saying that 'Take aim at the police van' is bad, because that's plainly not true, but all told the strength of its storytelling is just variable enough that its lasting value is lessened.
Be that as it may, the feature remains enjoyable and worthwhile on its own merits. Though the writing has its weaknesses, more than not scribes Shimada Kazuo and Sekizawa Shinichi penned a solid, absorbing story and a fine screenplay. The scene writing is strong, the best of the characterizations are interesting, and perceived shortcomings in the script amount to insufficient development of all characters and ideas, and thin connective threads between ideas. More than not Suzuki Seijun's direction is just splendid in orchestrating shots and scenes; it's technically capable for sure, and maybe just a tad softer when it comes to infusing the necessary vitality for the proceedings. In fairness, the climax is wonderfully sharp, suspenseful, and exciting, arguably the peak in these seventy-nine minutes where the direction is concerned - and importantly, where the reveals indicated above don't necessarily impress as written, in realization the drama is most assuredly felt in the last minutes. Furthermore, even when Suzuki comes up short, other contributors pick up the slack. Suzuki Akira's editing is marvelously tight and effective, and Mine Shigeyoshi's cinematography is reliably rich and vibrant. The cast is unfailingly fantastic; among others, Mizushima Michitaro deftly navigates the lead role with swell nuanced range and commanding presence, and Watanabe Misako increasingly stands out with the personality and emotional depth she brings to her part as Yuko. Moreover, where stunts, effects, and action sequences rule the day (above all at the climax), they are roundly excellent and absolutely do much to invest us in the film.
Rounded out with terrific filming locations, music, and various other work from those behind the scenes, when all is said and done I actually think this is pretty swell, and we're certainly treated to a superb finish. The final sequence is so smartly written and executed that it makes me reconsider my critiques in some measure. I just kind of wish that the whole screenplay were approached with equal care from top to bottom, for some beats, characterizations, and connective threads are unquestionably more firm and sure-footed than others. Ultimately 'Take aim at the police van' is entertaining and engrossing, and it holds its own reasonably well against like-minded contemporary fare out of Hollywood, England, France, or elsewhere. This deserves a look if one has the chance to watch. Just know that it's imperfect, and maybe like me you'll find that in the end the whole manages to pull out a win despite its occasional infirmities.
Be that as it may, the feature remains enjoyable and worthwhile on its own merits. Though the writing has its weaknesses, more than not scribes Shimada Kazuo and Sekizawa Shinichi penned a solid, absorbing story and a fine screenplay. The scene writing is strong, the best of the characterizations are interesting, and perceived shortcomings in the script amount to insufficient development of all characters and ideas, and thin connective threads between ideas. More than not Suzuki Seijun's direction is just splendid in orchestrating shots and scenes; it's technically capable for sure, and maybe just a tad softer when it comes to infusing the necessary vitality for the proceedings. In fairness, the climax is wonderfully sharp, suspenseful, and exciting, arguably the peak in these seventy-nine minutes where the direction is concerned - and importantly, where the reveals indicated above don't necessarily impress as written, in realization the drama is most assuredly felt in the last minutes. Furthermore, even when Suzuki comes up short, other contributors pick up the slack. Suzuki Akira's editing is marvelously tight and effective, and Mine Shigeyoshi's cinematography is reliably rich and vibrant. The cast is unfailingly fantastic; among others, Mizushima Michitaro deftly navigates the lead role with swell nuanced range and commanding presence, and Watanabe Misako increasingly stands out with the personality and emotional depth she brings to her part as Yuko. Moreover, where stunts, effects, and action sequences rule the day (above all at the climax), they are roundly excellent and absolutely do much to invest us in the film.
Rounded out with terrific filming locations, music, and various other work from those behind the scenes, when all is said and done I actually think this is pretty swell, and we're certainly treated to a superb finish. The final sequence is so smartly written and executed that it makes me reconsider my critiques in some measure. I just kind of wish that the whole screenplay were approached with equal care from top to bottom, for some beats, characterizations, and connective threads are unquestionably more firm and sure-footed than others. Ultimately 'Take aim at the police van' is entertaining and engrossing, and it holds its own reasonably well against like-minded contemporary fare out of Hollywood, England, France, or elsewhere. This deserves a look if one has the chance to watch. Just know that it's imperfect, and maybe like me you'll find that in the end the whole manages to pull out a win despite its occasional infirmities.
