Tokyo File 212
Tokyo File 212 | |
---|---|
![]() | |
Directed by |
Dorrell McGowan Stuart E. McGowan |
Produced by |
Melvin Belli (executive producer) George P. Breakston (producer) Dorrell McGowan (producer) C. Ray Stahl (associate producer) |
Written by |
George P. Breakston (story) Dorrell McGowan Stuart E. McGowan |
Starring | See below |
Music by | Albert Glasser |
Cinematography |
Ichirô Hoshijima Herman Schopp |
Edited by | Martin G. Cohn |
Distributed by | RKO (United States) |
Release dates |
|
Running time | 84 minutes |
Country |
USA Japan |
Language | English |
Tokyo File 212 is a 1951 American film directed by Dorrell McGowan and Stuart E. McGowan. It was credited as Hollywood's first feature film to be shot entirely in Japan.[1]
Plot
U.S. intelligence agent Jim Cater is sent to Japan as a journalist to find Taro Matsudo who is helping the Communists there. Matsudo happens to be Carter's college friend. In his hotel, Carter meets Steffi Novak who agrees to help him in his mission. He comes to know that Matsudo aspired to be kamikaze pilot but when Japan surrendered during World War II he sided with the Communists. Oyama is revealed to be the leader of the communists. After completing his mission Carter returns to the United States.
Cast
- Florence Marly as Steffi Novak
- Lee Frederick (Robert Peyton)[2] as Jim Carter
- Katsuhiko Haida as Taro Matsuto
- Reiko Otani as Namiko
- Tatsuo Saitô as Mr. Matsuto
- Tetsu Nakamura as Mr. Oyama
- Heihachirô Ôkawa
- Suisei Matsui as Joe
- Jun Tazaki
- Dekao Yoko
- Hideto Hayabusa
- Gen Shimizu
- Richard W.N. Childs
- Richard Finiels
- Stuart Zimmerley
- James Lyons
- Byron Michie as Mr. Jeffrey
- Ichimaru as Herself (Geisha Singer)
Production
The film was shot on real locations in Japan instead of sets as commonly done by former American films that featured Japan. It was co-produced by Breakston–McGowan Productions and Tonichi Kogyo.[3] Paris-born George Paul Breakston, who had appeared in It Happened One Night (1934) and The Grapes of Wrath (1940) as a child actor, worked in the Signal Corps during World War II and also visited Tokyo. When the war ended, Breakston shifted his focus towards films and directed Urubu: The Story of Vulture People (1948) and Jungle Stampede (1950). It was during this time that he drafted Tokyo File 212 and met Hollywood studio executives and producers with the script. Screenwriters Dorrell and Stewart McGowan agreed to back the production and for this venture Breakston–McGowan Productions, Inc. was established.[4] Lawyer Melvin Belli also invested in the project.[5] The production company joined hands with Suzuki Ikuzo's Tonichi Enterprises Company. The latter agreed to provide half of the budget and Japanese actors and crew members in return for half of the earnings in both the Japan and the United States.[6] The cast included Robert Peyton, Florence Marly, Saito Tatsuo, Matsui Suisei, Nakamura Tetsu, Haida Katsuhiko and Otani Reiko.[6] Real military generals and detectives were cast for the roles.[7]
American actors and crew members reached Japan on July 21, 1950. Principal photography was completed in 36 days and the final version was prepared in 2 months. Japanese priemere was held on January 24, 1951 and it was released in the United States on May 5.[8]
For the film's U.S. premiere, geishas were brought from Japan to perform at Republic Theater.[9]
Soundtrack
- "Oyedo Boogie" (Music & lyrics by Yasuo Shimizu & Shizuo Yoshikawa)
Notes
- ↑ 1.0 1.1 "Tokyo File 212: Detail View". American Film Institute. Retrieved May 19, 2014.
- ↑ King 2012, pp. 87–88.
- ↑ Kitamura 2009, p. 505.
- ↑ Kitamura 2009, p. 507.
- ↑ Roan 2010, p. 162.
- ↑ 6.0 6.1 Kitamura 2009, p. 508.
- ↑ Kitamura 2009, p. 510.
- ↑ Kitamura 2009, p. 509.
- ↑ "Geisha Girls on Stage". Washington Afro-American (Washington, D.C.). May 1, 1951. p. 4. Retrieved April 15, 2015 – via Google News Archive.
Bibliography
- Kamei, Shunsuke (June 1981). "The Kiss and Japanese Culture after World War II". Comparative Literature Studies (Penn State University Press) 18 (2): 114–123. ISSN 0010-4132. JSTOR 40246247.
- King, James (2012). Under Foreign Eyes (EBOOK). Lanham, Maryland: O-Books. ISBN 978-1-78099-049-1. OCLC 779828016.
- Kitamura, Hiroshi (2009). "Hollywood's 'New' Orientalism: The case of Tokyo File 212 (1951)". Historical Journal of Film, Radio and Television (International Association for Media and History) 29 (4): 505–522. doi:10.1080/01439680903363248. ISSN 0143-9685. (subscription required (help)).
- Koshiro, Yukiko (1999). Trans-Pacific Racisms and the U.S. Occupation of Japan. Studies of the East Asian Institute. New York: Columbia University Press. ISBN 978-0-231-11348-9. OCLC 39800585.
- Lentz, Robert J. (2003). Korean War Filmography: 91 English Language Features Through 2000. Jefferson, North Carolina: McFarland & Company. pp. 375–377. ISBN 978-0-7864-1046-0. OCLC 50630520.
- Provencher, Ken (Spring 2014). "Bizarre Beauty: 1950s Runaway Production in Japan". The Velvet Light Trap (Austin, Texas: University of Texas Press) (73): 39–50. ISSN 1542-4251.
- Roan, Jeanette (2010). Envisioning Asia: On Location, Travel, and the Cinematic Geography of U.S. Orientalism (EBOOK). Ann Arbor, Michigan: University of Michigan Press. ISBN 0-472-05083-4. OCLC 671655107.
- Wallace, Robert (1955). Life and limb: an account of the career of Melvin M. Belli, personal-injury trial lawyer (1st ed.). Garden City, New York: Doubleday. p. 239. OCLC 644277.
- Williams, Drid (2004). "In the Shadow of Hollywood Orientalism: Authentic East Indian Dancing" (PDF). Visual Anthropology 17 (1): 69–98. doi:10.1080/08949460490274013. ISSN 0894-9468.
External links
![]() |
Wikimedia Commons has media related to Tokyo File 212. |
- Tokyo File 212 at the Internet Movie Database
- Tokyo File 212 is available for free download at the Internet Archive
- Tokyo File 212 at the American Film Institute Catalog