Tokyo File 212

Tokyo File 212
Directed by Dorrell McGowan
Stuart E. McGowan
Produced by George P. Breakston (producer)
Dorrell McGowan (producer)
Melvin Belli (executive 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 Pictures (United States)
Release dates
  • May 5, 1951 (1951-05-05) (United States)[1]
Running time
 84 minutes
Country United States
Japan
Language English

Tokyo File 212 (Japanese: 東京ファイル212) is a 1951 Japanese-American film directed by Dorrell McGowan and Stuart E. McGowan. The thriller featured Florence Marly and Robert Peyton in lead roles. Real life geisha Ichimaru also appeared in a brief role. It was credited as Hollywood's first feature film to be shot entirely in Japan.[1] The plot revolved around an American Intelligence agent sent to Japan to track down a suspected communist who was previously his college-mate. RKO Pictures distributed the film in the US.

Plot

U.S. intelligence agent Jim Carter is sent to Japan as a National Weekly Indicator 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, a mysterious woman who speaks six languages and wishes to accompany him. Together they both reach a place where Taro is present. However, he does not want to meet Jim. Back at his hotel, Jim receives a telegram informing him to reach Enoshima island. Here he meets Taro who refuses to divulge any information about his commander. He comes to know that Matsudo aspired to be a kamikaze pilot but when Japan surrendered during World War II he sided with the Communists. When Jim returns to his hotel room, he is beaten by a group of Japanese men who tell him to stay away from Taro.

Meanwhile, Steffi meets Oyama who promises her that in return for spying on Carter she would be able to meet her sister in North Korea. Unknown to Steffi her sister is dead. She takes Cater to an enkai party at an Atami resort. Somehow, Carter learns that the food offered to him is poisoned. He heads back to the hotel. Next, he goes to Tokyo's Takarazuka Theater where he meets Taro's lover Namiko. Here he gains a lot of information about Taro. After he leaves, Namiko is kidnapped and thrown from a moving car. She is hospitalized. Once Taro learns of the incident he rushes to meet her. She asks him to leave his mission and dies. Steffi learns about her dead sister and vows revenge against Oyama.

Matsudo, a government official who also happens to be Taro's father helps Carter. He and Taro meet at railway tracks, where both of them give speeches to the workers. In a short period of time the gathering turns into a brawl and several people are badly injured. The Tokyo Metropolitan Police Department has to intervene to bring back peace. At this stage Taro decides to turn against Oyama and when he learns of his plan to kill Carter, Steffi and Matsudo he jumps out of a window to move them away from a bench under which a suitcase bomb is placed. Carter reaches Oyama's place with his associates. Seeing no option left, Oyama confesses his crimes. His confession angers his right-hand man who stabs him for disloyalty towards their organization. The man is killed and Oyama dies. After completing his mission Carter returns to the United States.

Cast

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] They also provided screenplay.[5] Lawyer Melvin Belli also invested $10,000 in the project.[6] He was credited as an executive producer.[7] Irene Breaston was assistant-producer.[8] C. Ray Stahl was associate producer.[9] Herman Schopp was the cinematographer.[10] Albert Glasser provided the music score.[11]

It was approved by Douglas MacArthur in May 1950 with Lloyd Nolan as the male lead.[12] Florence Marly chose this film instead of another big budget Mexican film.[13] Leif Erickson left 20th-Fox's Half Angel for the project.[14] 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.[15] The cast included Robert Peyton, Florence Marly, Saito Tatsuo, Matsui Suisei, Nakamura Tetsu, Haida Katsuhiko and Otani Reiko.[15] It was the only film approved by MacArthur for filming in Japan. Intelligence files provided by him were researched for the film. MacArthur also provided interpreters and several intelligence officers acted in the film.[16] Real military generals and detectives were cast for the roles.[17] Tokyo File 212 was the film debut of geisha Ichimaru. Marley and Peyton were the only American actors involved with the project. Katsuhiko was initially uncomfortable with his kiss scene with Marley. Marley said of Katsuhiko that "[He] could give the Clark Gables and Tyrone Powers a run for their money." She happened to be first American actress to visit Japan in 15 years.[18] During her visit she also entertained American soldiers stationed there.[19] Tol Abe who had a kissing scene with Marley blushed before the scene and Marley taught her how to kiss.[20][21] She gave instructions to five Japanese actors in kissing at a Japanese hotel at a press conference.[22][23]

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.[24] After returning from Japan, Dorell McGowan declared that the Japanese were the greatest actors in the world. He also praised the set building techniques employed by the Japanese. One scene was shot at Tokyo's Imperial Theater.[25] During a railroad brawl scene several actors were hurt and they bled.[26] Gen. Douglas MacArthur and the Japanese emperor were invited for the film's Japanese premiere.[27] It was held on January 24, 1951 and it was released in the United States on May 5.[24] The date was initially scheduled to be May 2 with 16 geisha girls.[28] For the film's U.S. premiere, geisha girls were brought from Japan to perform at Republic Theater.[29][30] The National Legion of Decency gave the film a B rating.[31] Due to the film's content RKO executives were eager to release it soon.[32] The Plattsburgh Press-Republican reported that the film would be an outright purchase.[33] It was released along with Sealed Cargo[34][35] and Cyclone Fury.[36] It was released on TV on May 13, 1959.[37] The Danish title for the film was Mysteriet i Tokio.[38] It was released in Sweden on September 8, 1952 as Attentat i Tokyo.[39] It premiered in Portugal under the title Tóquio, Intriga Oriental.[40] In New South Wales the film was double billed with Down Memory Lane,[41] Let's Live a Little,[42] and Million Dollar Weekend.[43] The fact that it was filmed in Japan was well publicized.[44]

Reception

Reviewer's criticized the film's plot but praised the scenic settings. Monthly Film Bulletin called the film's story "confusing" and felt that the depiction of communist activities was "puerile". However, it praised the Japanese setting by calling it "interesting".[45] Brog in Variety opined that Marly had fulfilled her role and Peyton's acting was okay. He praised the "Oyeda Boogie" song sequence and the Japanese background.[46][47] The Christian Science Monitor's reviewer opined that the work was "more or less routine entertainment" but praised Marly's "expert job" and the Japanese settings. However, he felt that the dialogues in Japanese language were a little confusing and Peyton's performance was not worth arousing sympathy for its "professional detachment" and "unemotional determination".[48] Richard L. Coe of The Washington Post termed the film a "low-level, pulp magazine job" but felt that the film had advantage of realistic settings. He also criticized the approval note before the film.[49] A. H. Weiler of The New York Times questioned why "the long trip" to Japan was made for the "awkward melodrama". He criticized the "muscular and uninspired" acting and dialogues and wrote that the film was "one "file" that should never have been plucked from the archives."[50][51]

The Tasmanian daily Examiner called the film "an explosive melodrama".[52] James King wrote in his book Under Foreign Eyes that though Korea and Communist menace was underscored the Japanese characters were portrayed as having conflicting emotions with the Western ones. He further said that the film created a notion that Japanese had to be rescued from themselves and Oyama represents the Japanese who think of foreigners as enemies.[53] The Newcastle Sun called it a "rather unusual film", its background atmosphere "excellent" and praised Marly's performance. However, the reviewer felt that her character was "made-up a little too heavily".[41]

Jeanette Roan felt that the storyline was "well suited to the ideological goals of the reconstruction"[54] but location shooting was unnecessary.[55] In 2004, it was released on DVD by Alpha Video.[56]

Soundtrack

Tokyo File 212
Film score by Albert Glasser
Released 1987
Producer Screen Archives Entertainment
Albert Glasser chronology
Three Desperate Men Tokyo File 212 Oriental Evil
Original Soundtrack[57]
No. TitleMusic Length
1. "Main Title"  Albert Glasser 1:46
2. "This Is Tokyo"  Albert Glasser 2:37
3. "Jazz Cues"  Albert Glasser 1:53
4. "Jim Meets Steffi"  Albert Glasser 2:10
5. "Steffi Is Tired"  Albert Glasser 2:00
6. "Kamikaze Class"  Albert Glasser 2:08
7. "The Telegram"  Albert Glasser 1:39
8. "The Big Shrine"  Albert Glasser 3:19
9. "At the Russian Consulate"  Albert Glasser 1:38
10. "The Kubuki Theatre"  Albert Glasser 1:23
11. "Jim Gets the 3rd Degree"  Albert Glasser 1:24
12. "Newspaper Headline"  Albert Glasser 0:33
13. "Hello Mamiko"  Albert Glasser 1:18
14. "Mamiko Is Kidnapped"  Albert Glasser 0:58
15. "Taro in the Hospital"  Albert Glasser 3:34
16. "Steffi Cries"  Albert Glasser 2:15
17. "Jim Gives Her a Gun"  Albert Glasser 1:25
18. "Railroad Strike"  Albert Glasser 0:38
19. "Mamiko Dies in Taro's Arms"  Albert Glasser 1:49
20. "Taro Gets Caught"  Albert Glasser 1:25
21. "Taro Commits Suicide"  Albert Glasser 1:05
22. "End Title"  Albert Glasser 0:20

In addition to the above titles "Oyedo Boogie" by Yasuo Shimizu & Shizuo Yoshikawa was also included.

References

  1. 1 2 "Tokyo File 212: Detail View". American Film Institute. Retrieved May 19, 2014.
  2. ↑ King 2012, pp. 87–88.
  3. ↑ Kitamura 2009, p. 505.
  4. ↑ Kitamura 2009, p. 507.
  5. ↑ Production Encyclopedia 1952, p. 238.
  6. ↑ Belli & Kaiser 1976, p. 133.
  7. ↑ Production Encyclopedia 1952, p. 189.
  8. ↑ Production Encyclopedia 1952, p. 191.
  9. ↑ Production Encyclopedia 1952, p. 223.
  10. ↑ Production Encyclopedia 1952, p. 299.
  11. ↑ Production Encyclopedia 1952, p. 327.
  12. ↑ "Tokyo File 212 approved". The Brooklyn Daily Eagle (Brooklyn, New York). May 17, 1950. p. 14. Retrieved May 9, 2015 – via Newspapers.com.
  13. ↑ Gwynn, Edith (July 8, 1950). "Hollywood". Pottstown Mercury (Pottstown, Pennsylvania). p. 4. Retrieved May 9, 2015 – via Newspapers.com.
  14. ↑ Gwynn, Edith (June 28, 1950). "Hollywood". Pottstown Mercury (Pottstown, Pennsylvania). p. 4. Retrieved May 9, 2015 – via Newspapers.com.
  15. 1 2 Kitamura 2009, p. 508.
  16. ↑ "Here is What War Message Means to you". Ames Daily Tribune (Ames, Iowa). July 20, 1950. p. 11. Retrieved May 9, 2015 – via Newspapers.com.
  17. ↑ Kitamura 2009, p. 510.
  18. ↑ "Hollywood Newsreel". Lebanon Daily News (Lebanon, Pennsylvania). International News Service. September 14, 1950. p. 36. Retrieved May 9, 2015 – via Newspapers.com.
  19. ↑ "Number One". The Salt Lake Tribune (Salt Lake City, Utah). September 19, 1950. p. 18. Retrieved May 9, 2015 – via Newspapers.com.
  20. ↑ "Touching Scene Finally Bring Oriental to Boil". The Ogden Standard-Examiner (Ogden, Utah). September 24, 1950. p. 10. Retrieved May 9, 2015 – via Newspapers.com.
  21. ↑ MacPherson, Virginia (September 25, 1950). "Actress Has to Teach Jap How To Kiss In Movie Scene in Japan". Daily Capital Journal (Salem, Oregon). Retrieved May 9, 2015 – via Newspapers.com.
  22. ↑ Handsaker, Gene (October 20, 1950). "Hollywood". The Pocono Record (Stroudsburg, Pennsylvania). p. 4. Retrieved May 9, 2015 – via Newspapers.com.
  23. ↑ Handsaker, Gene (October 22, 1950). "Everyone Likes A Kiss, Even in Far-Off Japan". Independent Press-Telegram (Long Beach, California). p. 7. Retrieved May 9, 2015 – via Newspapers.com.
  24. 1 2 Kitamura 2009, p. 509.
  25. ↑ Corby, Jane (April 25, 1951). "Film notes". The Brooklyn Daily Eagle (Brooklyn, New York). p. 14. Retrieved May 15, 2015 – via Newspapers.com.
  26. ↑ Thomas, Bob (September 30, 1950). "Hollywood Producers say Japs are Greatest Actors". The Dixon Telegraph (Dixon, Illinois). p. 6. Retrieved May 9, 2015 – via Newspapers.com.
  27. ↑ Parsons, Louella (November 10, 1950). "Keeping up with Hollywood". The Cumberland News (Cumberland, Maryland). p. 25. Retrieved May 9, 2015 – via Newspapers.com.
  28. ↑ "What's Doing in Hollywood". Ukiah News (Ukiah, California). April 19, 1951. p. 7. Retrieved May 15, 2015 – via Newspapers.com.
  29. ↑ "Geisha Girls on Stage". Washington Afro-American (Washington, D.C.). May 1, 1951. p. 4. Retrieved April 15, 2015 – via Google News Archive.
  30. ↑ "Yankee Treat". Plattsburgh Press-Republican (Plattsburgh, New York). May 11, 1951. p. 10. Retrieved May 11, 2015 – via NYS Historic Newspapers.
  31. ↑ Motion pictures classified by National Legion of Decency. New York City: National Legion of Decency. 1959. p. 245. OCLC 750484145.
  32. ↑ "[Untitled]". The Brookshire Times (Brookshire, Texas). March 30, 1951. p. 11. Retrieved May 15, 2015 – via Newspapers.com.
  33. ↑ "Mexico Confab". Plattsburgh Press-Republican (Plattsburgh, New York). February 3, 1951. p. 6. Retrieved May 11, 2015 – via NYS Historic Newspapers.
  34. ↑ "[Advertisement]". The Adirondack Record-Elizabethtown Post (Au Sable Forks, New York). September 20, 1951. p. 2. Retrieved May 11, 2015 – via NYS Historic Newspapers.
  35. ↑ "[Advertisement]". Plattsburgh Press-Republican (Plattsburgh, New York). September 24, 1951. p. 3. Retrieved May 11, 2015 – via NYS Historic Newspapers.
  36. ↑ "Schine's Regent". Newark Courier-Gazette, the Marion Enterprise, Clifton Springs Press (Newark, New York). September 13, 1951. p. 14. Retrieved May 11, 2015 – via NYS Historic Newspapers.
  37. ↑ "Late TV Show Listing". The Massena Observer (Massena, St. Lawrence County, New York). May 11, 1959. p. 12. Retrieved May 11, 2015 – via NYS Historic Newspapers.
  38. ↑ Rasmussen, Bjørn (1968). Filmens hvem-vad-hvor: Udenlanske film 1950-1967 (in Danish) 3. Politiken. p. 631.
  39. ↑ "Tokyo File 212 (1951)". Swedish Film Database. Retrieved May 12, 2015.
  40. ↑ "[Advertisement]". Diário de Lisboa (in Portuguese). February 27, 1952. p. 3. Retrieved May 12, 2015.
  41. 1 2 "Newcatle Theatre Reviews". The Newcastle Sun. November 30, 1951. p. 10. Retrieved May 17, 2015 – via Trove.
  42. ↑ "City Theatre". National Advocate (Bathurst, NSW). February 16, 1952. p. 3. Retrieved 17 May 2015 – via Trove.
  43. ↑ "Showing At Theatres". Barrier Miner (Broken Hill, NSW). April 2, 1952. p. 5. Retrieved May 17, 2015 – via Trove.
  44. ↑ Roan 2010, p. 164.
  45. ↑ "Tokyo File 212". Monthly Film Bulletin 18 (204): 333. January 1, 1951.
  46. ↑ "Tokyo File 212". Variety (Penske Media Corporation): 14. April 25, 1951.
  47. ↑ Schallert, Edwin (October 15, 1950). "Tokyo Movie Hectic Thrill to U.S. Cast: First American-Made Film in Japan Stirs Actress, Producers". Los Angeles Times (Austin Beutner). p. D1.
  48. ↑ "Spy Story Filmed in Japan On View at Keith-Boston". The Christian Science Monitor. May 17, 1951. p. 6.
  49. ↑ Coe, Richard L. (May 3, 1951). "'212 Is No Credit To Its 'Sponsors'". The Washington Post (Katharine Weymouth). p. B8.
  50. ↑ Weiler, A. H. (June 1, 1951). "The Screen in Review". The New York Times (Arthur Ochs Sulzberger, Jr.). p. 20.
  51. ↑ Spiro, J. D. (November 12, 1950). "Produced in Occupied Japan". The New York Times (Arthur Ochs Sulzberger, Jr.). p. 100.
  52. ↑ "The Theatres Present". Examiner (Launceston, Tasmania: Fairfax Media). July 26, 1952. p. 12. Retrieved May 9, 2015 – via Trove.
  53. ↑ King 2012, p. 89.
  54. ↑ Roan 2010, p. 163.
  55. ↑ Roan 2010, p. 166.
  56. ↑ "Tokyo File 212". Oldies.com. Retrieved May 15, 2015.
  57. ↑ "Tokyo File 212 (Original Soundtrack) [1951]". iTunes (Apple Inc.). Retrieved May 9, 2015.

Bibliography

Further reading

External links

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