Sam Fuller took the American gangster film to Tokyo and turned its classic b&w expressionism into brilliant Technicolor. It is a remake of the 1948 film noir, The Street With No Name. Robert Stack goes undercover in occupied Japan to infiltrate a gang of former US soldiers who have established a syndicate.
While the film is set against a backdrop of national regeneration, it isn't political. It's a straight thriller. It captures Japan in the spasm of great change, but its vision is more touristic. There's a fabulous lingering shot of Mount Fuji. There's the Imperial Hotel, and an exciting (Hitchcock influenced) finale on the rooftop of the Tokyo Amusement Park.
The racketeers are led by Robert Ryan, who has the hoodlum's customary vanity; his gunmen wear some amazing suits and look as stylish as any screen gang, ever. There is an unmissable homosexual relationship between Ryan and his number one boy, which makes a stronger impact than the tepid inter-racial romance between Stack and Shirley Yamaguchi. Both were contrary to the production code in 1955.
House of Bamboo isn't immersed in the sleazy lowlife typical of Fuller's work, or have his usual energy. It wasn't a project he initiated or his screenplay. But there are some stunning camera setups, a fair amount of suspense and great locations. It wasn't the first colour crime film of the fifties, but the striking use of CinemaScope makes it groundbreaking and Fuller adapts the technology with flair.