
In Tokyo, a ruthless gang starts holding up U.S. ammunition trains, prepared to kill any of their own members wounded during a robbery. Down-at-heel ex-serviceman Eddie Spannier arrives from the States, apparently at the invitation of one such unfortunate. But Eddie isn't quite what he seems as he manages to make contact with Sandy Dawson, who is obviously running some sort of big operation, and his plan is helped by acquaintance with Mariko, the secret Japanese wife of the d... (Full plot summary below)
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In Tokyo, a ruthless gang starts holding up U.S. ammunition trains, prepared to kill any of their own members wounded during a robbery. Down-at-heel ex-serviceman Eddie Spannier arrives from the States, apparently at the invitation of one such unfortunate. But Eddie isn't quite what he seems as he manages to make contact with Sandy Dawson, who is obviously running some sort of big operation, and his plan is helped by acquaintance with Mariko, the secret Japanese wife of the dead American.
Leave your thoughts about House of Bamboo.
| Time OutDavid FearA masterpiece that pinpoints the sublime in Fuller's sensationalism and earns every inch of its widescreen real estate. |
| ReelTalk Movie ReviewsDonald J. LevitLocation-shot without permission in Tokyo-Yokohama, this CinemaScope noir zooms in on touristy sights without capturing the nation's postwar trauma about to move into transformation. |
| Filmcritic.comChris BarsantiThe limits of the lengths to which dazzling camerawork and curled-lip noir bravado can make up for thoroughly ham-fisted dialogue are tested in Sam Fuller's gangster picture |
| MUBIFernando F. Croce[House of Bamboo] is an example of the iconoclastic filmmaker's ribald eye for cinematic collisions of characters and forms. |
| Chicago ReaderDon DrukerOne of Samuel Fuller's best, a tough, sometimes nasty, but always exciting 1955 effort in 'Scope and color that unites three of his favorite topics: military comradeship, the underworld, and the Far East. |
| VarietyVariety StaffNovelty of scene and a warm, believable performance by Japanese star Shirley Yamaguchi are two of the better values in the production. |
| Combustible CelluloidJeffrey M. AndersonFuller's masterful use of natural locations within the Cinemascope frame drives the film, especially the climactic shoot-out on a giant, spinning globe at a carnival. |
| The Retro SetNathanael HoodThe deficit of narrative and tonal cohesion prevents it from matching or exceeding the quality of the film it was loosely remade from: William Keighley's The Street With No Name (1948). |
| User ReviewJack GBeautiful colors + Robert Stack. So of course, great. |
| User Reviewandrew kfuller the most underated director of all time |