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Malayalam Movie Download Take Aim At The Police Van
A sharpshooter kills two prisoners in a police van at night. The guard on the van is suspended for six months; he's Tamon, an upright, modest man. He begins his own investigation into the murders. Who were the victims, who are their relatives and girlfriends, who else was on the van that night? As he doggedly investigates, others die, coincidences occur, and several leads take him to the Hamaju Agency, which may be supplying call girls. Its owner is in jail, his daughter, the enigmatic Yuko, keeps turning up where Tamon goes. Tamon believes he can awaken good in people, but has he met his match? Will he solve the murders or be the next victim? And who is Akiba?
Seijun Suzuki, one of the crazier '60s Japanese directors, liked to provoke Nikkatsu executives' nerves here and there with his strange filming style, but even though Take Aim at the Police Van (the literal translation is even longer), based on Kazuo Shimada's story, is the strangest outing in the box-set, it's still fairly normal for a Suzuki film. His approach to traditional film noir is something else, really.
Right off the bat, you are asked to leave behind all logic and rationality - this is a Seijun Suzuki film, and logic is dumb. Logic is for pussies. Why is the protagonist suspended from his prison guard job for negligence when there really isn't a sensible way to react in the situation he was in? What exactly is the motivation of the agency owner and what's up with her sudden love interest in the prison guard? As you might expect from Suzuki, the plot is convoluted, under-valued and all over the place. It isn't as baffling as his later works, but still. Remember, this is the movie where the villains, instead of simply shooting the protagonists, tie them up in a gasoline truck and push it downhill, then leave the gasoline tap on the back open, so they can set the trail ablaze so that the fire catches up to the truck! It's a pity Suzuki never got to direct a James Bond movie.
Michitaro Mizushima (from Suzuki's Underworld Beauty) is a pretty boring main character, with an almost indifferent reaction to pretty much anything that comes his way. But one odd thing about him is that he acts to track the killers not out of revenge, but out instead to reform them. Or so I guess, because the movie doesn't really explain it well. The villain's death is almost the same as in Rusty Knife, but this one is better because of how outrageous it is. Another oddity about the film is a short nude scene of a woman who gets her boob pierced by an arrow. It's probably unusual to see nudity in a film this old, and it isn't even a pinku, or an independent or art-house production.
The widescreen photography is as slick as you'd expect, with a fetish for road warning signs, rifle-scope framing, immaculate chiaroscuro composition, and other noir staples. The soundtrack is far better than in the previous two films, but rather intrusive. Overall, this was a fun little studio film that leaves some space for Suzuki to play around with the noir style. While the plot of this film is pretty confusing at times and the film is no technical masterpiece, "Take Aim At The Police Van" certainly is entertaining and it was nice to see what Japanese film noir looked like.
The movie begins aboard a bus filled with prisoners headed to prison. At the same time, you see an assassin readying his rifle and scope...and you assume are going to kill the guards and free at least one of the prisoners. However, in a twist, the man simply kills two of the prisoners--and you assume somebody wanted at least one of these guys dead to stop them from talking.
Oddly, the man in charge of this transport was made a scapegoat and given a 6 month suspension from his prison job. Tomon is not angry about this but vows to spend this time off locating the person or persons responsible. His path always seems to lead to a lady named Yume and again and again, she just seemed to be nearby. How she relates to all this and the identity of 'Mr. Big' is something you'll need to see for yourself.
As far as the noir elements go, in some ways this is a lot grittier than traditional noir. A lot of the plot involves prostitution and you see a woman's breasts (something you'd never see in a Hollywood noir film--but nudity like this was a lot more acceptable in Japanese society then and now). However, the film also pulled its punches and didn't become nearly as dark in regard to its central character, Tomon, who was a nice guy! He believed in the goodness within everyone--a concept as alien to noir as you can get! And, at times, Tomon was way, way too lucky and was able to beat huge numbers of hired thugs--again, not exactly a realistic or noir pattern. But, the film did have some nice gritty moments and some cool moments (such as the arm in the piano and the gasoline scenes)--and it never failed to entertain even if the plot seemed a bit too confusing and complicated. Worth seeing--even if technically the film was no masterpiece--such as the badly filmed scene on the train (the angle outside the window was ridiculously off) as well as the scene where Tomon was dragged a 100 or more yards by a car and didn't even have a scratch!!
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