In 1975, Charles Bronson was introduced to British director J. Lee Thompson on the Warner Brothers crime story 'St. Ives.' The two artists found an immediate groove and began one of the most unheralded collaborations in film history. Bronson and Thompson made nine films over thirteen years, sometimes uneven in their work but rarely failing to entertain. During the 1980s, Thompson directed Bronson through some of his most rugged outings, including '10 to Midnight,' 'The Evil That Men Do,' and 'Kinjite: Forbidden Subjects.'
'Kinjite: Forbidden Subjects,' Bronson's final appearance for the Cannon Group and the last film directed by Thompson, closed out the 80s on a vicious but highly effective note for both men. Written by Harold Nebenzal (associate producer of 1972's 'Cabaret'), 'Kinjite' deals with sensitive issues - child prostitution and sexual mores - while paying homage to the decade's crime exploitation genre. The film is an odd mix of social commentary and action, which both helps and hinders its viewing power.
Bronson plays Lieutenant Crowe, a bigoted Los Angeles vice detective who is fed up with the ills of society and considering retirement. In a subplot that will later intertwine, Japanese businessman Hiroshi Hada (James Pax) has accepted a position with his company in L.A. He must quickly adapt to American culture, particularly in the sexual arena. Hada is a womanizer, voyeur, and heavy drinker who mingles with prostitutes in bars, intently views women being felt up on crowded subway trains, and holds an ambivalent attitude over the feelings of his wife (played by Marion Yue).
Hada molests Crowe's teenaged daughter Rita (Amy Hathaway) while drunk on a bus, which heightens Crowe's prejudices towards the Asian community. In an ironic twist, Hada's own daughter Fumiko (Kumiko Hayakawa) is kidnapped by Duke (Juan Fernández), a local pimp who specializes in minors. Crowe, already fuming over the molestation of his daughter by an 'oriental' (but not aware of Hada's involvement), is assigned to the case and must overcome his racist feelings to save her.
Bronson and Thompson were never shy about depicting unpleasant situations and it's no surprise that 'Kinjite' holds nothing back. Harold Nebenzal's script contains everything from teenage prostitution to sadomasochism to drug use to gang rape to torture, although most of this is alluded to or represented off-screen. In the opening sequence alone, Crowe and his partner Rios (Perry Lopez) bust an older john, with Bronson ready to inflict punishment via a dildo before the scene ends. Later on, Crowe makes Duke drive at gunpoint to a vacant lot, forces him to swallow (yes, swallow) his diamond-studded wristwatch, and nonchalantly sets his Cadillac on fire. Racist overtones abound, with Crowe chewing out a group of Japanese who are blocking traffic in front of the Los Angeles Hilton.
'Kinjite' reaches depraved heights when Duke begins 'renting out' Fumiko to wealthy clientèle. Perversion is only discussed, but these chats are more than enough to generate outrage. While 'Kinjite' is designed largely to shock and offers no palpable solutions to the real-life trafficking of minors, it never fails to shed light on a problem that is rarely thought about. Bronson gives one of the strongest performances in his career, helped by a solid supporting cast with Lopez, Peggy Lipton (as Crowe's wife), Bill McKinney (as a Catholic priest), and Fernández as an irritating scum-of-the-earth. Thompson's direction is his best in years, keeping a tight pace and easily alternating between Los Angeles and Tokyo. Excellent cinematography by Gideon Porath ('Death Wish 4') gives 'Kinjite' a cold, unpleasant gloss.
While 'Kinjite' is handled with competence, there are also signs of a film that was rushed through Cannon's last days. The film suffers from mediocre editing by Mary Jochem and Thompson's son Peter, who make embarrassing goofs in continuity. The soundtrack by Greg De Belles (TV's 'Sabrina the Teenage Witch') nicely contrasts L.A.'s 'riff-raff' atmosphere with the serenity of Japan, but his music is synthesized rather than played by an orchestra. Also look for a change in race after Duke's enforcer Lavonne (Sy Richardson) falls from an apartment balcony into a swimming pool: Lavonne is black, but the stunt double floating underwater is obviously white.
The main flaw, however, is Kinjite's lack of focus on serious issues. Had 'Kinjite' devoted more time to social commentary and less to action, it may have risen far above its exploitation status. There are major gaps in plot, serious questions are never delved into, and it seems as if Crowe can find Duke in Los Angeles on a moment's notice. Bronson is solid throughout, but the role could have been his absolute best of the 1980s with superior writing. As a finished product, 'Kinjite' at least brings an unpleasant and usually ignored problem to the surface. Crowe is certainly one of Bronson's most assertive parts and a strong finish to his low-budget era that began with 'Death Wish II.'
'Kinjite' was recently offered on DVD by MGM Home Entertainment, who holds marketing rights to the Cannon Group's library. The disc is in widescreen and standard format with Dolby presentation of the original mono track; French dubbing is included with subtitles in English, French, and Spanish. Despite budget limitations, Cannon's last films are of good visual quality, including 'Kinjite.' Gideon Porath's searing images come through nicely and Greg De Belles's dynamic soundtrack is clear on speakers. The only extra is Kinjite's theatrical trailer, which is expected for a film that has slipped into obscurity. 'Kinjite' is repugnant and will never be fully accepted, but it's certainly an impressive end to the decade for Bronson and Thompson.
** ½ out of 4
Roving Reviewer - www.geocities.com/paul_johnr
'Kinjite: Forbidden Subjects,' Bronson's final appearance for the Cannon Group and the last film directed by Thompson, closed out the 80s on a vicious but highly effective note for both men. Written by Harold Nebenzal (associate producer of 1972's 'Cabaret'), 'Kinjite' deals with sensitive issues - child prostitution and sexual mores - while paying homage to the decade's crime exploitation genre. The film is an odd mix of social commentary and action, which both helps and hinders its viewing power.
Bronson plays Lieutenant Crowe, a bigoted Los Angeles vice detective who is fed up with the ills of society and considering retirement. In a subplot that will later intertwine, Japanese businessman Hiroshi Hada (James Pax) has accepted a position with his company in L.A. He must quickly adapt to American culture, particularly in the sexual arena. Hada is a womanizer, voyeur, and heavy drinker who mingles with prostitutes in bars, intently views women being felt up on crowded subway trains, and holds an ambivalent attitude over the feelings of his wife (played by Marion Yue).
Hada molests Crowe's teenaged daughter Rita (Amy Hathaway) while drunk on a bus, which heightens Crowe's prejudices towards the Asian community. In an ironic twist, Hada's own daughter Fumiko (Kumiko Hayakawa) is kidnapped by Duke (Juan Fernández), a local pimp who specializes in minors. Crowe, already fuming over the molestation of his daughter by an 'oriental' (but not aware of Hada's involvement), is assigned to the case and must overcome his racist feelings to save her.
Bronson and Thompson were never shy about depicting unpleasant situations and it's no surprise that 'Kinjite' holds nothing back. Harold Nebenzal's script contains everything from teenage prostitution to sadomasochism to drug use to gang rape to torture, although most of this is alluded to or represented off-screen. In the opening sequence alone, Crowe and his partner Rios (Perry Lopez) bust an older john, with Bronson ready to inflict punishment via a dildo before the scene ends. Later on, Crowe makes Duke drive at gunpoint to a vacant lot, forces him to swallow (yes, swallow) his diamond-studded wristwatch, and nonchalantly sets his Cadillac on fire. Racist overtones abound, with Crowe chewing out a group of Japanese who are blocking traffic in front of the Los Angeles Hilton.
'Kinjite' reaches depraved heights when Duke begins 'renting out' Fumiko to wealthy clientèle. Perversion is only discussed, but these chats are more than enough to generate outrage. While 'Kinjite' is designed largely to shock and offers no palpable solutions to the real-life trafficking of minors, it never fails to shed light on a problem that is rarely thought about. Bronson gives one of the strongest performances in his career, helped by a solid supporting cast with Lopez, Peggy Lipton (as Crowe's wife), Bill McKinney (as a Catholic priest), and Fernández as an irritating scum-of-the-earth. Thompson's direction is his best in years, keeping a tight pace and easily alternating between Los Angeles and Tokyo. Excellent cinematography by Gideon Porath ('Death Wish 4') gives 'Kinjite' a cold, unpleasant gloss.
While 'Kinjite' is handled with competence, there are also signs of a film that was rushed through Cannon's last days. The film suffers from mediocre editing by Mary Jochem and Thompson's son Peter, who make embarrassing goofs in continuity. The soundtrack by Greg De Belles (TV's 'Sabrina the Teenage Witch') nicely contrasts L.A.'s 'riff-raff' atmosphere with the serenity of Japan, but his music is synthesized rather than played by an orchestra. Also look for a change in race after Duke's enforcer Lavonne (Sy Richardson) falls from an apartment balcony into a swimming pool: Lavonne is black, but the stunt double floating underwater is obviously white.
The main flaw, however, is Kinjite's lack of focus on serious issues. Had 'Kinjite' devoted more time to social commentary and less to action, it may have risen far above its exploitation status. There are major gaps in plot, serious questions are never delved into, and it seems as if Crowe can find Duke in Los Angeles on a moment's notice. Bronson is solid throughout, but the role could have been his absolute best of the 1980s with superior writing. As a finished product, 'Kinjite' at least brings an unpleasant and usually ignored problem to the surface. Crowe is certainly one of Bronson's most assertive parts and a strong finish to his low-budget era that began with 'Death Wish II.'
'Kinjite' was recently offered on DVD by MGM Home Entertainment, who holds marketing rights to the Cannon Group's library. The disc is in widescreen and standard format with Dolby presentation of the original mono track; French dubbing is included with subtitles in English, French, and Spanish. Despite budget limitations, Cannon's last films are of good visual quality, including 'Kinjite.' Gideon Porath's searing images come through nicely and Greg De Belles's dynamic soundtrack is clear on speakers. The only extra is Kinjite's theatrical trailer, which is expected for a film that has slipped into obscurity. 'Kinjite' is repugnant and will never be fully accepted, but it's certainly an impressive end to the decade for Bronson and Thompson.
** ½ out of 4
Roving Reviewer - www.geocities.com/paul_johnr