Seijun Suzuki

Take Aim at the Police Van

Take Aim at the Police Van

At the beginning of Seijun Suzuki’s taut and twisty whodunit, a prison truck is attacked and a convict inside murdered. The penitentiary guard on duty, Daijiro (Michitaro Mizushima), is accused of negligence and suspended, only to take it upon himself to track down the killers.

Film Info

  • Japan
  • 1960
  • 84 minutes
  • Black & White
  • 2.45:1
  • Japanese

Available In

Collector's Set

Eclipse Series 17: Nikkatsu Noir

Eclipse 17: Nikkatsu Noir

DVD Box Set

5 Discs


Take Aim at the Police Van
Michitaro Mizushima
Daijiro Tamon
Mari Shiraki
Tsunako Ando
Misako Watanabe
Yuko Hamashima
Shinsuke Ashida
Jube Hamashima
Shoichi Ozawa
Goro Kashima
Ryohei Uchida
Toru Abe
Tatsuo Matsushita
Captain Takamura
Saburo Hiromatsu
Reiko Arai
Toyo Fukuda
House wife
Kotoe Hatsui
Merchant's wife
Hiroshi Osa
Seijun Suzuki
Ryoji Motegi
Based on a story by
Kazuo Shimada
Shinichi Sekizawa
Shigeyoshi Mine
Shinnosuke Ando
Saburo Takahashi
Production direction
Bugen Sakaguchi
Akira Suzuki
Koichi Kawabe


Eclipse Series 17:Nikkatsu Noir
Eclipse Series 17:Nikkatsu Noir
I Am Waiting: Port of Call The year: 1957. The city: Yokohama, not far from the piers. The sound of the tide softly lapping against stones in the darkness, cubes of black ice in a tumbler of foam. Night. Rain. Hiroshi Shimizu’s ever-prowling camera…

By Chuck Stephens

Tokyo Dispatch: Me and Ace No Joe
Tokyo Dispatch: Me and Ace No Joe
Full-size sidewalks aren’t very common in outer Tokyo, particularly in the many small residential neighborhoods that surround the city for miles. Likely a holdover from when there weren’t as many cars around and people walked in the roads alongsi…

By Marc Walkow


Seijun Suzuki


Seijun Suzuki
Seijun Suzuki

According to critic Manohla Dargis, “To experience a film by Japanese B-movie visionary Seijun Suzuki is to experience Japanese cinema in all its frenzied, voluptuous excess.” Suzuki played chaos like jazz in his movies, from the anything-goes yakuza thrillers Tokyo Drifter and Branded to Kill to the daring postwar dramas of human frailty Gate of Flesh and Story of a Prostitute to the twisted coming-of-age story Fighting Elegy; he never concerned himself with moderation, cramming boundless invention into his beautifully composed frames, both color and black-and-white. Suzuki first pursued film after returning home to Tokyo from service in the Imperial Japanese Army during World War II and failing university entrance exams. Following an unsatisfying stint as an assistant director at Shochiku, Suzuki was lured in 1954 to the recently reopened Nikkatsu studio, which was hiring fresh talent to appeal to a new kind of youth audience. He flourished there for years, with such films as Take Aim at the Police Van and especially Youth of the Beast, a commercial breakthrough for him. Yet his bosses became more and more opposed to his increasingly surreal visual stylings and lack of attention to narrative coherence, and after he made Branded to Kill, which a superior deemed “incomprehensible,” they unceremoniously (and illegally) revoked his contract. Of course, as any true Suzuki fan (and they are legion) knows, the incomprehensibility is part of the fun, and today his sixties works are considered some of the most essential of the Japanese New Wave.