Black Line

Freelance reporter “Scoop” Machida is hot on the trail of a prostitution ring called the Black Line, when he is framed for the murder of a young woman. Forced to clear his own name, the handsome journalist sinks deeper into the Black Line’s rotten swamp of drugs, prostitution, and murder and finds unexpected help in Maya, a steamy female gambler familiar with the neon-lit streets, shadowy alleyways, and seedy nightclubs he must navigate. The closest film in the Line series to classic American film noir, Ishii’s Black Line is a pulpy assortment of crime film conventions including the starkly expressionistic black and white cinematography by Jûgyô Yoshida, a jazzy music score by Michiaki Watanabe, and a sleazy screenplay by Ishii and Ichirô Miyagawa.

Directed by Teruo Ishii, Black Line leans on a strong ensemble — Shigeru Amachi, Utako Mitsuya, Yōko Mihara — to carry a story that balances spectacle with character.

The film landed with audiences for its craft and performances, and remains one of the most talked-about crime titles of 1960.