It's harder to applaud a man's decision not to kill when the movie he's in so stacks the deck in favour of killing. In 1958's Rusty Knife (錆びたナイフ), former gangster Tachibana (Yujiro Ishihara) has to fight the urge to kill again even when he learns the yakuza syndicate who seem invulnerable to prosecution gang raped his girlfriend who then killed herself. With its bittersweet Masaru Sato theme song, the point of the film seems to be that ridiculous morality ties the hands of good men--not unlike American films like Death Wish or Russian films like Brat, its ostensibly anti-gangster message works out to be pro-gangster in real life. It's a bit silly but also ominous.
Tachibana's working as a bartender at the start of the movie. Police regularly stop by to try to get him to rat on his former associations but, despite having renounced the lifestyle, Tachibana is still bound by a code of honour. On one occasion, Keiko (Mie Kitahara), the daughter of a man who committed suicide under suspicious circumstances, overhears the cops asking Tachibana about his death.
Meanwhile, Tachibana's young friend, Makoto (Akira Kobayashi), is falling under the influence of the yakuza and takes hush money to party with a disreputable woman. Soon he's in hot water, too, and Tachibana blames himself. But after he killed the man whom he thought was solely responsible for his girlfriend's rape, Tachibana is afraid to take up his rusty knife, despite the fact that every time a gangster is arrested he's almost immediately released when witnesses are paid off or knocked off. Then Tachibana learns that his girlfriend was gang raped and it becomes even harder for him to resist the urge to kill. And, really, any viewer would want him to go on a killing spree at this point.
But it's good to remember how the movie is manipulating the audience. Tachibana was a former member of this gang and are we to believe he'd never heard of gangsters committing rape before? How feasible would it be to learn the identities of everyone guilty in a gang rape if the yakuza control so much of the information? The movie gives a bunch of two dimensional bad guys, how easy would it be to judge who deserves to die in real life? The film presents the idea that one man should be above the law because he's the only good man and the only one who can see clearly. The only way we know this is from how the film manipulates our perspective on the situation. It's films like this that led to later films by Seijun Suzuki and Takeshi Kitano that undermine the presumptions of the genre.
Rusty Knife is well shot with some really nice compositions of shadow. There are a few nice action sequences, including a good truck chase, and its Masaru Sato score is, as usual, great. It's also one of those movies from late 1950s, early 1960s Japan that heavily features the period's lovely, jazzy bar scene.