To say that The Crimson Kimono was way of ahead of its time is an understatement. A pulp film noir that depicts a Japanese man and an American woman falling in love was beyond shocking in 1959. A time when nearly two dozen states in the U.S. still enforced antimiscegenation laws, stating that Asians, among other racialized people, were banned from marrying anyone white.

One of the fascinating things about film noir was how some noir movies tackled social issues. Crossfire explored anti-Semitism, The Lost Weekend explored alcoholism and The Crimson Kimono tackled an interracial relationship.

The plot is simple. Two detectives, Charlie Bancroft (Glenn Corbett) and James Shigeta (Joe Kojaku) are investigating the murder of a stripper, which leads them to Christine Downs (Victoria Shaw), an artist who painted the late cabaret dancer.

You could call the investigation the MacGuffin of the film, which simply launched the story, but becomes less of the focus. Although, the solving of the murder is crucial to the development of the detective, Joe Kojacu.

I can’t think of another film that explores racism in the way this film does. Joe isn’t the victim of racism, but as a result of experiencing racism his whole life, he accuses his partner of being racist towards him because of the way he reacts to finding out that he and Christine are in love. Joe sees something in Charlie that maybe isn’t there.

Then, Joe is hit with something that truly frightens him. Something that he never thought possible. A white woman falling in love with him. He wants her, but doesn’t believe it’s possible that she could love him. His anger and hostility towards his partner becomes almost murderous. Joe wants Christine and since he’s fallen in love with her, he is now angry towards his feelings because he doesn’t believe he can have her.

His partner Charlie is also in love with Christine and this love triangle leads to a layered complexity of jealousy and hate. Charlie and James served together during the Korean War. James gave Charlie some of his blood after Charlie was wounded. You could say that they are like brothers. They live together and have an inseparable bond.

Some may see their relationship as queer coded, which is a possible interpretation. However, I think their bond and friendship has more to do with their shared experiences in the war and as partners for the LAPD.

The film has its share of flaws. It moves too quickly from one thing to the other, instead of having the characters’ feelings and experiences gradually shift. At 82 minutes, it needed another 30, at least.

The direction and fluid camera movements are seamless and the on location shooting in Los Angeles adds an authenticity to the grittiness in the film.

The performances from Glenn Corbett, Joe Kojatu and Victoria Shaw are effortless, in particular from Kojatu, who evinces a range of frightening emotions and deep seated pain throughout the film.

I can think of many films since 1959 that have explored interracial relationships. However,I can’t think of many that showed a white American woman falling for a Japanese American man. Is The Crimson Kimono ahead of its time or has American cinema (and Canadian for that matter) not caught up to it ?

You can stream The Crimson Kimono on The Criterion Channel.