Yasujiro Ozu

Dragnet Girl

Dragnet Girl

This formally accomplished and psychologically complex gangster tale pivots on the growing attraction between Joji, a hardened career criminal, and Kazuko, the sweet-natured older sister of a newly initiated young hoodlum—a relationship that provokes the jealousy of Joji’s otherwise patient moll, Tokiko. With effortlessly cool performances and visual inventiveness, Dragnet Girl is a bravura work from Yasujiro Ozu.

Film Info

  • Japan
  • 1933
  • 100 minutes
  • Black & White
  • 1.33:1
  • Japanese

Available In

Collector's Set

Eclipse Series 42: Silent Ozu—Three Crime Dramas

Silent Ozu—Three Crime Dramas

DVD Box Set

3 Discs


Dragnet Girl
Joji Oka
Kinuyo Tanaka
Hideo Mitsui
Lefty Hiroshi
Sumiko Mizukubo
Yumeko Oushi
Yoshio Takayama
Koji Kaga
Yasuo Nanjo
Yasujiro Ozu
James Maki (a.k.a. Yasujiro Ozu)
Tadao Ikeda
Director of photography
Hideo Mohara
Kazuo Ishikawa
Minoru Kuribayashi
Art direction
Yoneichi Wakita


Eclipse Series 42: Silent Ozu—Three Crime Dramas
Eclipse Series 42: Silent Ozu—Three Crime Dramas

Atypical in style and subject, Yasujiro Ozu’s early crime dramas show a

future master brilliantly experimenting with camera and editing.

By Michael Koresky

Ozu in the Underworld, with a New Live Score

Repertory Picks

Ozu in the Underworld, with a New Live Score

One of Yasujiro Ozu’s lesser-known genre films, Dragnet Girl screens with an electronic score by the band Coupler next Tuesday in New York.

Exile at Home

Dark Passages

Exile at Home

Imogen Sara Smith examines the tensions between tradition and modernity reflected in two silent crime films by Yasujiro Ozu and Tomu Uchida.

By Imogen Sara Smith

The Signature Style of Yasujiro Ozu
The Signature Style of Yasujiro Ozu
With his singular and unwavering style, Japanese director Yasujiro Ozu disregarded the established rules of cinema and created a visual language all his own. Precise compositions, contemplative pacing, low camera angles, and elliptical storytelling a…


Yasujiro Ozu


Yasujiro Ozu
Yasujiro Ozu

Yasujiro Ozu has often been called the “most Japanese” of Japan’s great directors. From 1927, the year of his debut for Shochiku studios, to 1962, when, a year before his death at age sixty, he made his final film, Ozu consistently explored the rhythms and tensions of a country trying to reconcile modern and traditional values, especially as played out in relations between the generations. Though he is best known for his sobering 1953 masterpiece Tokyo Story, the apex of his portrayals of the changing Japanese family, Ozu began his career in the thirties, in a more comedic, though still socially astute, mode, with such films as I Was Born, But . . . and Dragnet Girl. He then gradually mastered the domestic drama during the war years and afterward, employing both physical humor, as in Good Morning, and distilled drama, as in Late Spring, Early Summer, and Floating Weeds. Though Ozu was discovered relatively late in the Western world, his trademark rigorous style—static shots, often from the vantage point of someone sitting low on a tatami mat; patient pacing; moments of transcendence as represented by the isolated beauty of everyday objects—has been enormously influential among directors seeking a cinema of economy and poetry.