One of a string of films set amidst the greed of a rising Japan, Inc. in the 1960’s, Yasuzō Masumura’s Kuro No Houkokusho (US: The Black Report) combines elements of whodunit, police procedural, and courtroom drama into an impeccably crafted crime story that tiptoes toward nihilism and paints justice as a mirage. Young, ambitious prosecuting attorney Akira Kido (Ken Utsui) is assigned a major, high-profile case just as he’s up for a big promotion: a wealthy corporate executive has been bludgeoned to death, and the list of suspects includes the victim’s mistress, his son, his wife, and her lover, among others. Kido investigates thoroughly, learning key details from each witness, especially surly mistress Ayako Kataoka (Junko Kanô), until he feels confident enough to charge the victim’s wife’s lover, the evasive Hitomi (Shigeru Kôyama), who hires famously ruthless defense attorney Yamamuro (Eitarô Ozawa). What happens during the trial, however, is a shock to Kido’s system: the witnesses have all changed their stories. “Power wins trials, not facts,” says Kido’s boss. Masumura directs with stunning efficiency: eliminating niceties and other filler through generous jump cutting means not a second is wasted between interrogations on the trail or testimony in the courtroom. Note the use of camera angle variety, particularly during Kido’s initial interview with Ayako: cinematographer Nakagawa uses low angles, aerial shots, and reverse angles to expose the subject from every possible direction.