The world Kenzo Kitakata crafts in “The Cage” is populated by brave, stoic men; brash and desperate crooks; and utterly one-dimensional women. It is a rather grey place - occupying a space somewhere between Japan’s criminal underworld and the prosaic locations of the everyday life that its protagonist is trying (but not particularly hard, it has to be said) to live.
That protagonist, Kazuya Takino, is a former gangster who has decided to “go straight” by trading murderous knife fights for a 9–5 existence running a small family supermarket. When he gets into a scrape with a local punk, though, he gets a taste of the old life and is soon gleefully throwing himself back into the life of a yakuza, completing a job for his old partner in crime, with hardened cop, Detective Takagi, hot on his tail.
The plot itself is entertaining enough, and the prose is stripped back and direct, making it an easy, if somewhat forgettable, read. Kitakata cannot hide his fondness for the dubious subjects he portrays; criminals are clearly divided into “pros” like protagonist Takino (worthy of grudging approval) and “punks” like the people Takino beats up (faceless, foul-mouthed yobs). But clearly aware of the lack of diversity in terms of these characters’ voices, he assigns each of the former with gimmicky touches. This in itself isn’t unusual, but when Takagi’s inability to light his cigarette is mentioned for the 100th time in short succession, it does start to grate a bit.
Then, there are the women. There are three: two are the wives of Takino and Takagi, and they are effectively interchangeable, serving no purpose other than to play the loyal spouses of the two protagonists (who in turn show no real regret about the callousness with which they treat their other halves). The third is the mistress of Takino, whose behaviour is so ridiculous that you end up feeling bemusement, more than anything else, towards her. She has no redeemable features and repeatedly acts like a complete idiot for no discernible reason. These three characters make you wonder if Kitakata has ever come across a woman before, so out of his depth is he when he has to write one who transcends the safe role of “wife”.
The Cage is a perfectly serviceable crime thriller for those who aren’t in the mood for anything too groundbreaking.