The social situation in Rebel Without a Cause looks pretty healthy in comparison to Akira's life in this film. Make no mistake, the director probably didn't want you to find this guy empathetic or romantic regardless of his ingenuity, optimism, or opinions on abstract expressionism. He isn't so much a character with an arc as a force of nature motivating others, a plot device.

Oddly enough, The Warped Ones is really a conservative film even if it doesn't realize it, warning of the breakdown of the family unit, the failure of the reform system, the rise of gang violence, and the perils of Western culture eroding traditional Japanese values. Everyone and everything that comes into contact with the sneering, jazz-deranged lunatic tainted or perverted. Akira merely the flea carrying the plague virus. Gotta give the film credit for not copping out at the end.

A seemingly plot less film driven by relentless shifts in locales in and around Tokyo about an anti-social criminal, his accomplice, who's a little more sociable, and their girlfriend, a prostitute, who, as part of the trio, attracts men with money to rob. The camera work and the running jazz soundtrack add to the overall disassociated sense that makes this similar to 60's New Wave films. It all seems to come together as the film progresses, however. So there is a sense of satisfaction after all if you require a plot. But the impulsive characters and the wild camera that accompanies them are what characterize the film as a bit of a classic.