Another strength is the film’s intriguing villain, Yamikubo, the blind lord of the yakuza. Zatoichi and Yamikubo share a variety of interesting and amusing lines on the subject of their blindness, but Yamikubo turns out to be every bit as ruthless (perhaps more so) as any other yakuza boss. Masayuki Mori plays this character very well, fashioning a credible rival for Zatoichi, and deserving of his rage.
Like all Zatoichi films, The Festival of Fire contains the requisite battle scenes. The incident when Zatoichi is attacked by a large group of naked yakuza in a bathhouse is as brutal as it is bizarre, and the climactic scene, in which he’s trapped by his enemies on a platform in the middle of a pool, makes for a tense spectacle, particularly when oil in the pool is set alight, trapping Zatoichi in a ring of fire.
THE VERDICT
This is a great film to watch if you’ve never seen any Zatoichi films; everything that made the series such a success is present. Highly recommended.
Lone Wolf and Cub: Sword of Vengeance (1972)
Japanese Title: Kozure Okami: Kowokashi udekashi tsukamatsuru
Directed by: Kenji Misumi
Written by: Adapted by Kazuo Koike from the manga he created with Goseki Kojima
Produced by: Shintaro Katsu, Hisaharu Matsubara
Edited by: Toshio Taniguchi
Cinematography: Chishi Makiura
Cast: Tomisaburo Wakayama (Itto Ogami), Fumio Watanabe (Sugito), Tomoko Mayama (Osen), Shigeru Tsuyuguchi (Matsuki), Reiko Kasahara (Azami), Akihiro Tomikawa (Daigoro), Tokio Oki (Retsudo Yagyu)
PLOT SUMMARY
Itto Ogami was once the Shogun’s second, his job to assist daimyos who have offended the Shogun in committing seppuku. The Yagyu clan, jealous of his position, murder his wife and attempt to frame him for disrespectful behaviour towards the Shogunate. Itto and his infant son survive, and both embark on the path of the assassin, hoping to eventually inflict their revenge on the Yagyu. Itto meets with Ichige Gyobu, a chamberlain of the Oyamada clan, who wants to hire him as an assassin. He wants Itto to kill Sugito, a chamberlain who is attempting to gain control of the Oyamada clan by assassinating the current lord. Itto reaches the village where Sugito waits to ambush the Oyamada daimyo. Itto is confronted by some of Sugito’s ronin. He does not resist them as they take his sword, beat him and force him to pleasure Osen, a prostitute. Ready to leave to perform their duties for Sugito, the ronin plan to kill all the travellers in the village, but Itto intervenes, using weapons cleverly concealed in the baby cart in which he pushes Daigoro around. Kanbei, the leader of the ronin, realises who Itto is, but it’s too late. Itto kills Kanbei, Sugito and all their men, before quietly leaving the village. Osen attempts to follow him, but Itto threatens to cut the bridge she stands on, and she lets him go on his way.
ANALYSIS
There is something undeniably cool about an assassin pushing his child around in a deadly baby cart. Welcome to the wonderfully overblown world of Lone Wolf and Cub, where the action is fast, graphic and violent.
The first film in the popular Lone Wolf and Cub series, Sword of Vengeance, is a good beginning, but doesn’t reach the giddy heights of Baby Cart on the River Styx, the second and best film in the series. Sword of Vengeance is primarily concerned with how Itto and Daigoro came to be the wandering assassins known as Lone Wolf and Cub, and as such is more concerned with the backstory than the simple and violent tales the series excels in.
A co-production between Toho and Shintaro ‘Zatoichi’ Katsu’s production company, Sword of Vengeance stars Katsu’s brother, Tomisaburo Wakayama, as Ogami Itto, a role in which he excels. Like the Zatoichi films, the Lone Wolf and Cub series derives much of its appeal from its solid central character and one actor’s unforgettable portrayal of him. Wakayama’s Itto is a stern, inexpressive man, whose features rarely change. He’s unemotional, having chosen a path of death and vengeance which he sticks to with the same inexpressive stoicism he uses to follow the code of bushido. It is Wakayama’s inexpressiveness that makes him so memorable; his cold, emotionless stare through narrowed eyes drills through the toughest of opponents, and never fails to impress, no matter how many times you watch the film. There is one scene which is a classic example of Wakayama’s Itto: the scene in which Itto places his sword and a colourful ball on the floor and tells Daigoro, his infant son, to choose his destiny by crawling towards one; the sword means he embarks on the assassin’s life with his father, the ball means he joins his dead mother. Wakayama plays this scene with such conviction that you really believe Itto has no qualms about killing his child, as he wishes to spare his son the harsh life of vengeance he is about to undertake. When Itto occasionally does show emotion, such as the slight hint of amusement he gives when he defeats Gyubo’s men, it’s a mere glimmer through Wakayama’s stone-like features. Young Akihiro Tomikawa also offers an assured performance as Daigoro, Itto’s little son, but is used to much greater effect in the next film, Baby Cart on the River Styx.
Interestingly, Sword of Vengeance is directed by Kenji Misumi, who helmed the first Zatoichi film, there at the beginning of two of samurai films’ most enduring characters. Misumi is true to the popular manga which inspired the Lone Wolf and Cub films, carefully creating a series of beautifully composed shots. The image of water coursing over Itto’s sword as it is cleaned in preparation for an execution and the bloodied fingers of Azami touching Daigoro’s cheek as she dies are just two examples of the violent yet graceful shots that Misumi offers his audience.
Of course, the cornerstone of the Lone Wolf and Cub series is flamboyant manga-styled battle scenes, and Sword of Vengeance well and truly delivers. Wakayama proves to be just as competent as his brother at hacking his way through hordes of enemies, and the scenes in which he does are highly entertaining. The gory effects, such as frequent blood sprays and severed limbs, make them gloriously grotesque. Particularly good is the final battle in which Itto takes on Kanbei and his ronin. Misumi builds a great sense of anticipation, and when the battle occurs it’s full of gory surprises.
THE VERDICT
Not as good as its sequel, Sword of Vengeance is nevertheless a worthy film. If you intend to watch the entire Lone Wolf and Cub series then this is the place to start.
Lone Wolf and Cub: Baby Cart on the River Styx (1972)
Japanese Title: Kozure Okami: Sanzu no kawa no ubaguruma
Directed by: Kenji Misumi
Written by: Adapted by Kazuo Koike from the manga he created with Goseki Kojima
Produced by: Shintaro Katsu, Hisaharu Matsubara
Edited by: Toshio Taniguchi
Cinematography: Chishi Makiura
Cast: Tomisaburo Wakayama (Itto Ogami), Kayo Matsuo (Sayaka), Akiji Kobayashi (Benma Hidari), Minoru Ohki (Tenma Hidari), Shin Kishida (Kuruma Hidari), Akihiro Tomikawa (Daigoro)
PLOT SUMMARY
Ogami Itto’s deadly enemies from the previous film, the Yagyu clan, are still after him. This time utilising two skilled teams of shinobi (ninja) from their ranks, one all male, the other all female, the Yagyu hope to eliminate Itto once and for all. Itto has continued on the path of the assassin that he chose in the first film, and still takes his little son Daigoro with him everywhere. This time, Itto accepts a contract to kill a dye-maker who threatens to ruin a lucrative monopoly held by a small clan. His target is protected by the three Hidari brothers, the highly skilled, official escorts of the Shogunate. Itto nearly fails in his mission, and is almost killed by the shinobi. Daigoro nurses him back to health but is then captured by the surviving shinobi, and is almost drowned before Itto rescues him. Following the Hidari brothers onto a boat, Itto and Daigoro must escape from a fire lit by thugs trying to kill the Hidari, and survive the cold night by sharing body warmth with Sayaka, the only survivor of the female shinobi. Sayaka finds it increasingly hard to harm Itto, mainly because of Daigoro. Catching up with the Hidari brothers, Itto kills them in a bloody battle and completes his mission by killing the dye-maker. Sayaka confronts him one last time, but canno
t bring herself to fight him.
ANALYSIS
Baby Cart on the River Styx is considered by many to be the best of the Lone Wolf and Cub series, and for good reason. With the backstory told in Sword of Vengeance (1972), this film is free to tell its bloody tale. Itto and Daigoro must contend with two teams of deadly shinobi (ninja), one male, one female, and the highly skilled Hidari brothers, otherwise known as the Masters of Death.
The simple plot is one of the film’s best assets. Presenting a series of causes and effects, the plot never feels as if it’s crudely assembled around the violence, which is sometimes the case with zankoku eiga (cruel films). The characters all have sufficient motivation to carry out their violent acts. The Yagyu clan, for example, feel it is vital to eliminate Ogami because he’s humiliated them; this is expressed simply through their anger as they discuss events. The Hidari brothers, for their part, are charged to protect by the Shogun, a duty they take very seriously.
Like the other Lone Wolf and Cub films, the most obvious feature of Baby Cart on the River Styx is its graphic violence. This film is not for the squeamish. Buckets of blood, along with a multitude of body parts, are flung all over the screen. But with its manga origins, it is only natural that the Lone Wolf and Cub series should inherit this gory, heightened violence. Director Kenji Misumi uses quick cuts, never lingering too long on any individual violent act, creating rapid montages of bloody combat which have an incredibly appealing visceral nature. During the battle scenes a variety of exotic weapons are on display, not least the baby cart itself, which conceals Ogami’s considerable arsenal. The choreography creates smooth-flowing exchanges; the scene in which Itto dispatches most of the male shinobi is one such example; he reacts quickly to the attacks of his multiple opponents, moving rapidly from one to the next, fighting them on different levels (from above, below, and so on).
As much attention is paid to characterisation as action. Though low on dialogue, the film’s central characters are cleverly designed, and prove to be intriguing in their own right. This is assisted greatly by performances from a talented cast. Ogami Itto (Tomisaburo Wakayama) continues to be an interesting protagonist. His face seems permanently frozen, a sign of the horrors he has faced. Largely unexpressive, he’s able to convey a great deal with a simple glance or slight movement of his brows. This is a far cry from the highly expressive heroes that usually feature in samurai films, portrayed by actors such as Toshiro Mifune, Shintaro Katsu and Tatsuya Nakadai.
The villains in this film, Sayaka and her female shinobi in particular, are wonderfully exaggerated, presenting comic-book evil at its best, a pleasing contrast with Itto’s constant stern expression.
Special mention must be made of Akihiro Tomikawa, the child actor who plays Daigoro, Itto’s little son. Only five or six years old, he gives an amazing performance, and matches his father’s cold stare. Yet he also retains childlike qualities, which makes for an interesting juxtaposition; in one scene he helps his father deal with some shinobi, then in the next he points and laughs at a scarecrow. The scenes in which Daigoro helps nurse his father back to health are touching, and contrast well with the visceral violence that has just taken place.
THE VERDICT
If you only see one film from the Lone Wolf and Cub series, make sure it’s Baby Cart on the River Styx. This film combines all the best elements of the series, including gory fight scenes, entertaining scripting and skilled performances from Wakayama and Tomikawa.
Lone Wolf and Cub: Baby Cart to Hades (1972)
Japanese Title: Kozure Okami: Shinikazeni mukau ubaguruma
Directed by: Kenji Misumi
Written by: Adapted by Kazuo Koike from the manga he created with Goseki Kojima
Produced by: Shintaro Katsu, Hisaharu Matsubara
Edited by: Toshio Taniguchi
Cinematography: Chishi Makiura
Cast: Tomisaburo Wakayama (Itto Ogami), Go Kato (Kanbei), Yuko Hamada (Torizo), Isao Yamagata (Genba), Akihiro Tomikawa (Daigoro)
PLOT SUMMARY
Itto Ogami and his son Daigoro continue to travel the path of the assassin. They encounter Ometsu, a young girl who has been sold to the yakuza as a sex slave and is trying to escape. Itto refuses to hand her over to Torizo, a tough female yakuza boss, when he sees the girl carries a memorial tablet, which reminds him of the tablet which ruined his own life. Eventually Itto agrees to undergo the torturous process that Ometsu must complete to be free of the yakuza, in her place. Surviving the tortures, although badly beaten, Itto then accepts an assignment from Torizo’s father, Miura, who is in fact a ronin. Miura wants Itto to kill Genba, the man who betrayed his clan, causing it to be dissolved. Itto agrees and sets off to complete this mission. Genba also attempts to hire Itto to kill his superior, who he fears is plotting against him, but Itto refuses. He kills Genba’s two most skilled samurai. Genba raises a small army to hunt the assassin. Itto confronts the army, and through a combination of heavy firepower, concealed in the baby cart, and his great skill, defeats them, killing Genba himself. A ronin named Kanbei then steps forward to challenge Itto, having been hired by Genba. Itto defeats him, and Kanbei recounts his tale, where he was shunned by his clan for leaving his lord’s side to protect him. Itto applauds his actions and acts as his second as he commits seppuku. Torizo, who has watched the entire battle, tries to follow Itto, but is restrained by her men, who fear for her safety.
ANALYSIS
Not as enjoyable as Baby Cart on the River Styx, Baby Cart to Hades is nevertheless a strong entry in the series. Featuring more exaggerated comic-book violence, this is the first film in which Itto takes on an entire army.
This film puts Itto into a number of new situations, the most interesting of which takes place when he and Daigoro help Ometsu, a girl who is to be sold to a brothel. The plight of the innocent is not usually something Itto concerns himself with, not part of the assassin’s path he has chosen. This predicament leads to some interesting negotiations between Torizo, a yakuza who wants the girl back, and Itto, who refuses to hand her over. The solution is typical of Itto; he agrees to undertake a series of tortures so that the girl can be set free, as described in a yakuza custom. It’s a perfect opportunity to show just how tough Itto is; the entire time he is beaten, Itto doesn’t make a sound, something which terrifies his torturers, and reinforces his stoic fortitude. Similarly, the supporting characters of Baby Cart to Hades add depth to the film, making it more than just an exercise in bloody action sequences. Kanbei, the conflicted ronin, and Genba, the treacherous and paranoid samurai, drive the more thought-provoking material in the film, providing an intriguing backdrop to the action.
The best aspect of Baby Cart to Hades is, of course, the epic battle scene, which takes place towards the end, in which Itto destroys Genba and his army singlehandedly. Despite the overblown manga style of the series, it must surely have been a challenge to choreograph such a scene convincingly. First Itto kills some enemies with guns and bombs, then he wades in, moving quickly among them, his blade flashing. Wakayama is at his bodycount best in these scenes, and moves with such fluidity and precision you simply enjoy the scene, never questioning its preposterous nature.
THE VERDICT
The Lone Wolf and Cub series was still going strong with its third film, featuring top-notch performances from Wakayama and Tomikawa, and plenty of the requisite, fiercely paced battle scenes.
Lady Snowblood (1972)
Japanese Title: Shurayukihime
Directed by: Toshiya Fujita
Written by: Adapted by Norio Osada from the manga by Kazuo Koike and Kazuo Kamimura
Produced by: Kikumaru Okuda
Edited by: Osamu Inoue
Cinematography: Masaki Tamura
Cast: Meiko Kaji (Yuki AKA Lady Snowblood), Toshio Kurosawa (Ryurei), Masaaki Daimon (Go), Miyoko Akaza (Sayo), Shinichi Uchida (Shiro), Takeo Chii (Tokuichi), Noburo Nakaya (Banzo), Yoshiko Nakada (Kobue), Akemi Negishi (Tajire), Kaoru Kusuda (Otora)
PLOT SUMMARY
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Yuki Kashima is born into a life of vengeance. Her mother is unable to avenge the murders of her husband and child, so she conceives and gives birth to Yuki, in the hope that her daughter can finish what she started. Yuki is trained by a harsh samurai turned priest, and honed into a lethal assassin. Ready to begin her quest, Yuki employs the help of a clan of beggars to track down the gang of criminals who murdered her father and older brother 20 years earlier. First she finds Banzo, who has become a truly pathetic old man, reduced to cheating at gambling and living off the prostitution of his daughter, Kobue. He puts up no resistance as Yuki cuts him down. Yuki is disappointed to discover her next victim has seemingly already died, and angrily strikes at his tombstone. Yuki’s mentor tells her story to a young journalist, Ryurei, in the hope that publicising her story will draw out Otora, the last survivor of the murderers. Yuki’s attempts at revenge are frustrated yet again when, after a bloody exchange, Otora appears to hang herself. It turns out that Yuki’s earlier target is not dead at all, and is in fact Ryurei’s father, and a corrupt and wealthy weapons dealer. Yuki confronts and kills him, and Ryurei also dies in the process. Wounded, Yuki staggers into the snow, where she is stabbed by Kobue, intent on avenging her father.
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