Full Circle: The Full Moon Cut Completes Its Arc In Animeigo’s “Sleepy Eyes Of Death Collector’s Set 3”

 Nemuri Kyoshiro’s “Full Moon Cut” is the stuff of chanbara legend. It’s Zatoichi’s cane sword and dice tricks. It’s Hanzo the Razor and his big friend’s training regimen. It’s Tange Sazen’s one-eyed leer and Musashi’s two-sword style. It’s the baby cart and ‘horse slaying’ sword technique. It’s Mifune’s scratching. The mesmerizing Full Moon Cut has Kyoshiro start with the blade pointed down towards the ground to his right and then slowly rotating the blade in a complete circle. By the time the sword completes the circle, he claims, the enemy duelist will be dead. The mystery of the technique became emphasized over the course of the ‘Nemuri Kyoshiro’ series of films by strobing the sword in motion. Indeed, no one who was the target of the Full Moon Cut walked away unscathed. In Animeigo’s new release, the “Sleepy Eyes Of Death Collector’s Set 3”, the series itself comes full circle, finishing the arc of twelve ‘Nemuri Kyoshiro’ films, mirroring the ‘Full Moon Cut’ in its ‘excellence of execution’. 

This is the third and final boxed set of “Nemuri Kyoshiro” films that starred Ichikawa Raizo as the title character, and is the first of the trilogy where all four films were previously unreleased in the United States. You can check out the Shogun-ki’s reviews of Set One and Set Two to see what came before. With four films in the set, instead of our usual lengthy recap we’ll just run short summaries for each followed by our observations.

Film nine in the “Sleepy Eyes” series and first in the box is “A Trail Of Traps” (Nemuri Kyoshiro Burai-Hikae Masho No Hada, 1967). And it’s just what the title suggests. Kyoshiro is caught up in an incredibly intricate plot that includes corrupt officials, devil worshippers, a golden statue of Mary, and some situations that take the concept of “Deus ex machina” to a whole new level. Not only is the ‘secret origin’ of Kyoshiro presented, but we find out he has a sister who’s dying. She’s a hidden Christian and has sent an acolyte to request Kyoshiro come visit her before she dies. Meanwhile, Shogunate officials in the Asahina clan have seized a golden statue of Mary, a statue that the cultists of the Kuroyubi-to (a group of fallen Christians, the cult of the Black Finger) are determined to recover. They ‘hire’ Kyoshiro to guard the statue on its way to Kyoto. And of course, everyone’s looking to kill him for one reason or another. Can Kyoshiro survive poison tea, acidic onsen, nuns packing heat, and even the old ‘assassin hidden under the floor’ trick? Well, since there are three more films in the set, probably, but it’s the journey, not the destination. And it’s a journey written in blood! 

Next is “Hell Is A Woman” (Nemuri Kyoshiro Onna Jigoku, 1968). Personally, we’ve always found women to be heavenly-then again, we’ve never met anything like the diabolic babes that cross paths with Kyoshiro. This entry is somewhat of a throwback to the earlier Kyoshiro films, dealing with the conflict between two factions of the Saeki clan battling it out for the top spot in the hierarchy. Each faction is headed up by a hired swordsman-one ultra-serious and hiding a secret, the other a hard-drinking goofball who wears the collected sword guards of his victims around his chest. And as usual, Kyoshiro finds himself drawn into a situation that he has no interest in. When attacking Kyoshiro head on proves troublesome, the Saeki retainers try catching Kyoshiro with honey…of the female variety. Is there ANYONE in a “Sleepy Eyes” film that isn’t a duplicitous, black hearted, self-serving bastard?

And the bastards get even sicker and more depraved in the next film. “In The Spider’s Lair” (Nemuri Kyoshiro Hito Hada Gumo, 1968) Kyoshiro runs across a town that has been stripped of its young people. Why? They’ve been kidnapped and are being held by the living dead. In this case, not zombies or vampires, but something even worse-two psychotic children of the Shogun who have been exiled and declared dead (they legally don’t exist, so nothing can be done to them by local officials) for their crimes against humanity. Among other hobbies, the brother practices archery by shooting arrows at released captives and is adept at all forms of poison. The sister is a classic black widow, using men to pleasure her and having them killed afterward. When they kidnap the young charge of one of Kyoshiro’s few friends in the world, it’s sometimes hard to tell who the bigger psycho is-the siblings or Kyoshiro.

Wrapping up the set is “Castle Menagerie” (Nemuri Kyoshiro Akujo-gari, 1969). This is perhaps the strangest Nemuri Kyoshiro film in the series-and that’s saying something. While Kyoshiro is no stranger to rape and murder, when it’s someone else doing it and leaving messages at the scene that name Kyoshiro as the culprit-well, that’s another story. Once again, it’s hidden Christians at the root of it all, having made a deal with the head of the Ooku (the Shogun’s harem in Edo castle), Nishiki-no-koji. It seems there’s a race on to see which of the Ooku’s rival factions will produce the Shogun’s heir first. When a concubine from the other faction gets pregnant first, Nishiki-no-koji contrives to have the baby ‘aborted’-directly or indirectly. Kyoshiro’s ‘shadow’ stalks the countryside putting her plans into effect, and like the original he’s also a master of the signature Full Moon Cut. As if this isn’t enough, Kyoshiro also has to contend with a flock of dancing white cranes and black crows who want him to interject his spirit into a Noh mask. Yes, rilly. The final showdown of ‘Full Moon Cuts’ between Kyoshiro and his ‘shadow’ provides a fitting end to the set. 

“A Trail Of Traps” is perhaps the best of all the Kyoshiro films. Director Ikehiro Kazuo not only seemed to have a better handle on the nature of the character and what differentiated him from the stereotyped ‘noble ronin’ characters that infest Japanese chanbara films of this era, but also did it with a sense of style that action films often lack. His short version of the ‘origin of Nemuri Kyoshiro’ in the beginning of the film has no dialogue and is played out largely against a black background, with only the actors and their props seen on screen. It’s much like a Japanese Noh play (something Ikehiro was to repeat in spades for ‘Castle Menagerie’-more on that in a bit) but tells the viewer everything they need to know. People fade in and out of the blackness, and in tone it brings to mind any number of Hammer Horror classics from the 1960’s. The soundtrack is also quite eclectic, shifting from the spaghetti-western style music of the opening that underlines Kyoshiro’s ‘anti-hero’ status to more traditional Japanese music for the ‘normal’ areas of the film to standard ‘fight’ music for the action scenes. There are shots of Kyoshiro from directly overhead, passing down a paved lane at night that bisects the screen-and then is set upon by a perfect circle of attackers that come in from the edges of the screen. In these and other shots, Ikehiro gives up a bit of art with our action, making “A Trail Of Traps” an excellent visual experience. The set piece traps also border on the unbelievable, and unlike some of the previous Kyoshiro films, this one’s loaded with swarms of ninja flipping, leaping, and dying. Some of the situations require you to believe that the plotters knew months in advance that Kyoshiro was going to stumble into their plot and placed their agents in positions to befriend him. All of this gives the film a somewhat surreal quality that works to its advantage. The traps are worthy of the ones used by Batman villains on the 60’s TV show-I don’t know that I’ve ever seen a poisoned onsen (a Japanese hot spring) used as a murder weapon. And of course that warped Kyoshiro sense of justice shows up as well-in the course of avenging the death of a man who was killed to procure his ‘loaded dice’, he lops the arm off a thug because the thug’s girlfriend truly loves the now-disarmed mook. “You can’t throw dice or hold a knife with one arm, but you can still make love to a woman,” says Kyoshiro as he casually strolls off. 

“Hell Is A Woman” takes the series back to more familiar chanbara territory, more like the first three or so Kyoshiro films. Director Tanaka Tokuzo helmed a wide variety of jidaigeki films including Zatoichi and Shinobi No Mono films (not to mention the very first Kyoshiro film, “The Chinese Jade”) and turns in an entertaining film that delivers what its audience came to see. It lacks the Christian/Black Mass elements of the other three films in this set but certainly doesn’t skimp on the action. While the character of Kyoshiro was misogynistic in the previous nine films, this one takes the cake in that aspect. In his defense, pretty much every single one of the women involved deserve it. The two ronin hired to lead the swordsmen of the Saeki clan’s warring factions are the most interesting part of the film. One is your stereotypical strong, silent type. Interestingly, he physically resembles Kyoshiro quite a bit-same type of robe, same type of waist wrap, facially similar, same rooster tuft of hair. And like Kyoshiro, he also has daddy issues. It seems Kyoshiro sees their similarities and despite the fact that he’s an enemy tries uncharacteristically to intervene on his behalf and prevent him from committing patricide. The other ronin is just as stereotypical-a sloppy and loudmouthed cur that’s only interested in making a buck and then getting drunk. He wears a garland of tsuba (sword guards) bandolier style-but if he’s won that many duels and captured so many swords, why does his katana have a bamboo blade? He’s also got the best moment in the film-after a sequence where he’s pinching pennies when buying a real katana with his first ‘paycheck’, he grimaces after Kyoshiro breaks the blade in two and says “Well, you get what you pay for”! 

It’s back to depravity and twisted samurai for the next film, “In The Spider’s Lair”. Ladies and gents, if you thought the daimyo in some of Animeigo’s recent releases (Bushido: Cruel Code Of The Samurai, Eleven Samurai, The Great Killing, 13 Assassins) were heartless and psychotic, they’ve got nothing on the pair in this film. Brother and sister, they’re proud of the fact that they’re legally ‘dead’ and think nothing of kidnapping dozens of people just to serve their murderous whims. They don’t display a single shred of decency in the entire film. Kyoshiro is targeted by the sister, who after finding out that he’s a child of The Black Mass, decides she absolutely HAS to have him. Kyoshiro for his part seems fascinated with her-a being of pure evil, who doesn’t display any of the hypocrisy he so despises. In fact, she’s one of the few evil women in the series he ends up not killing. Her brother seems to have quite the unhealthy interest in her as well, as does her henchman, a large brute with a staff that serves as her enforcer. This is also one of the rare times in the series where we see Kyoshiro brought down-he takes a poisoned arrow to the shoulder but is luckily saved by a Shogunate official who wants his help in bringing ultimate justice to the siblings. But of course, he turns out to be a scheming backstabber as well. This film points firmly in the direction Japanese jidaigeki films were going to take in the 70’s-increased violence, torture, sexual depravity, and over-the-top set pieces. It would fit right into the ‘Hanzo the Razor’ series. Director Yasuda Kimiyoshi had also directed prior entries in the series along with Zatoichi films (some of the more extreme entries), horror films like Daimaijin, several ghost stories, even a ‘Hoodlum Priest’ movie, and puts his familiarity with cinematic violence and cruelty to good use. 

And lastly we have ‘Castle Menagerie’. By this time star Raizo was quite sick-he was to die from cancer just a few months after this film was released. Knowing this, you can see telltale signs onscreen-he often looks drawn, haggard, and tired, but it’s to Raizo’s credit that you can only spot it if you’re looking for it. Ikehiro Kazuo returned to the director’s chair and turned in an entry that was even more visually stunning and surreal than “A Trail Of Traps”. The film hits the ground running with ‘Nemuri Kyoshiro’ slaying a government official and later, after raping a woman, (off screen) carving (what else) ‘Nemuri Kyoshiro Raped This Woman’ into her flesh. But when the government official’s daughter shows up looking for revenge, Kyoshiro denies having done any of this. And he hasn’t-it’s his ‘shadow’, another child of the Black Mass and a hidden Christian who’s working to secure the freedom of his fellow worshippers. He’s an eerie sight, dressing like Kyoshiro and even wearing a creepy, expressionless Kyoshiro mask-it’s almost like watching a character from a late 70’s/early 80’s slasher film. A nice touch is that Kyoshiro really doesn’t care that he’s doing all this-he was only curious as to what his motivation was. At times it seems that there’s little difference between the real and fake Kyoshiro-in fact, the fake seems to come off as more noble-he’s doing it for a cause, whereas Kyoshiro only acts out of boredom and self-interest. The show-stopping moment in the film comes when Kyoshiro is set upon by a flock of dancing white cranes and black crows-or at least, ninja who drop from the sky dressed as such. Rather than attack, they ‘dance’ him into a room where the wife of a dead Noh mask maker requests that he infuse her husband’s greatest creation with his spirit-by making love to the woman wearing it. Happens all the time, right? The unplussed Kyoshiro naturally agrees but then asks Miss Noh why she has the body of a whore when she claims to be a virgin, and by the way, is that poison lipstick on her mask? The big payoff comes when the Noh Masks ‘hanging’ on the darkened walls of the large room come to life and attack, exposing themselves as the ‘crows’ who had blended into the darkness. In the course of slaying them all, Kyoshiro kills the last by killing ‘himself’-striking his reflection in a mirror to skewer the woman behind it. But he has failed to kill his shadow after all, as his ‘evil twin’ appears to take him down. Director Ikehiro ended the Raizo run on ‘Sleepy Eyes’ on a high note with Kyoshiro fighting Kyoshiro, each employing the deadly Full Moon Cut. All this, and we haven’t even mentioned Kyoshiro’s adventures in the Ooku or preventing an illegal abortion because the perceived hypocrisy of the mother pissed him off… 

The Kyoshiro series, and indeed the studio that produced it, was not to survive Raizo’s passing long. There were actually two more films in Daiei’s “Nemuri Kyoshiro” series-“Full Moon Swordsman” and “Flyfot Swordplay”. Both starred Matsukata Hiroki in the role Raizo made famous. Matsukata was a fine actor in his own right, known more for his roles as a tough guy in Yakuza films at the time. He’s appeared in such well-known films as “Battles Without Honor Or Humanity”, “Ichi”, “Father Of The Kamikaze”, “Izo”, and the recent Miike Takashi remake of “13 Assassins”. He turned in a solid performance as Kyoshiro, but Raizo had made the role his own. Japanese audiences didn’t accept Matsukata as Kyoshiro and the films performed poorly at the box office. And only two years after Raizo’s death, Daiei studios followed suit, declaring bankruptcy in 1971. Still, it might be worth Animeigo’s while to look into releasing the final two films here in the US, perhaps as some sort of ‘double feature’ disc, truly bringing the series to a close. 

The transfer on the films is solid-while it isn’t as eye-poppingly gorgeous as Animeigo’s recent release of the “Lone Wolf And Cub” films on Blu-ray, it’s still quite excellent. Each film gets its own disc instead of being crammed onto one or two, and they’re in an attractive trifold insert. We noticed that while Animeigo’s translations and subtitles are still the best in the business, this time around they seemed a bit edgier and less formal than usual. Lines such as Kyoshiro being told “What’s that look? You look like you’ve never been laid before!” or a woman being told by Kyoshiro that “Let’s see what it’s like to screw the Grim Reaper!” come off wonderfully in their context and fit the mood of the films perfectly. Extras are a bit thin-each of the four films has its own trailer along with one for another recent Animeigo release and image galleries of lobby cards and stills. Program Notes (one of the most enjoyable things on an Animeigo release and something that sets them apart from other companies) are extremely slim, being only one short entry for three of the films (along with director bios). 

One of the final lines of dialogue spoken by Raizo in his film career takes place at the end of Castle Menagerie: “There can only be one Kyoshiro”, to which his doppelganger replies “Your evil name will live on eternally…”. Did writer Miyagawa Ichiro and director Ikehiro, knowing of Raizo’s sickness, insert these lines into his final scene as a fitting tribute to his tragically short career? They proved to be apropos-the demise of the ‘Sleepy Eyes’ series showed that Japanese filmgoers believed there was only one Kyoshiro. And this release by Animeigo helps to insure that Raizo’s name will indeed live on eternally. With this set, the Full Moon Cut has now come Full Circle-but unlike its victims, viewers will have the luxury of an unpunctured body afterwards. 

“Sleepy Eyes Of Death Collector’s Set 3 will be released February the 12th. You can pick it up on Amazon or get a steep discount by buying it direct from Animeigo. 

All photos courtesy and copyright of Kadokawa Pictures 2013.

Heroes To Some, Villains To Others-Animeigo's Shinsengumi Chronicles

Few groups tend to raise such disparate images as the Shinsengumi, the Kyoto based group of swordsmen sponsored by the Shogunate that fought Imperialist agents (as well as other disruptive forces and crime in general) in Bakumatsu Japan. Heroes to some, villains to others, and a wildly popular subject for anime and manga, the Shinsengumi rarely fail to create strong opinions among those with an interest in Japanese history. Animeigo's newest release, 1963's "Shinsengumi Chronicles" (based on the first part of a print trilogy by Shimozawa Kan), takes a far more realistic look at the group than does Animeigo's other Shinsengumi offering, Mifune Toshiro's "Shinsengumi-Assassins of Honor" (1969). The film we reviewed last week had two big name stars as its headliner (Samurai Vendetta with Ichikawa Raizo and Katsu Shintaro)-this one does as well, this time featuring Raizo and Wakayama Tomisaburo (billed here as Jo Kenzaburo). It's an excellent film from Daiei that features the distinctive down-and-dirty realistic style the studio's samurai epics were noted for-and a style perfectly suited for its subject matter.

Virtually all the characters in Shinsengumi Chronicles are based on its real life members and events. Raizo's character is Yamazaki Susumu, a member that largely functioned as a spy and because of his education also as an intermediary in 'polite society' such as the Imperial Court. Wakayama fills the shoes of the group's second leader, former farmer and Tennen Rishin-ryū sword instructor Kondo Isami. Most of the group's core members are on hand as well, including the first chief Serizawa Kamo, his deputy Niimi Nishiki, Kondo's second in command Hijikata Toshizo, sword prodigy Okita Soji, spearman Harada Sanosuke, and 'traitor' Todo Heisuke. The other main character is Yamazaki's woman, Shima (Fujimura Shiho). Shima functions as the voice of reason that continually tries to turn Yamazaki from the Shinsengumi towards a normal life. Interestingly enough, while Yamazaki was a doctor in real life, he is presented here as a ronin with no purpose in life and Shima is given the role of physician. Being based on a trilogy, the movie takes the Shinsengumi only so far as the Ikedaya Incident-an incident, however, that proved to be the group's finest hour and defining moment.

The Shinsengumi are cast in a poor light from the very beginning where a shot of a crucified man displays a placard that the group has killed him for his crimes against the state. While it's found out later he was killed by a ronin working for Imperialists from the Tosa clan to frame their enemies, it's clear the Shinsengumi have already inspired fear and loathing among many of the citizens of Kyoto. When ronin Yamazaki Susumu comes across a Shinsengumi member dying from wounds incurred when slaying an Imperialist, he takes the man's netsuke and attempts to return it to the group and inform them of what has happened. Initially he's repelled when the Shinsengumi's chief, Serizawa Kamo, snorts in disgust and walks off. However, he becomes spellbound when Serizawa's subordinate, Kondo Isami, displays concern and invites him to talk. Kondo had earlier restrained and apologized to Kamo on behalf of a geisha who had inadvertently insulted the drunken Shinsengumi chief. Yamazaki recognizes that Kondo, although a former farmer, embodies the true spirit of the samurai and believes that he has found a leader worth following. He joins the group despite the pleas of his woman and childhood friend Shima, who believes the Shinsengumi are nothing more than a group of murdering thugs who are worse than the men they hunt down.

From here the film focuses on the early history of the Shinsengumi and Yamazaki's inner conflict as he attempts to reconcile harsh reality with the ideals he thought that lived in Kondo. The extortion of money from merchants, the elimination of Kamo's faction and Kondo's rise to power, the casual murder of a sumo wrestler and the assassination of the police officer that arrested a Shinsengumi member for the crime, and the torture of suspected enemies all raise doubts in Yamazaki as to whether this is the life he wants to pursue. Yamazaki is seen as being a potentially traitorous element in the ranks, and is first set up to commit a murder by Hijikata Toshizo and Okita Soji. They then use this as a way to have him removed by the police, but Yamazaki is saved by Kondo's intervention with their sponsors, Aizu han. The situation has put the Shinsengumi's future in doubt, and it might take an extremely daring act to put them back in the good graces of the Shogunate-a chance that might be provided by the scheming Imperialists of Choshu han. Despite his misgivings, the distrust of his comrades, and his discovery by Tosa assassin Okamoto Kyuzo (who had slain the ronin hired by Tosa to frame the Shinsengumi early in the film), Yamazaki sets out to discover the plot-and does so, facing down the conspirators alone while the bulk of the Shinsengumi is attacking the wrong building. With enemies numbering not only the Imperialists but also among his own allies, will Yamazaki be able to survive?

Raizo's performance as Yamazaki Susumu allows him to display an emotional range that was absent in some of his films-Yamazaki is an idealist in a world full of characters on both sides with seemingly no standards. Yamazaki is caught between the honor he believes is embodied in Kondo Isami and the dishonorable acts he is required to perform as a Shinsengumi member. The moral dilemma at times puts Yamazaki into the role of the 'deer in the headlights', frozen into inaction and confusion-even when his life hangs in the balance. Raizo excelled at roles such as this, even bringing an undercurrent of the 'frustrated idealist' to his most famous film role, nihilistic ronin Nemuri Kyoshiro. Yamazaki's attempts at espionage also bring to mind Raizo's roles as ninja Goemon/Saizo in the Shinobi No Mono series. Fujimura Shiho as Yamazaki's love Shima plays her role effectively, being the picture of Japanese womanhood-feminine, strong, and both supportive and critical as the situation calls for.

For the Shinsengumi's leader Kondo Isami there were few actors better suited for the role than Wakayama Tomisaburo. Kondo tended to let Hijikata Toshizo (his deputy) perform the actual administration of the group while he provided the strong, silent symbol that the group could use as their anchor. Wakiyama's best known for roles in which he has relatively little dialogue and for his precise and vicious swordsmanship, both being attributes that served him well in portraying Kondo. His rather gruff and unpolished appearance also helped define the character, a farmer-turned-samurai. Wakayama (like many chanbara stars) also had a lot of experience playing characters that had lofty ideals but were eminently pragmatic (most notably Ogami Itto from the Lone Wolf and Cub series) and provides the balance between Yamazaki's idealism on the one hand and the ruthlessness of ones like Hijikata and Okita on the other. This is perhaps best seen when he is confronted by Yamazaki over some of the group's acts and delivers his response while staring at the Shinsengumi's battle standard-the flag displaying the kanji for sincerity. His faith and confidence in Yamazaki shows that honor is indeed still alive within the ranks of the Shinsengumi.

Director Misumi Kenji helmed many other violent samurai action films, including entries in the Zatocihi, Shinobi No Mono, Hanzo the Razor, and Lone Wolf and Cub franchises. The fast pace and brutal violence evidenced in these efforts are also on full display in Shinsengumi Chronicles. However, unlike many chanbara directors, Misumi never hesitated to show sword duels for what they were-ugly, chaotic, and bestial. This is best evidenced in the closing minutes of the film where a lingering shot of corpses frozen in awkward positions amongst the post-Ikedaya carnage shows that there's little real glory in killing, even when it's for a greater good-particularly so when it's juxtaposed with the Shinsengumi wearily trodding off. Misumi traces the culture of violence through the development of the Shinsengumi's new members, most notably Yamazaki's aide, young Oshu. Oshu is almost childishly insistent on his wish to become a samurai-someone with status, someone important. When first donning his Shinsengumi 'colors' and thrusting his sword through his sash, Oshu is beaming like a kid getting his first toy-and when first killing a foe, only thinks of how this act will make him a man in the other member's eyes. This has interesting parallels to the mentality of US street gangs-as does the Shinsengumi's insistence that new members be 'tested' by slaying an enemy as soon as possible (or implicate themselves in one of the group's more illegal activities, making it tougher for them to go rouge). The allure and glamor of the gang life is underlined when Oshu buys a woodblock print of a valiant samurai-with that appeal symbolically exposed as false when his blood spills over it in the aftermath of a fight. And as shown towards the end when Yamazaki literally turns his back on Shima (his chance at a normal life) and never looks back, once you're in, you're in for good (that of course being one of the Shinsengumi's rules-no one could quit the group). The heat of the Kyoto summer also played an interesting part in the film-no doubt this was shot in summertime, because all the actors are in a constant sweat. This helped to further infuse their characters with the uncomfortable sense of edginess that summertime temperatures can bring.

Just as it did for another recent release, Samurai Vendetta, Animeigo has included two sets of program notes. One set covers the historical background for the Shinsengumi and provides a general overview of the situation during the Bakumatsu. The other set comprises the standard cultural and film notes. Happily, both are extremely well done and extensive, using solid scholarly books as sources (such as "The Emergence of Meiji Japan", a digest version of volume five of the "Cambridge History of Japan"). Viewers unfamiliar with the history of Japan at that time will find their enjoyment of the film to be greatly enhanced by reading the Shinsengumi set. Other extras include cast and crew bios, a still gallery, the theatrical trailer, and trailers for three other related Animeigo releases (Mifune's "Shinsengumi" and Raizo's "Samurai Vendetta" and "Sleepy Eyes of Death" series). The translations are as good as we've come to expect from Animeigo, including the bonus of a complete translation of the credits (something many companies releasing Asian films fail to do).

Shinsengumi Chronicles is one of the more accurate film portrayals of the historical group. It never hides the excesses or blemishes of its members but never simply writes them off as Shogunate thugs. Despite the infighting, extortion, and treachery the group was often noted for, when it came time to fight for their ideals, they were by and large the most effective and passionate group the Bakufu had to offer (and in many ways not much different from their Imperialist foes). Heroes to some, villains to others, but never boring-and with Raizo and Wakayama, a chanbara hound's delight. You can get a copy of Shinsengumi Chronicles direct from Animeigo or from Amazon through the SA Store.

All images courtesy and copyright 1963 Kadokawa Pictures, Inc

One Arm, One Leg, Two Legends-Animeigo's "Samurai Vendetta"

The story of the 47 Ronin is perhaps the most popular subject for Japanese literature, and almost as popular are the various 'gaiden' dealing with the various members of the group. 'Gaiden' means 'side story' and in this case the efforts of novelists and kabuki playwrights who fictionalized the lives of the Ronin leading up to the assault (and the time after it as well). This applies to Japanese cinema as well-there are dozens, if not hundreds, of 47 Ronin efforts and many of them are gaiden-for example, the excellent 1994 "Chushingura Gaiden Yotsuya Yaidan" that combines the world of the fictional Ronin with the famous "Ghost Of Yotsuya" story. Another would be the film being examined today-Animeigo's DVD release of 1959's "Samurai Vendetta" (Japanese title 'Hakuoki'**, "A Chronicle Of Pale Cherry Blossoms"). Taken from a story by noted novelist Gomi Kosuke, it combines the 47 Ronin with elements of the Tange Sazen story. It also stars two of chanbara's biggest headliners-Ichikawa Raizo and Katsu Shintaro (not to mention one of our favorites, character actor Date Saburo, as one of the film's rotten apples). As a bonus, you'll even get to watch Raizo play virtually two characters-respected Shogunate Inspector and swordmaster Tange Tenzen and the one armed (and later one legged) scruffy ronin Tange Tenzen. Along with Katsu's portrayal of 47 Ronin swordsman Horibe Yasubei, this gives the film one arm, one leg, and two chanbara legends in one of their better films together.

Nakayama Yasubei's not having a good day-he's just found out his uncle has been challenged to a group duel by a rival sword school, and the fight is already underway. Yasubei is hauling ass to the duel when he comes across the procession of Shogunal Inspector Tange Tenzen. Apologizing to Tenzen and requesting an emergency right of way, Yasubei is chugging past the procession when Tenzen notices that the cord Yasubei's used to tie back his loose sleeves is of poor quality, putting him in potential danger. Tenzen attempts to stop Yasubei but the flustered swordsman doesn't understand and continues on his way. Yasubei manages to make it to the fight just in time, but is indeed put at a disadvantage when the cord unravels. A samurai from the crowd throws him a makeshift cord made from his daughter's sash. A concerned Tenzen has followed Yasubei to render aid but seeing that he needs none (and that the enemies are from the same school he trains at), takes his leave. The heavily outnumbered Yasubei manages to clean house and in the process becomes wildly popular in Edo, with crowds of girls following him around and offers of employment from respected daimyo houses being extended.

Meanwhile, the duel has had repercussions for Tenzen-he has been spotted at the fight by other members of his dojo and is accused of being a coward by his fellow students. The accusations fly (after all, why didn't the men who reported Tenzen charge in to save their comrades?) and the situation only defuses when Tenzen is exiled from the dojo. As the master does so to indicate to the opposing school he desires peace, Yasubei's sensei follows suit, exiling him as well. The two cross paths again shortly after this, when Yasubei bails Tenzen out of a tight situation involving an 'honorable dog'. During Shogun Tsunayoshi's reign, dogs and other animals were protected against harm by his 'Laws of Compassion', and killing a dog usually meant death for the offender. Tenzen inadvertently kills one when his sword scabbard breaks as he attempts to defend his bride-to-be Chiharu from a pack of dogs (this scene is hilarious, as it appears dogs are being thrown by stagehands at Raizo from offscreen). Yasubei performs a Noh dance to defuse the suspicions of the 'Dog Hut' patrol (yes, really) and disposes of the carcass. Later, Tenzen returns the favor by stepping in for Yasubei to fight several members of his former sword school that are out looking for revenge. He disfigures five of their number, and the 'five bastards' are now sworn enemies of both men.

Yasubei, not knowing of Chiharu's impending marriage, decides to join the Nagao clan (a vassal of the Uesugi and family to Lord Kira) in order to cozy up to her-but ends up joining the Asano clan as a booby prize when he finds that she has been given to Tenzen. Yasubei is adopted by the samurai who supplied him with a 'sword cord' in the initial fight, changes his family name to Horibe, and is betrothed to the family's 13 year old daughter. Everyone seems content at this point, but it's not to last-the 'five bastards' break into Tenzen's home while he's away, have his wife drugged, and gang rape her. To add further insult, they spread rumors that Chiharu has also been unfaithful with Yasubei in an effort to provoke Tenzen into battling him, taking care of at least one of their foes. Tenzen's in a bind-as a samurai, he can't stay with a wife who's been violated even though he loves her and realizes she's not to blame. She can't be simply cast out, as her shame would compel her to commit suicide. He works up a plan worthy of the scammers in "Hana" and manages to clear her name, and divorces her with a clean record-but pays a heavy price as her angry brother lops off his arm from behind. Like another famous Tange of Japanese film (Tange Sazen), Tenzen is now a one armed swordsman-and eventually, one legged as well. How will he ever be able to track down and exact revenge on the 'five bastards'? What role will Yasubei play here, and where do the 47 Ronin enter the picture? Will Yasubei even make it to the raid on Kira's mansion in this version, and will he have to kill the woman he loves to procure information the Ronin need for the raid's success?

Raizo was a well established star by the time this film came out, with Katsu being substantially less so (his big break would come in two more years with "Shiranui Kengyo", another Animeigo release). For audiences used to seeing Raizo in his signature role as Nemuri Kyoshiro in the so-called 'Sleepy Eyes Of Death' series (yes, another Animego release), it'll come as somewhat of a surprise to see him playing a caring, loving and thoughtful husband. Rather than send Chiharu away in shame (and basically sentencing her to suicide), Tenzen bends over backwards to concoct a fairly ridiculous and risky scheme to clear her name, knowing all the while he will have to give her up anyway. Raizo pulls it off, along with Tenzen's conflict over his honor as a samurai versus his love for his wife. While the final extended swordfight between Tenzen and the 'five bastards' (now down to three) with their allies doesn't quite count as the ultimate exercise in exhausted swordfighting (that would go to Raizo's character in "The Betrayal"), it might be a solid second, with Raizo seemingly returning from the dead several times. Katsu makes an impact in his role as Nakayama/Horibe Yasubei (one of the few of the 47 Ronin that possessed a measure of sword skills), approaching it with an intensity, steadfastness, and seriousness that plays well against Raizo's more romantic character. This is a slimmer, younger, and fitter Katsu than the one seen in Zatocihi and Hanzo the Razor, but his swordplay is still among the best of its day. Maki Chitose plays the role of the duo's love interest Chiharu somewhat differently than the typical 'stoic bushi woman' seen in most samurai dramas. While she's certainly not helpless (interposing herself between Tenzen and her brother's follow up sword attack, and then leaving the family and making her own way in the world), Chiharu is the type of woman who will hold extended conversations with her husband's proxy (a small 'doll festival' groom doll she made as a child) while he is away. She's very sweet, feminine and sentimental, the type of woman most men feel drawn to protect-making the assault upon her even more odious. Her and Tange make for a well matched couple, and this gives their final meeting after the climatic battle increased impact.

Director Mori Kazuo is best known for directing Katsu in many of the "Zatoichi" films along with some of the "Shinobi No Mono" films and Zatoichi's 'predecessor', "Shiranui Kengyo". There are some nice directorial touches-the 'bride and groom' dolls made by Chiharu as a child foreshadow and follow many of the events that happen to her and Tenzen. When Tenzen tests his one-armed sword skills by slicing a sheet of paper into fluttering pieces, the scene transitions to fluttering snow. It's a nice touch how Tange's arm being cut off intersects with Asano's assault on Lord Kira in the Shogun's castle (the incident that sparked the 47 Ronin's revenge)-his palanquin is turned away at the gates of the Shogun's castle when he bleeds on the path the Imperial Envoys will be taking to meet with Asano and Kira (mirrored by Asano's crime of spilling blood in the castle). It's also a wonderful ironic touch that Yasubei, who wanted to join the Uesugi (Kira's relatives), instead joins the Asano clan as a second choice, making him Tange's nominal foe in war and romance. Rather than a typical Daiei film, Samurai Vendetta actually looks more like a film produced by Toei Studios, using the brightly colored studio backdrops and stylized swordfighting they were noted for. Even the soundtrack brings to mind Toei's more sentimental and sweeping scores. Many of the scenes appear to be shot on Toei soundstages and sets-it would be interesting to delve into the production history of the film. Since color films were still somewhat uncommon in Japan, it might simply be that the color was accentuated for its novelty value. It works well at times, such as the slow transition of the background from normal daylight to a sickly purple when Tenzen loses his arm to Chiharu's brother.

As goes without saying (but we'll say it anyway), Animeigo provides a stellar translation and English subtitle options for every level of Japanese proficiency from zero to expert. There's the usual package of extras-the film's Japanese trailer, bios of the major players (stars, director, writers), and a large image gallery of both B/W and color images. The program notes are sort of a Jekyll/Hyde situation this time around. They've been split up into program notes on the 47 Ronin (which Animeigo encourages everyone to read to give background on the film) and general cultural/film notes. The notes on the 47 Ronin were unfortunately based on the information found on Wikipedia. Wikipedia's account in turn was largely taken from James Murdoch's 'History Of Japan', a three volume set written in the early 1900's. Murdoch's account of the Ronin was based on oral legend and puppet plays/novels rather than historical fact. Noted Ronin scholar Professor Henry Smith states that "The Murdoch account is no longer of anything but historiographical use". It gives the LEGEND of the 47 Ronin, but NOT the historical facts. Perhaps this works for the disc, since the story is based on the legend, but the notes are not accurate from a historical standpoint. On the other hand, the cultural/film notes given in the second section are excellent-one of the most extensive and involved sets that Animeigo's done to date.

Samurai Vendetta certainly lives up to its name-there are more vendettas here than can be struck down with a katana. Raizo and Katsu are always welcome and any film with both of them more than deserves a look. Carrying through on the popular Japanese theme of two men being linked by fate, it supplies drama, action, and an interesting take on the 47 Ronin story. You can get "Samurai Vendetta" directly from Animeigo or from Amazon through the SA Store. And it won't cost you an arm and a leg to see these two legends of samurai cinema.

**-note this film has NOTHING in common, story or otherwise, with the 'Hakuoki' anime that's currently knocking them dead in Japan

All photos courtesy and copyright 1959 Kadokawa Pictures

Animeigo's 'The Loyal 47 Ronin' DVD

Animeigo claims their recent DVD release of Daiei’s ‘The Loyal 47 Ronin’ (1958) represents the best and most representative version of the dozens of 47 Ronin films and TV shows that have been released over the years-and it would be hard to argue with them. Produced during the ‘Golden Age’ of Japanese filmmaking, it features a cast loaded with familiar genre names, excellent color cinematography, and the gorgeous sets and costuming one expects from Japanese films of this era.

The film is solidly in the vein of traditional tellings of the 47 Ronin legend as performed in puppet plays, novels, and kabuki theater rather than attempting to portray the history behind the ‘feudal drive-by of lore’ (where the Ronin outnumbered Kira’s sleeping guards 47 to 3). While it’s beyond the scope of this review to detail the substantial differences between the legend and the reality, it shouldn’t diminish the enjoyment of viewers (even though the real story would probably make for a far more complex, multilayered, and entertaining film). For those who aren’t familiar with the legend, it’s the tale of the loyal retainers of a daimyo (Asano Naganori) sentenced to seppuku after he makes the mistake of attacking a corrupt Shogunal Minister Of Protocol (Kira Yoshinaka) inside Edo Castle. When Kira goes unpunished, many of the retainers band together under the leadership of Asano’s Chamberlain, Oishi Kuranosuke, to correct this imbalance of justice and avenge their lord. Director Watanabe Kunio infuses this version with more energy than most, making its central character Oishi a master swordsman who engages in several battles with Kira’s ‘hit squads’ and ninja agents during the course of the film. Kira is even more obnoxious, nasty, and spiteful than usual, and Asano more virtuous, long-suffering, and upright (quite unlike their historical reputations). Oishi’s feigned descent into womanizing and drinking along with several sidestories (mostly fictional and lifted, again, from kabuki and puppet theater) involving the other Ronin take center stage-many of which involve the Ronin trying to keep their composure when public opinion turns on them for not avenging Asano in a timely manner. It seems the entire population of Edo is aware of the ‘secret’ planned raid and continually egg on and encourage the Ronin to punch Kira’s ticket to the Pure Land! The emphasis is squarely on a samurai’s duty to his lord and bushido-all other duties, including those to wives, parents, siblings, children, in-laws, and friends, are shown as inconsequential when measured next to this. In turn, these slighted parties willingly and sometimes enthusiastically accept their fates. We found this approach an interesting contrast to more recent efforts involving the Ronin, such as the episode of ‘Abarenbo Shogun’ that features the single member of the 47 not sentenced to seppuku-Terasaka Kichiemon. In this episode, Terasaka roundly condemns his fellow Ronin and everyone connected to them for bringing so much tragedy and hardship to their families and those left behind. But this was 1958, and tradition was still a strong draw at the box office-The Loyal 47 Ronin was Japan’s highest grossing film for that year. It’s hard to imagine another film doing the ‘samurai honor’ angle better and more effectively. The film is even left on an upbeat note when the Ronin are shown marching with Kira’s head to Asano’s grave at Sengakuji-completely leaving out the not-so-glorious aftermath when they paid for their crimes with their lives.

For most samurai film fans, the big attraction here will be the cast. Genre favorites Ichikawa Raizo and Katsu Shintaro both make appearances and the rest of the cast features equally famous Japanese actors (who just aren’t as well known in the west). For example, Kurosawa regular Shimada Takashi (the leader of the Seven Samurai) has a role as Otake Jubei, the father in law of one of the ronin. Raizo turns in his usual solid, if abbreviated, performance as Asano Takumi-no-kami (Asano here is referred to by his title rather than name). He conveys well the increasing outrage and panic Asano feels while being insulted and fed misinformation by Kira in the course of learning proper etiquette and procedure for receiving the Emperor’s envoy. For those whose image of Katsu is the jovial Zatoichi, he’s almost unrecognizable as Akagaki Genzoemon (Genzo to his pals), one of the leaders of the Ronin who is disowned by his brother after stating that the former Asano retainers have no intention of pursuing vengeance (which, of course, is just a lie to keep the plot secret, although it seems everyone and their brother in the movie are aware of it). But by far the best performance in the film falls to Hasegawa Kazuo, who portrays Oishi. He brings just the right touch of pathos, steadfastness, tragedy, and even comedy to the role. When he commences his ‘cowardly drunken womanizer’ act in Kyoto in an effort to throw Kira’s spies off track, you’ll find yourself hating him even though you know it’s just a ruse. While he isn’t afforded the wonderful stirring pre-raid speech that Oishi usually gets in the live all-day versions of Chushingura, he still manages to dominate every scene he’s in.

As always, Animeigo has done a great job with the translation, packaging, and extras. Among the extras are trailers for Animeigo’s other 47 Ronin film (Ichikawa Kon’s 1994 effort) and one featuring a group that took their visual cue from the Ronin (the Shinsengumi, in Mifune Toshiro’s ‘Shinsengumi: Assassins of Honor’). There’s also an image gallery of b/w and color stills and publicity shots. An extensive cast and crew section gives biographies for the myriad of well known actors along with the director and composer. The historical notes (always a favorite feature of Animeigo releases among SA members) are the most extensive Animeigo has done to date for any DVD. While it regrettably uses Wikipedia’s largely inaccurate account (based on plays and novels rather than history) of Chushingura as a jumping off point, it redeems itself with a large helping of cultural notes and other historical background that explain plot points that might not be readily apparent to a Western audience (such as the significance of Buddhist funerary tablets, worldly and posthumous names, the personal nature of medicine caddies, etc).

With an all-star cast, first rate production values, the definitive version of a classic story, plenty of action, and Animeigo’s attention to the little things that fill out a well-done DVD release, The Loyal 47 Ronin should be on every samurai film buff’s shelf. At nearly three hours, it’s also a good value, being twice as long as the average film. It’s available through most major DVD retailers and also on the SA Store. Watching it will fill your heart with the samurai spirit, and you won’t even have to commit seppuku afterwards!