Messin’ With The Shogun-Animeigo’s “The Secret of the Urn”

It’s not often one can enjoy the pleasure of seeing the Tokugawa Shogun being taunted face to face by a crazy man who’s also just exposed his closest advisor as a crook AND broken up his formal chanoyu (tea ceremony). Tange Sazen not only does it with style from the top of a towering pagoda, but manages to survive the occasion intact. Well, relatively intact-he’s still missing an arm and eye, and there’s more trouble to come. The self-styled God of Death is still out there somewhere-and Fuji probably needs to put her clothes back on. It seems messin’ with the Shogun is only one of the many pleasures to be found in Animeigo’s new DVD release of Toei Studio’s 1966 “The Secret of the Urn”.

As brought up in Animeigo’s press release, the character of Tange Sazen is to Japan much like the characters Zorro and the Lone Ranger are to the West. Created by Fubo Hayashi (one among many pen names of Hasegawa Kaitarou), he appeared in all sorts of stories that have been adapted dozens of times on the big screen and Japanese television. Some have even featured a female version of the character. And of these, no story has been filmed more than the story of the ‘Million Ryo Pot’-the ‘Earless Monkey Urn’ (as Animeigo’s notes explain, this refers to a pot with broken handles-although the pot in this film obviously never had any). These films usually include Sazen’s ‘support group’-shady singing teacher Fuji, thief Yokichi, and Sazen’s unwanted kid sidekick, Chobiyasu.

Sazen wasn’t always a one eyed, one armed monster-when the film starts, we see him as Tange Samanosuke-a straight laced, clean cut retainer of the Nakamura fief in Oshu. Samanosuke’s been summoned by his superior to the scene of a brutal interrogation. A castle maid has admitted under torture that’s she’s a spy, and that she isn’t the only one. As the best swordsman in the clan, Samanosuke is ordered to kill the remaining enemy agent. This is to be the fateful assignment that transforms him into Tange Sazen-and it’s best experienced without further spoilers. All we’ll say is that Samanosuke should really be more careful about who his friends are…Time passes and we learn that the Shogun is having the Nikko Tosho-gu shrine of the Tokugawa’s ‘founding father’, Ieyasu, refurbished. This is an extremely expensive undertaking and would normally be assigned to a wealthy clan. However, his councilor Guraku advises him to have the Yagyu clan (yes, the same clan that screws over Ogami Itto in the “Lone Wolf and Cub” films) foot the bill. Guraku knows that the clan won’t be able to afford it through normal means and will have to resort to drawing upon their secret horde of a million ryo. The evil councilor intends to steal this for himself and then have the Yagyu disenfranchised by the Shogun for their failure, grabbing their position and status. When informed of their alleged ‘honor’, the Yagyu realize the only way to raise the money is to access the clan’s hidden treasury-which can only be found through the symbols located inside the ‘Earless Monkey Urn’. Yagyu Genzaburo transports the urn to Edo and is set upon by a large group of Guraku’s disguised ninja-not to mention two thieves, Fuji (played by Awaji Keiko) and Yokichi, who have learned about the plot. This results in a spirited game of ‘hot potato’ involving the urn and a running sword battle where none of the three parties is able to keep their hands on the relic-instead, it’s given to Chobiyasu (a young boy sleeping in a boat) by a dying Yagyu samurai with instructions to bring it to the Yagyu in Edo for a reward. A fifth party is introduced into the fray when Chobiyasu runs into an abandoned shack for cover. Pursuing ninja are cut down by the shack’s occupant-Tange Sazen. The contrary Sazen decides that if the urn is getting so much attention, it’s something he wants to hold on to-and when Fuji and Yokichi offer him a quick escape in a boat, he happily accepts.

Of course, Fuji and Yokichi waste no time in trying to get rid of Sazen and acquire the urn for themselves. While Fuji seduces Sazen, Yokichi attempts to spirit the urn away-but he’s foiled by his own clumsiness and stopped by the angry one-armed swordsman. When Fuji pulls a Western pistol on Sazen and demands the urn, he simply uses it as a shield and dares her to shoot-a stalemate, at least until Guraku’s ninja lurking outside decide to crash the party. There’s another running fight, this time across the rooftops, and when the last ninja is dispatched Sazen still has the urn. Seemingly having forgotten his fight with Fuji and Yokichi, he tells them they need a new hideout. Chobiyasu, hoping to get the urn back for himself, follows them to their new lodgings in an abandoned temple taken over by thieves. Here Sazen strikes up a strange friendship with the criminals, winning their trust and support when he gives them a cut of the proceeds when he sells a fake ‘Earless Monkey Urn’ to Guraku. He also settles into a relationship with Fuji, who finds herself attracted to him despite his scarred face and missing limb. However, when Hagino (Sazen’s love from his days as Samanosuke) turns up and recognizes him, Fuji and Sazen have a falling out and she decides to sell the real urn to Guraku. Guraku’s managed to have the Yagyu invited to a formal chanoyu given by the Shogun and ‘requests’ they bring the fabled Earless Monkey Urn (which was a gift given to them by Tokugawa Ieyasu). He knows that not being able to produce a clan treasure gifted to them by the first Tokugawa Shogun will be the final nail in their coffin. Taiken, Guraku’s ninja chief and the self-styled “God of Death”, has also disguised himself as Sazen and killed several Yagyu samurai-focusing the Yagyu’s recovery efforts away from Guraku.

At this point, Sazen is opposed by the forces of the Yagyu and Guraku as well as by Fuji, Yokichi, and Chobiyasu. Legendary Shogunate Magistrate Ooka Echizen has also organized a large force to oppose Sazen, having been warned by Guraku of a planned ‘assassination attempt’ on the Shogun during his tea ceremony (which is just an attempt to set up Sazen when he attempts to recover the urn). Sazen is seemingly readying himself by pounding down sake, distraught over both the appearance of his former love and his argument with Fuji. And the God of Death awaits his turn to cross swords with the one-armed monster. While it doesn’t look like there’s any way this situation can end well for the people that deserve it, it seems that Sazen has a few tricks left up his empty sleeve-not to mention Nakamura Kinnosuke’s badly camouflaged arm.

Star Nakamura Kinnosuke gives the film much of its appeal. Mirroring his award-winning performance in “Bushido: The Cruel Code of the Samurai”, Kinnosuke in essence plays two characters in the film: the steadfast, loyal and dutiful Samanosuke and the wild, disrespectful and violent Tange Sazen. As was the case in “Bushido”, it’s hard to believe it’s the same actor. His Sazen is a real pleasure to watch, with outrageous mugging to the camera and an over-the-top vocal delivery that perfectly captures the essence of the character. Sazen’s insane grin and lifted eyebrow never fail to elicit a laugh as he prepares to go off on his enemies. Animeigo gets our thanks for bringing Kinnosuke to the attention of Western jidaigeki audiences, now taking his rightful place beside the other J-Stars better known here such as Mifune Toshiro, Nakadai Tatsuya, Wakayama Tomisaburo, and Katsu Shintaro. Check out Kinnosuke in other films like “Bushido”, “Musashi”, or in his turn as Ogami Itto in the TV version of “Lone Wolf and Cub” (where, in our opinion, he made a much better Ogami than Wakayama did in the film versions). For our money, Kinnosuke’s the premier figure in the jidaigeki tableau. While other stars could match his intensity, few displayed the type of range he routinely did.

Also interesting in a limited part is Amatsu Bin, whose stern look and commanding physical presence made him a heavy in quite a few films (most notoriously in yakuza films). Often playing a ninja or gangster, Bin is best known for portraying master ninja Fuma Kotaro in the TV series “The Samurai/Shintaro the Samurai”, a series that was to 1960’s Australia what the Batman TV series was to the United States. Here he plays Taiken (while we don’t know what kanji this uses, it can be translated as “Great Sword”), the leader of Guraku’s ninja and Sazen’s deadliest enemy. He styles himself “The God Of Death” (translated as “The Grim Reaper” by Animeigo) and provides the film with one of those Zatoichi/Sanjuro style ‘second endings’. Amatsu provides Sazen with a foe worthy of his sword.

It is somewhat odd seeing director Gosha Hideo directing what was for all intents and purposes a programmer. However, it came fairly early in his directing career and displays much of the humor and light touch seen in his first film, the excellent “Three Outlaw Samurai” (which one would hope Animeigo picks up at some point). Gosha’s films were to become increasingly darker and more serious from this point on with entries such as the two “Samurai Wolf” films, “Goyokin”, “Tenchu”, “The Wolves”, “Hunter In The Dark”, “Onimasa”, and “The Geisha”. Often featuring Tatsuya Nakadai as their star, these films form the basis of Gosha’s reputation in the West (although we tend to prefer his early work). Gosha allows Nakamura to chew the scenery and doesn’t meddle with the proven Tange Sazen formula. His directorial style enhances the film without trying to draw attention to itself-there are many instances of cleverly framed shots (such as shooting the actors through torn shoji screens) and framing (using pillars in the foreground to set Sazen and Fuji apart from the band of thieves). He’s particularly good at setting up running battles, with the four way battle for control of the urn mentioned earlier being the most exciting example. Little touches such as the camera lingering on a shelf stocked with urns lined up in order of descending size before panning down to Sazen (in this case symbolic of how the urn is beginning to lose its importance in Sazen’s mind at the moment) are throwaways to be discovered in repeat viewings.

Comparisons can be made between Sazen and the subject of our last review, Nemuri Kyoshiro from the “Sleepy Eyes of Death” series. While on the surface the black clad Kyoshiro’s cool and detached manner (with a sword style to match) is completely unlike the white clad Sazen’s boisterous personality and frenzied swordplay, underneath there are plenty of similarities. Both Sazen and Kyoshiro display contempt for authority and the two-faced world of the samurai where outrages are routinely excused by a hypocritical code of conduct. Common townsfolk (even those on the ‘wrong side’ of the law) and the rare samurai that does indeed embody the spirit of the warrior are the people these two find worthy of their help. The swordsmen also share some physical characteristics-spiky hair instead of the standard samurai chonmage along with wearing a close fitting simple robe, dispensing with a regular samurai’s hakama and kataginu. Let’s not forget that Ichikawa Raizo (Kyoshiro) also played a one-armed swordsman in "Samurai Vendetta".

As mentioned earlier, this is just one among many films that feature the story of Sazen and the Million Ryo Urn. Out of the eight or so versions we’ve seen (including a 1920’s silent version and an 80’s version featuring Nakadai in the starring role), this is probably our favorite. However, the 1935 version (“Tange Sazen and the Pot Worth One Million Ryo”) holds a special place in our hearts. Largely eschewing the tragic circumstances of Sazen’s situation and the whole ‘noble ronin’ shtick (which does get quite tiresome in jidaigeki at times-we like our ronin evil and the Bakufu good), star Okichi Denjuro portrays a grouchy but ultimately comedic Sazen, making for that rarity-a good samurai comedy that doesn’t rely on farce. Okichi was a huge star in Japan in that era-you might have seen him as Yoshitsune’s pal Benkei, bailing out his lord by faking his way through a recital of “The Subscription List” in Kurosawa Akira’s “The Men Who Tread on the Tiger’s Tail”. The actress playing Fuji in this film (Kiyozo) is an adorable sweetheart as well, and the film has a warm and humanistic feeling much like the recent film “Hana”. It’s sad that the film’s director, Yamanaka Sadao, fell into disfavor with the Japanese government and was shipped off to the Manchurian front where he died at the young age of 28.

Animeigo’s translation is again top notch with viewing options for every level of Japanese proficiency. The translation includes the complete cast and crew from the credits, something that’s rarely seen in releases from other companies. The print looks great with a good depth of color and nice clean sound. Extras include the film’s theatrical trailer, some short bios, and a few stills. The historical notes are interesting but only seem to cover the first third of the film. Since both the Yagyu family and Edo magistrate Ooka Echizen were taken from history (as well as being favored subjects of many other film series and television shows), it’s curious that they weren’t brought up in the notes. One interesting note points out a scene where you can clearly see Sazen’s “severed” arm alive and well. Another extrapolates the value of one million ryo via the going rate of cheap prostitutes!

This film is back-to-basics old-fashioned 60’s chanbara fun with little of the dark tone that Gosha’s later films veered into. Watching a cackling Sazen berate a befuddled Shogun while safely ensconced on top of a pagoda is the closest thing in a Japanese film to the ‘French taunter’ from “Monty Python and the Holy Grail”. The entire film is laced with kinetic energy and a good-natured disrespect of authority. See for yourself how much fun messin’ with the Shogun is. “The Secret of the Urn” is another great vehicle for Nakamura Kinnosuke and a classic chanbara effort from Toei Studios. Pick up a copy of “The Secret of the Urn” at a discount direct from Animeigo HERE or from Amazon through the SA store.

All images copyright and courtesy 1966 Toei Co. Ltd

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

The Mind Is Deadlier Than The Sword-Animeigo’s ‘The Blind Menace’

The image is familiar to any fan of the Zatoichi series-Katsu Shintaro, in his role as a blind masseur, cheerfully massages the back and shoulders of a daimyo’s wife, all the while spouting empty words of flattery. But the familiar image soon goes wrong-the blind masseur begins to deviate from the standard massage into something a bit more…personal. It isn’t long before it escalates into a full fledged sexual assault that leaves the woman a sobbing, humiliated wreck-and for her, the worst is yet to come. Meet Suginoichi, the masseur from Animeigo’s new “The Blind Menace” DVD (Japanese title “Shiranui Kengyo”). As kind and compassionate as Katsu’s Zatoichi character was, that’s how rotten Suginoichi is. And yet, this was the role that was to become the direct inspiration for the Zatoichi film series. Not only is the film interesting for examining the early gestation of Katsu’s portrayal of the blind masseur, but a fascinating film on its own. Suginoichi is startlingly devoid of human compassion. He’s a cold and calculating man who yet is able to function perfectly in society and endear himself to virtually everyone he meets-the perfect sociopathic personality. His victims are completely unaware of what’s in store for them until it’s far too late. Suginoichi is so terrible that even his own murdering lackies think he’s a rotten bastard who needs to die. Most intriguingly, counter to most Edo period jidaigeki, Suginoichi doesn’t need a sword to get what he wants.

The government of the Edo period (like any large bureaucracy) certainly saw more than its share of corruption with offices and titles being bought and sold, bribes dictating the course of policy, and official power being used to line one’s pockets. Abuse by Temple and Shrine officials was made even easier by the fact that they were overseen by a different government ministry than townspeople and samurai and were not under the jurisdiction of the regular police force. There were many instances of temples dabbling in illegal prostitution (as opposed to the legal prostitution of the Yoshiwara and other districts), selling opium and other drugs, and especially in loan sharking. This is the world where Suginoichi finds himself. He’s determined to use whatever means necessary to secure for himself the office of Shiranui Kengyo. The guild of blind masseurs was basically divided into four classes ranging from Kengyo at the top down through Bettou and Koutou to Zato at the bottom (thus making the Zatoichi character at the bottom rung status-wise). The title of Shiranui Kengyo will put Suginoichi at the very top of the guild of blind masseurs, giving him a position of influence and control over not only the lower ranked guild members but associated temples as well. Animeigo states that Shiranui is likely the name of Suginoichi’s master, but it probably would have been a place/temple name-there were several of these historically called Shiranui, and in fact the new bestselling novel ‘The Thousand Autumns Of Jacob DeZoet’ revolves around a Shiranui Shrine. The guild of blind men worked closely with temples and many times the higher ranks exercised a large degree of power over their operation, engineering the illegal activities outlined above.

The film opens with Shichinosuke (Suginoichi as a child) scamming local workmen at a festival, claiming he has ‘dropped a booger’ into a bucket of sake, making it undrinkable-and available for him to take home to his mother for free. We see early on that Suginoichi’s mother is the force that has propelled him down the wrong path, encouraging his behavior and planting in him the desire to become Shiranui Kengyo. His father, a decent and good sort, is virtually ignored by both mother and son. Shichinosuke moves on to bigger scams, using his blindness to gain sympathy and extort money from the wealthy by making it appear as if they are trying to take advantage of him. Years later, Suginoichi wakes from a dream of his childhood days, still accompanied by his feeble minded childhood friend/gopher Tome. Suginoichi hasn’t risen to high office yet-he’s still one of the lower ranked masseurs, but as can be seen by his behavior (arriving late for meetings and talking down to his peers), considers himself to be well above their station. While running an errand for the Shiranui Kengyo, Suginoichi runs across Kanji, a freak show owner doubled over in pain, who lets it slip that he’s carrying a large amount of cash (200 ryo). Suginoichi relieves him of his pain (permanently) and of his cash. Unfortunately for Suginoichi, there’s been a witness-Severed Head Kurakichi. Suginoichi, being a practical man, splits his take with Kurakichi-and also subtly manages to set him up to take the rap when the murder is discovered.

Using his ill gotten gains as seed money for bribes and financing criminal activity, Suginoichi manages to improve his status. However, his climb up the ladder looks like it might be put to a permanent end while visiting a local merchant. Suginoichi has the misfortune to be present when bandits raid the house looking for the merchant’s ready cash. Killing the merchant and his mistress, they advance upon Suginoichi-who recognizes his former partner in crime, Severed Head Kurakichi. He boldly claims that if they kill him they’ll never find the money-but for a large chunk of the take, he’ll tell them where it is hidden. Somewhat taken aback by his effrontery, the bandits agree and before long find themselves working for the evil masseur. Adding insult to injury, Suginoichi invites Okimi (from the household of the slain merchant) to stay with him as his guest. But nothing’s free. Suginoichi tricks Okimi into being alone with him and rapes her, leading to her suicide and his snorting in contempt that her death has nothing to do with him.

With the aid of his new criminal friends, Suginoichi gains yet more power, money, and influence. He’s routinely approached by nobility and members of the samurai class for loans. And there’s nothing Suginoichi likes better than humiliating the higher-ups of society every chance he gets. When he’s approached by Lady Iwai (played by Katsu’s real-life wife Nakamura Tamao), it leads to the scenario outlined in our opening paragraph-and sets into motion a sequence of events that will see Suginoichi gain the coveted office of Shiranui Kengyo and access to the Shogun himself. Along the way there’s more murder, poisonings, and a bit of samurai justice. Suginoichi’s men find that there’s no escaping his control. Secrets from the past are rediscovered and work out just they way they were planned-but with disastrous unanticipated results. In the final sequence, the exalted Suginoichi is in a palanquin on his way to Edo Castle-he’s so powerful that other processions in the street have to make way for him. His wicked ways and masterful manipulation of every person and situation he’s come in contact with have left him at the very top-or so it would seem…

It’s definitely fun to watch Katsu begin to develop the body language and mannerisms that would come to be identified with his Zatoichi character. The subtle tilt of his head to facilitate hearing, the frenzied massage style, the ‘blind man’s duckwalk’, and Zatoichi’s ingratiating patter can all be seen starting out here. Animeigo’s liner notes explain that Katsu, whose career at Daiei Studios was going nowhere, had seen the play Shiranui Kengyo. He thought the Suginoichi part would be a perfect vehicle for him and pitched the idea to the studio. His enthusiasm for the project and immersion into the part convinced Daiei to produce the film, where his energy impressed both director Mori Kazuo and screenwriter Inuzura Minoru. The film proved to be just what Katsu’s career needed, being a big hit. For a follow up, it was decided another blind masseur role would be used-and Inuzura worked on adapting a series of stories featuring a blind masseur who was also a master swordsman-Zatoichi. Inuzura fleshed the character out and with Mori directing many of the early entries, it was to become Katsu’s signature role, resulting in 26 films and 100 episodes of a TV series.

At the same time, it’s just as fun to watch Katsu’s take on a character with no redeeming value-yet one that still manages to come across to his prey as charming and interesting. Unlike most western films, Japanese films have no problem with a lead character that has no sympathetic side whatsoever. This is a man so hard, resentful, and spiteful that he’ll poison his concubine Ohan and her lover-AFTER he hires the lover to construct a chest he intends to use as their coffin. A man who’s so calculatingly practical that he continues to employ his criminal underlings after they had attempted to kill him (an attempt he foresaw and forestalled). Even in one of the film’s few whimsical moments (a fantasy sequence when Suginoichi dreams of the famous concubine Ohan he plans to make his), it’s tempered by the knowledge that Suginoichi sees her as nothing more than property and a status symbol to make others envious-he has no love to spare for her. It seems that there’s no situation Suginoichi can’t smooth over, manipulate, or finesse his way out of, even if he has to ‘die’ to do it. He seems to always anticipate his opponent’s next move and be able to turn every situation to his advantage. Viewers will find themselves strangely looking forward to whatever outrage Suginoichi has planned next. Katsu is masterful, playing to the hilt both Suginoichi’s diabolical core and his smooth, civilized veneer. Katsu’s meltdown at the end when Suginoichi’s excesses begin to catch up with him is a perfect blend of outrage at having been caught, contempt for his captors, and a frenzied belief that there’s still a way out.

As is the norm, Animeigo’s translations are superb, giving listeners multiple options depending on their level of expertise in Japanese. The transfer is solid both from an audio and visual standpoint. Extras for the disc include the original trailer, a small image gallery of black and white stills, short bios of the stars, writer, composer, and director, and program notes. The notes deal mainly with cultural issues and give useful background on the office of kengyo. They also touch on how the film became the jumping-off point for the Zatoichi series. Perhaps the most interesting entry covers Katsu’s marriage to his on-screen co-star, Nakamura Tamao. Katsu was as much of a rogue in real life as on the screen and his long-suffering wife took his womanizing, gambling, drinking, and drug abuse with good humor, even going so far as to thank his mistresses for taking such good care of him (the notes sardonically observe that many men would consider her ‘the perfect wife’). One thing we noticed is that the interactive map that was such an enjoyable part of many recent Animeigo DVDs (Shinobi No Mono, Father of the Kamikaze, The Wolves, Tora-san, etc) hasn’t shown up on their last couple of DVD releases. While “The Blind Menace” doesn’t really require a map (taking place mainly in Edo), the Musashi boxed set would have benefited greatly from one. Hopefully these will be seen in future efforts. The DVD box also features one of the more badass looking covers I’ve seen in quite some time-it almost looks like a horror film.

While Animeigo’s recent boxed sets have been great, it’s good to get a standalone film like this once in a while (with more on the way, like Shintaro/Raizo’s Samurai Vendetta and Raizo’s Shinsengumi Chronicles). It’s interesting to see how two such different characters like Zatoichi and Suginoichi can share the same starting point-not to mention the same actor. There’s no cane sword or lightning chanbara action here-but Suginoichi proves that the most effective weapon is always the human mind. The mind is indeed deadlier than the sword. And when employed for evil, much harder to combat.

You can pick up a copy of ‘The Blind Menace’ directly from Animeigo or from Amazon through the SA Store, and Animeigo also has seven of the Zatoichi films available individually or as a boxed set.

Images courtesy and copyright 1960 Kadokawa Pictures Inc.

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!