Returning to the Lone Wolf and Cub series evokes similar feeling to Outlaw Gangster VIP. Like that yakuza series of the late ‘60s, Lone Wolf and Cub appeared in theatres every few months with a new film not unlike a new episode of a television show. And much like television before the rise of heavily serialised shows that relied on a slowly advancing, overall arc story that required viewers tune in every week or miss out, Lone Wolf and Cub offers pretty much the same content each time. Baby Cart in Peril (1972), the fourth film in the series, is no different. Even allowing that I left the series alone for several months before picking it up again – much as contemporary moviegoers would have seen it back in ‘72 – I found myself looking at a very familiar movie. Ogami (Tomisaburo Wakayama) is hired as an assassin, there’s a beautiful but deadly woman, the assassination subplot weaves around the ongoing Ogami-Yagyu clash, and there’s a gigantic fight at the end in another of Japan’s mysteriously sandy valley locations where they seem to film all the Super Sentai show battles.
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challenge: at the end of the first film in each, 
seen; I knew it better from the voluminous stacks of manga sitting unread in my local comic shop than as a movie series. Unlike some of the films I’ve reviewed here that only received a wider release outside of Japan very recently, 
The directorial debut of Shunya Itō, starring Meiko Kaji, 