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.
It’s been far too long since I last updated Kino 893. Part of it is being swamped at my day job since one of my colleagues left in a hurry to greener pastures, and part of it is I simply haven’t been watching enough Japanese films to review! However, I just posted my take on Hideaki Anno and Shinji Higuchi’s Shin Godzilla (2016) and I’ve got Baby Cart in Peril, the next instalment of the Lone Wolf and Cub series, lined up. Hopefully I’ll maintain this as its not like I’m short of content to review – along with the remaining two Lone Wolf and Cub episodes there’s Last Days of the Boss to close out New Battles Without Honour and Humanity and the final Female Prisoner Scorpion movie, #701’s Grudge Song. Plus, Arrow Films have kept me in good stead by releasing a steady stream of Seijun Suzuki’s early films. Between the first two volumes, I’ve got no less than 10 of his early works to get through! Depending on how well each stands alone, I might review those as complete sets rather than individual movies.
A little while ago I posted my thoughts on the predictably dull Hollywood remake of Ghost in the Shell. Along with actual Japanese cinema, I still plan on hitting remakes and other films with ties to Japanese culture – so I feel like I can’t avoid watching Netflix’s The Outsider, a yakuza movie inexplicably starring Jared Leto (although Tokyo Vice author and frequent reporter on all things yakuza Jake Adelstein, whose opinion I greatly respect, writes that “as much as [he] expected to hate the movie, [he] didn’t”). I also picked up the 1974, Sydney Pollack-directed The Yakuza. Roughly contemporaneous with Battles Without Honour and Humanity (and close behind the success of The Godfather) I’m interested to see how ’70s America saw Japanese gangsters.
Away from Japanese cinema, I enjoyed a ‘Cartel season’, checking out a slew of movies revolving around South American drug cartels. Sicario, Savages, Clear and Present Danger stood out among a few more peripherally related movies. I still want to check out Soderbergh’s Traffic, which seemed to be highly-regarded as ‘the’ Cartel movie until Sicario, and a couple of documentaries like Cartel Land and Narco Cultura. The whole thing was spurred on by the dull yet oddly compelling Ozark, when after the first season I wanted to watch something similar – and after having already seen Breaking Bad, which Ozark shamelessly borrows from, needed to branch out. So far, Sicario is the stand out for its beautiful cinematography and damning indictment of both sides in the War on Drugs, and I wonder if the soon-to-be-released Sicario 2: Soldado will actually be any good.
Beyond a slew of Netflix movies (including Mute, Annihilation, and The Cloverfield Paradox) I haven’t been keeping up with 2018 cinema. I did manage to catch Black Panther, though, and you can listen to my review over on the This Gen, Last Gen podcast. This week marks the release of Avengers: Infinity War and I, for one, am far too excited!
My experiences with the first two Lone Wolf and Cub movies didn’t fill me with excitement for the remaining four films in Criterion’s box set. I don’t regret watching them, but I was starting to regret owning the collection – all the more reason to be sad Amazon was shuttering its LoveFilm rental service. And yet! Lone Wolf and Cub: Baby Cart to Hades (1972) performs the nigh impossible task of course-correcting from the previous films, with drastically improved cinematography and fight scenes, as well as more interesting character interactions. While still by no means a perfect film, it took me by surprise, and reinvigorated my interest in the series.
In this second instalment of the cult Lone Wolf and Cub, Itto Ogami (Tomisaburo Wakayama) and infant son Daigoro take on a Shogunate plot to steal a region’s indigo dye techniques, do battle with a legion of ninjas and plenty of sword maidens, and spray buckets of luminously-red blood. It’s Lone Wolf and Cub: Baby Cart at the River Styx (1972)! When I reviewed the first film in the series, I wrote how deeply disappointed I was; it was not the vital action classic I was imagining. Does the sequel manage to right those wrongs?
Lone Wolf and Cub was always one of those series that I knew existed, but had never 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, Lone Wolf and Cub: Sword of Vengeance (1972) did actually get an international release back in the 1970s, but it’s probably better known under the title Shogun Assassin from 1980. That film, a dubbed re-edit of the first two films in the Lone Wolf and Cub series, apparently only uses 11 minutes of footage from Sword of Vengeance. After watching it, I can guess why, and only hope the rest of the series – presented by Criterion in a wonderfully illustrated six-film set – offers some rapid improvement.