Noguchi the Samurai

5.0 out of 5 stars Noguchi the Bully

Noguchi the Samurai

With “Noguchi the Samurai,” author Burt Konzak – an instructor in Zen Buddhism and karate from the University of Toronto – applies some fo the principles of Zen Buddhism and Japanese martial arts to the problem of bullying.

The story is very simple. A passenger ferry is being accosted by a bad-mannered samurai, Noguchi, who is pushing around the other passengers. Also on board is an older, wiser samurai Michihara, who steps up to confront Noguchi by saying that if they will take the boat to a nearby island he will defeat Noguchi without drawing a sword. Once on the island, Noguchi leaps out and draws his sword for battle, while Michihara calmly uses the boatman’s pole to push the boat away stranding Noguchi. As promised, Noguchi has been defeated without a sword drawn. Noguchi calls Michihara a coward, but Michihara responds that he used his wits to defeat Noguchi, and that wits are more powerful than any sword. In his defeat, Noguchi is suddenly reformed, and Michihara lets him back on the boat, saying that “In losing you have won something deeper than the sea.”

The text of “Noguchi the Samurai” is very simple and appropriate for young readers. There are about four to five sentences per page, and the book runs 28 pages in total. Every page is accompanied by a wonderful illustration by Johnny Wales. The pictures are cartoonish, but Wales obviously took great pains to keep the details and costumes period-accurate. Many of the pictures have little surprises hiding in them for the careful viewer.

I like the moral lesson of “Noguchi the Samurai,” quite different to the usual “stand up to bullies.” Instead, out-wit them. I don’t know that Michihara’s tactic would work so well in real life, but it makes for a nice parable.

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Samurai Vendetta

4.0 out of 5 stars Two figures swept up in the tide of honorable vengeance

Samurai Vendetta

“Samurai Vendetta” (Japanese title “Hakuoki” or “The Record of Light Cherry Blossoms”) is a good film, but one with a somewhat high bar of entry. Imagine popping in a flick called “The Adventures of Little John and Will Scarlet” without having ever heard of Robin Hood. Or think of a movie called “The Woes of Wedge Antilles” and how entertaining it would be to someone who isn’t intimately familiar with “Star Wars.” Or even showing Rosencrantz & Guildenstern Are Dead to someone who has never heard of Hamlet.

Because that is basically what “Samurai Vendetta” is all about. The tale of two minor characters swept up in a famous story.

The saga of the 47 Ronin has often been called THE Japanese story. There are a multitude of filmed versions, and the story is re-made anew for every generation. You would be hard pressed to find someone in Japan who was not at least a bit familiar with the basic details. Filmmakers have long sought out fresh stories set against the back-drop of the famous. Because the story is so well-known, they don’t feel the need to give all the details of what is going on, and expect the viewers to fill in the background details with their own knowledge. Animeigo is up-front about this, and one of the first things you will see is a warning that you should watch a few versions of 47 Ronin before watching “Samurai Vendetta.”

In “Samurai Vendetta,” the two minor characters are Nakayama Yasubei (Katsu Shintaro, Zatoichi) and Tange Tenzen (Ichikawa Raizo, Shinobi No Mono). Both are samurai of considerable talent, who respect and like each other but seem to find themselves continually on opposing sides in conflicts. First, Nakayama’s sword fighting school gets into a rivalry with Tenge’s school, and both are expelled as a consequence of Tenge helping Nakayama with a loose belt before the battle. Next, the two men find themselves in love with the same woman. But these petty rivalries they could overlook due to their mutual respect. The conflict of lord verses lord is something they cannot stand aside on. Tenge stands in the service of Lord Kira, while Yasubei joins the 47 Ronin in seeking their vengeance.

The film is directed by Mori Kazuo (who would go on to direct both Katsu and Ichikawa in their respective Zatoichi and Shinobi no Mono series) and carries many of the hallmarks that would appear in his later films. Two warriors meet, become friends, until circumstances set them on opposite sides of a battle. It is a classic story, given weight by the background of the 47 Ronin story. Anyone expecting an action film will be disappointed. Like most films of this genre, the main battles are inner, as the two friends struggle with the conflicts between their emotions and their duty. For every ten minutes of swordplay there is twenty-five minutes of talking and dwelling on fate.

I personally very much enjoyed “Samurai Vendetta.” I am familiar enough with the story of the 47 Ronin that I liked seeing two of the minor characters plucked from the mass of clashing warriors, and having their story told. It puts a personal spin on two otherwise faceless warriors. But I can see how it would be dreary to someone coming to the film cold. If you want to get the most out of this, you are going to have to do your homework.

Interestingly enough, although the Katsu/Ichikawa match-up seems like a clash of the titans, “Samurai Vendetta” was made before either of those two would star in the roles that made them household words. Even though this is a color film, “Samurai Vendetta” is from 1959, with the first “Zatoichi” and “Shinobi no Mono” films appearing in 1962.

Sengoku Basara – Season One

5.0 out of 5 stars Over the Top Samurai Action!

Sengoku Basara: Samurai Kings – The Complete Series

“Basara” is one of those hard-to-translate Japanese words. It is thought to have its roots in the Sanscrit word for diamond, but the word has changed meaning over the years to something entirely different. Historically, it refers to a period of time in Medieval Japan, called the Namboku-cho period, when the Imperial court was split between the North and South courts each struggling for legitimacy. With Imperial control weakened, the common populace of Japan went topsy-turvy, rapidly developing an outrageous fashion sense full of bright fabrics and make-up and extravagant costumes normally forbidden by law. Think of the Roaring 20s with flappers or the Zoot Suits of the 1930s and 40s.

The Basara fashion was officially outlawed during the Sengoku period when the lords began to re-exercise military control over the populace. But the word has survived to the modern day for any over-the-top extravagant display of excess, like in the Basara Matsuri of Nara city.

Which brings us to “Sengoku Basara.” The anime perfectly captures the feel of basara, that over-the-top extravagant display of excess, but this time imprinted over the main warlords of the Sengoku warring states period. (The irony here is that it was those same warlords who put an end to basara…).

Based on the Sengoku Basara video game series, the anime brings to the battle the opposing armies of Takeda Shingen, Uesugi Kenshin, Tokugawa Ieyasu, and Oda Nobunaga, each of them vying for control of Japan. The names are about the only thing these characters have in common with the historical figures. Takeda Shingen is the “Tiger of Kai,” with a fierce red headdress and the ability to leap high into the air and come crashing down with his massive spear. He rides his horse standing on the back of the saddle. His right-hand man, Sanada Yukimura, is also a red-clad leaper with two spears capable of tossing soldiers aside like a leaf-blower plowing through dry autumn foliage.

Even with all the superpowers flying around, you might think that “Sengoku Basara” is going to stay somewhat historical. You are wrong. When Tokugawa Ieyasu brings forth his greatest general, Honda Tadakatsu, he doesn’t come riding in on a horse, but flying through a plasma-fueled jetpack and with a massive drill for an arm. At that point you know; all bets are off.

I loved “Segoku Basara.” It is that great kind of shut-off-your-brain anime that delivers action and intrigue and comedy and pathos and some really great characters. Basing the series on historical events got me huffing at first, but I realized historical accuracy is far away from the point of the series and I just told my thinking brain to shut up and had a great time.

The first few episodes are rapid-fire action, but things eventually calm down to get to some deeper personal conflict and characterization. The series has a nice balance between the quite episodes and the loud ones. And with “Samurai Basara,” the loud episodes are really, really loud.

This release from Funimation has the complete First Season, with thirteen episodes on two DVDs. Season Two brings in the one person obviously missing from “Sengoku Basara,” Toyotomi Hideyoshi. I will definitely be there for the fireworks to start.

Zatoichi: The Festival of Fire

 
5.0 out of 5 stars Blind Man’s Bluff

Zatoichi 21 – The Festival of Fire

 
In a series as long as Zatoichi (26 films in total) you are bound to have some hits and misses. By any standards “Zatoichi: The Festival of Fire” (Japanese title: “Zatoichi abare-himatsur” or “Zatoich: The Raging Fire Festival”) is a full-fledged home run.

First, let’s talk about that cast. Aside from Zatoichi himself, Katsu Shintaro, you have the amazing actor Nakadai Tatsuya (Harakiri, The Sword of Doom), the flamboyant Peter (best known as the jester Kyoami in Ran, or the voice of Rem in Death Note II: The Last Name) and making his final film appearance Mori Masayuki (Ugetsu, Bushido, The Bad Sleep Well). Back in the director’s chair is original “Zatoichi” director Misumi Kenji (The Tale of Zatoichi). That is some serious talent coming together for a “Zatoichi” flick.

Plot-wise, it is a classic set up. Zatoichi rescues a beautiful young woman who has fallen on hard times and was forced to sell herself. Her jealous ex-husband however, (Nakadai) follows her killing anyone who has touched her, finally killing the woman herself. He thinks that Zatoichi is one of his wife’s purchasers, and so dedicates himself to slaying the blind masseur. Zatoichi, on the other hand, has other things going on when he comes across the promotion ceremony for a new yakuza boss and promptly inserts himself. The boss (Mori) is a blind man like Zatoichi himself, and serves as Zatoichi’s opposite, immune to his usual tricks. Complicating matters even further is a young pimp (Peter) looking to get himself in good with the mob boss while still remaining essentially a pure heart. As you can guess, swords are drawn, alliances are created and broken, friends become enemies and enemies friends, and Zatoichi’s cane sword will run red with blood before the final credits roll.

There is lots of good stuff going on in “Zatoichi: Festival of Fire.” Nakadai’s character is almost a re-play of “Sword of Doom,” a man so dead inside he kills without joy or remorse. His desire to kill Zatoichi is not based on revenge or passion, as he has killed too many over his wife’s betrayal. Being the last on his list, Zatoichi is all that keeps him going, and he knows when he has struck the blind man down the next act will be to take his own life. Mori is a classic character as well, charming and sensitive on the surface but hiding a black heart. Being blind himself, he is immune to Zatoichi’s tricks, as he shows them when the two set down to gamble at dice.

Animeigo has done their usual top notch job with this release. Not a lot of extras or anything, but they have the best subtitles available for Japanese films, and always treat every movie with respect and care. “Zatoichi: Festival of Fire” is also available as part of the Zatoichi – The Blind Swordsman DVD Collector’s Edition Box.

Ooku: The Inner Chamber Volume 4

5.0 out of 5 stars The Rise of the Female Shogun

Ôoku: The Inner Chambers, Vol. 4 (Ooku: the Inner Chambers)

Volume 4 continues Fumi Yoshinaga’s brilliant historical fantasy “Ooku: The Inner Chamber.” A speculative gender-reversal of Japan’s Tokugawa-era society, three out of four males have been killed by a disease known as the Red Pox leaving no choice but for the women to take over, with a resulting upheaval of gender politics.

In Volume 4, we see the final assumption of power for the women of the Shogunate. Out of necessity, women have stepped into leadership roles of nobility and power, although they are forced to adopt male names and titles in order to reinforce the temporary nature of their promotions. Once the male population recovers, the women will be expected to step down and surrender control of the country back to the men as is proper. The first female Shogun even adopts the name of her father, Tokugawa Iemitsu to show that she is merely a stand-in for the true ruler with no identify of her own. Anyone expecting a female ruler to be more compassionate is quickly disillusioned however, as one of her first acts is to eliminate a hundred of the “useless samurai” hanging about the palace and imprisoning them in the Yoshiwara pleasure district to serve as prostitutes for the overwhelming female population.

There is a vast passage of time in Volume 4 as opposed to Volume 2 and Volume 3. Instead of the personal story of Arikoto and Iemitsu, this story covers the lives of three women Shoguns, and the slow transition between the period when women rulers were thought to be a temporary stop-gap measure to when the concept of male-dominance exists only as a legend.

It is interesting how Yoshinaga deals with the female-dominated society, and probably shows something of her own inclinations. While the women are strong and become secure in their positions of power, they never adopt male clothing and remain in their elegant kimonos and extravagant ornaments. Lesbian relationships are not even hinted at, which would be strange considering the female-to-male population ratio. Sons are considered the treasure of a household, but they are swapped and traded like breed-stallions amongst the peasant populace who cannot afford to buy the “seed” available at the Yoshiwara. While the women maintain political power and toil in the fields, they do not become warriors nor do the men become domestic workers. One of the most brutal concepts introduced is that of the “Secret Swain” who is chose as the first to penetrate any new Shogun, but is immediately executed the next morning. By pure biology, this encounter must result in injury to the Shogun which is an unforgivable offense and thus the execution.

Yoshinaga does a good job threading real history with her fantasy. Allthough obviously the events here never happened, the series is as almost well-researched as The Times of Botchan which is the Gold Standard for period manga. The costumes are accurate as are the names. The English translation is done in a “Shakespeare-style” of “Thees and Thous” which reflects the court language of the time.

Also, like all the volumes in the series “Ooku: The Inner Chamber Volume 4″ is tagged with a “Parental Advisory: Explicit Content” label which does the series a disservice. There is no “explicit content” here whatsoever, unless you are talking about mature themes. There is some sex, but no nudity. And although the author is well-known for her yaoi materials, there is nothing of that here.

The end of Volume 4 seems to be setting up for another longer story arc, with this one serving as a bridge between the two stories. Yoshinaga is producing only a volume a year, so we have to be patient for the completion of a story but for a comic this good I don’t mind.

Red Hot Chili Samurai Volume 2

3.0 out of 5 stars No spice

Red Hot Chili Samurai Volume 2 (Kokaku Detective Story)

There are plenty of manga series that start off slow and pick up with the second volume. The first volume may be little more for a pilot, introducing the characters and laying out the tone and pacing without diving too much into the ongoing story. “Red Hot Chili Samurai” is not one of those manga.

The first volume was well-drawn but plagued with issues of convoluted story-telling, lack of clear plot, and lame gimmicks taken from other series. Author Katagiri didn’t seem to have much more than the idea of mixing the basic plot of the popular TV samurai drama “Mito Komen” with the cast of Samurai Champloo, and throwing in a chili-eating gag because as he says “there were so many characters eating sweets I figured a chili-eating character might be a good change of pace.”

All of these same problems are still here in volume two. The story barely continues over from the first volume other than having the same characters. The chili-eating Kokaku Sento is having ethical issues with his teammate Ento over whether or not they should be killing. Ento thinks that carrying a sword means having to kill, whereas Kokaku relies on his crane-tattoo to put the fear of the lord into his assailants without having to kill them. From there the itinerant hatamoto Shikki-sama comes back into Kokaku’s life, tracking down the son of a lord who has fled to live the simple life of a fisherman. At some point in time, Kokaku rides around on a motorcycle, created by the boy genius Tsumugi, everyone goes hunting for a cat and a potential assassin whose face looks like an ukiyo-e print, and Kokaku and Shikki get into a dance competition.

I have gotten more used to Katagiri’s angular faces and spiky hair, and the art on “Red Hot Chili Samurai” is improved. Katagiri draws a mean fight scene, with his characters exploding at each other rather than just facing off. He also has a way with kimonos and period ware which add to the over all style.

The problem is that although he is a good artist, Katagiri lacks storytelling skills. His panels are a convoluted maze, and there are floating dialog balloons attached to no one in particular so it is hard to keep track of who is talking to whom. Some attempt at character development is made, but it quickly fades to business as ususal. Kokaku goes through a minor crisis of confidence swiftly to be replaced by a full-page spread of him slipping his kimono off his shoulder to expose his tattoo and dropping his tagline “because I am the hero.”

It is series like this that make me wish there were more writer/author combinations in Japanese comics. Katagiri has all the drawing skills necessary to pull of a fun action-orientated adventure, but he can’t seem to be able to plot out a story or to write more than “cool scenes” that get everyone into combat as soon as possible.

Maybe things will pick up with the third volume, but so far the odds don’t look good.

Blind Menace

5.0 out of 5 stars The Mirror-Universe Zatoichi

Blind Menace (Sub)

The blind masseur Sugino-ichi is just like the blind masseur Zato-ichi, with a subtle difference. While both roles are played by legendary actor Katsu Shintaro, when Zatoichi comes upon a woman in need, he immediately sets forth on a crusade to lift her from her plight with no thought of reward for himself. When Suginoichi comes upon a woman in need, however, he rapes her and the discards her into the street, maybe have a chuckle later when he hears how the woman killed herself, saying that it wasn’t such a big deal she needed to die over it.

“Blind Menace” (Japanese title: “Shiranui kengyo”) is the evil twin of the long-running “Zatoichi” series. The film could almost be seen as some sort of twisted parody of Zatoichi were it not for the fact that “Blind Menace” pre-dates the first “Zatoichi” film by two years. It makes you wonder what director or producer saw Katsu in this film and thought “he does that blind bit really good but maybe if the character was a kind vagrant wanderer rather than a rapist and a murderer we might have something here…”

From the opening scenes of “Blind Menace,” we see that Suginoichi was just born bad. He spends his childhood using his blindness to scam people out of money, and he doesn’t grow up any better. As a student of the Shiranui Kengyo (Kengyo being the highest official rank of blind masseur, able to work on the shogun and royal family, the descending ranks being betto”, “koto”, and “zato.”), Suginoichi would still rather get ahead by graft than by craft. He has set his sights on assuming the Kengyo’s rank and position, but would rather have it now rather than suffer through the years required to earn the position. When one of Suginoichi’s casual murders is overseen by career criminal who goes by the name “Severed Head,” an uneasy partnership is forged between the two as Suginoichi uses his massage clients to glean private secrets that Severed Head and his gang can take advantage of. Suginoichi’s greed is not contained by petty evils, however, and he plots to murder the current Kengyo, his master, something which even Severed Head balks at.

Although “Blind Menace” is going to constantly be compared to Zatoichi (and justifiably so, as Katsu clearly used the same mannerisms, facial expressions and style of movement to portray both blind characters) it does stand on its own as a dark and interesting film with a villain as its protagonist. Suginoichi is truly a despicable character, who performs some vile scams that managed to shock me more than fifty years after its release. There is one scene in particular that I don’t want to spoil, but it is a rare gem of villainy that Suginoichi concocts.

Director Mori Kazuo would go on to direct a few entries in the Zatoichi series, including the The Tale of Zatoichi Continues and Zatoichi at Large, one of the most acclaimed Zatoichi films. He does good work here in “Blind Menace,” managing to keep the tone light when Suginoichi is doing his charming best and then suddenly shift to a darker tone as Suginoichi’s true face is revealed.

“Zatoichi” fans might be a little shocked with “Blind Menace” do to the sexual violence and despicable nature of the usually loveable Katsu Shintaro. However, anyone who has seen Katsu’s other films, like the Hanzo the Razor series that Katsu produced himself, will be less shocked at seeing Katsu in this kind of role.

Animeigo has put together a solid release of “Blind Menace,” along with their usual fantastic job with the subtitles (really, the do the best Japanese subtitling in the business) along with program notes, a trailer and cast and crew biographies.

Ultimate Samurai Miyamoto Musashi

5.0 out of 5 stars Finally released in the US!!!

Ultimate Samurai Miyamoto Musashi (5pc) (Coll)

Ask an American samurai-film fan about legendary swordsman Miyamoto Musashi (The Lone Samurai: The Life of Miyamoto Musashi) on film, and they will probably think of Inagaki Hiroshi’s Samurai Trilogy staring Mifune Toshiro. Ask the same thing to a Japanese samurai-film fan, and they will most likely think of this series, the five-film series by Uchida Tomo and staring Nakamura Kinnosuke (Portrait of Hell). Both are adaptations of Yoshikawa Eiji’s famous novel Musashi, but in Japan the Uchida/Nakamura version is by far the more famous.

While I love the Mifune Toshiro, in Inagaki’s trilogy it is hard to separate the actor from the role, and it is much more “Mifune as Musashi” than Nakamura’s performance here. Over the five films, Nakamura develops the character of Musashi from the wild beast of his youth to the sage warrior who duels on Ganryu island. Nakamura was a kabuki actor who transferred over to film, and his acting style is more nuanced than Mifune’s energetic performance.

Uchida’s “Miyamoto Musashi” follows Yoshikawa’s novel faithfully, from Takezo and Matahachi’s survival at the Battle of Sekigahara, to Takezo returning alone to their home villiage and romance with Matahachi’s fiancé Otsu. After three years of study, the wild Takezo is transformed into the educated warrior Miyamoto Musashi and sets out to test himself against the great fighters of Japan. Lurking in the background is Sasaki Kojiro, who watches Musashi’s development as a sword fighter and who waits patiently for Musashi to refine his craft until the two face off at there famous duel at Ganryu Island.

This set contains all five films in Uchida’s Miyamoto Musashi

Miyamoto Musashi – The wild youth of Takezo, who would become Musashi, and his relationship with Otsu, the former fiancé of this best friend Matahatchi, and who would be the love of Musashi’s life

Duel at Hannya Hill – After devoting three years to study, Musashi’s first test of his new skills is against the swordsmen of the Yoshioka Dojo and the spearmen of Hozo’in Temple.

Birth of the Nito-ryu Style – Musashi’s next target is a duel with the famous sword master Yagyu Sekishusai, which leads to the creation of Musashi’s renowned two-sword technique.

Duel at Ichijyo-Temple – Musashi’s ongoing fued with the Yoshioka Dojo comes to a conclusion when he must face off against all seventy-three of its members.

Duel at Ganryu Island – Finally, the most famous duel in Japanese history plays out again on screen as Musashi stands against Sasaki Kojiro and his massive sword, the Drying Pole.

Animeigo has put out a beautiful collection of these five important films. (Although I have come to the conclusion that Animeigo can’t help but put out a beautiful collection, because their standards are so high!). The five films are packed in space-saving slim cases, and extras include commentary by Stuart Galbraith IV (The Emperor and the Wolf: The Lives and Films of Akira Kurosawa and Toshiro Mifune) on the first film, and program notes and trailers for all films.

Red Hot Chili Samurai Volume 1

3.0 out of 5 stars Mild at best

With that hot cover and awesome title, the anticipation was high for “Red Hot Chili Samurai.” (Japanese title “Kokaku Torimonocho” or “Kokaku’s Samurai Detective Story”) I am a fan of food that tips the top of the Scofield scale myself, but unfortunately this comic has more of the piquancy of a pimento than a raging Scotch Bonnet.

In the author’s note in the back, Yoshiisugu Katagiri admits that “Red Hot Chili Samurai” started off as a gimmick and little else. He was contacted by a new magazine called “Beans Ace” about doing a series, and quickly came up with a period samurai piece similar to the long-running and popular “Mito Komen” television series. If you aren’t familiar with that show, it follows a basic pattern of retired Vice-shogunTokugawa Mitsukuni and his two samurai companions roaming Japan in disguise looking for injustice. They usually get into fights with some local ruffian, which finishes with Mitsukuni revealing the seal of the Shogun that shows them as official protectors of justice.

Yoshitsugu used that basic story-pattern for his series, and in order to give his character a unique identifiable characteristic had him eat hot chili peppers. The only reason for this is that Yoshitsugu noticed a preponderance of sweets-eating heroes, like L from L, Change the World, and figured a spicy-food eating hero might be a change of pace.

It is obvious from the start that there was no real story-plan for “Red Hot Chili Samurai” other than the opening gimmick. The episodes were released as a couple of one-shot stories for the magazine, with the chance of a continuing feature being based on popularity. The stories follow the same basic patter of Mito Komen, with Kokaku Sento and his companions Inaba Ento, Mimasaka Ran and Shou infiltrating some den of vice then start slashing away from the inside. When the battle is over, Kokaku slides his kimono off his shoulder to reveal his crane-mark tattoo revealing that he is the heir of Hanshu and thus a hero. Rinse and repeat.

The biggest problem with “Red Hot Chili Samurai” is the lack of any cohesiveness in the story. Yoshiitsuga is clearly just making it up as he goes along, without any clear objective or story for his characters. He pulls influences from wherever he can, as is clear in the Samurai Champloo -like pairing of a rough wild fighter (Kokaku) with a bespeckled and studious warrior (Ento) and a spunky and cute girl (Ran). Later, two other cast members are added in the form of Shikki, an aristocratic and uptight military man who is the opposite of Kokaku, and Tsumugi, a child inventor who adds further randomness to the series by creating Polaroid cameras and radio-controlled cars in Edo period Japan.

The artwork is nice, although nothing to rival that brilliant cover. I did find the storytelling too choppy, and the book jumps from panel to panel without much transition or focus on story continuity. All of the faces are all harsh angles and spiky hair, although Yoshiitsugu does have a way with patterns, especially on the kimonos.

This first issue is not a total lost and there is some potential here. When Kokaku goes undercover as a prostitute it is pretty funny, although there is no explanation why he chose that particular route of infiltration other than it makes for good comedy. Towards the end of the book, a storyline seems to be coming together, and it might just be that the author has hit his stride with the characters and that volume two will be an improvement.

Sleepy Eyes of Death: Collector’s Set, Vol. 1

Sleepy Eyes of Death: Collector’s Set, Vol. 1

5.0 out of 5 stars The Cold-eyed Killer

Ichikawa Raizo is one of the few Japanese jidai geki actors to star in two successful and long-lasting series. Katsu Shintaro was Zatoichi, and his brother Wakayama Tomisaburo was Lone Wolf and Cub, but only Ichikawa was both the earnest ninja from the Shinobi No Mono series, as well as the stone-faced nihilist known as Nemuri Kyoshiro, known in translation as “The Sleepy Eyes of Death.”

Ichikawa’s film series is actually the second attempt at creating films from Shibata Renzaburo’s 1956 “Nemuri Kyoshio” (“Sleepy Kyoshiro” in English) novels. The Toho-produced series staring Tsuruta Koji lasted only for three films from 1956-58. The novels were later “re-booted” in 1963 with actor Ichikawa Raizo, and those are the sleepy eyes we know and love.

Although the character of the “Super Samurai” appears constantly in Japanese film, Ichikawa’s Nemuri Kyoshio is cut from a distinctly different and darker cloth. Shintaro’s Zatoichi is quick to deal out death to wrong-doers, but his kindly nature and inability to wind up with the girl at the end of the movie puts him more in the league of Tora-San that in Ichikawa’s dark hero. By contrast, in the third film in this boxset, “Full Circle Killing”, Nemuri Kyoshiro cruely rapes a girl, and then spends some part of the film defending himself from her attempts to get revenge. Definitely not one of the good guys.

The series grows with each adventure, with the first few films being enjoyable but not ground-breaking, and then with the fourth film literally all hell breaking loose. Nemuri Kyoshiro’s story is revealed, being born of a Christian priest who fell from grace and raped a Japanese woman during a Black Mass to Satan, he is a man who has been cursed from birth. The effects pump up a notch in number four as well, with his “Full Circle Cut” technique suddenly drawing psychedelic tracers in the air instead of the bland circle from the first three films. Number four in this set will give you a good taste of what is to come.

Ichikawa’s death from cancer at the young age of 37 cut short the “Nemuri Kyoshiro” series, although he still managed to make twelve films, the last of which was finished with the use of a stand in. Daiei films tried to continue the series with a different actor, Matsukata Hiroki, but by then the sleepy-eyed killer had become permanently associated with Ichikawa Raizo, and no substitutes would be accepted.

The four films in this set are:

“The Chinese Jade” (“Nemuri Kyoshiro: Sappocho” or “The Murder Scroll”) – Based on actual history, the smuggler Zeniya Gohei and Lord Maeda both attempt to recruit Nemuri Kyoshiro in a desperate battle to recover a statue of Chinese jade. Inside the statue is a slip of paper showing the relationship between the Lord and the smuggler, which could spell the doom for Lord Maeda and his million-koku estate. The Kyoshiro in this first is much more of an idealist than the cold-hearted killer of the later series, and it is interesting to watch his progression. One a special note Wakayama Tomisaburo pops up here as a Chinese Shaolin monk Chen Sun who wants to pit his hand-to-hand skills against Kyoshiro’s Full Moon Cut.

“Sword of Adventure” (Nemuri Kyoshiro: Shobu” or “Match Game”) – The political theme of the series starts here, as Kyoshiro finds himself entangled with officers of the Shogun, specifically the Minister of Finance’s attempts to reform the currency system, and the Princess Taka who sees those reforms as a threat to her extravagant lifestyle. Kyoshiro befriends the old minister, which makes him a target to the Princesses plots.

“Full Circle Killing” (“Nemuri Kyoshiro: Mangetsu Kiri” or “Full-Moon Cut”) – Kyoshiro is again at odds with the Shogun, specifically his illegitimate son Katagiri Takayuki, whose mother has slowly been killing off all of the Shogun’s sons in order to assure Takayuki’s ascension. Takayuki desires Kyoshiro’s rare Musou Masamune sword, and Kyoshiro desires Takayuki’s pretty fiancé. Both men are more than willing to take what they want by force. Wakayama Tomisaburo reappears here as Chen Sun, although sporting a ridiculous pompadour for some reason.

“Sword of Seduction” (“Nemuri Kyoshiro: Joyoken” or “Seducing Sword”) – This one is the best of the boxset, when Kyoshiro comes into contact with a group of Hidden Christians who have knowledge of his birth. They beg him to protect a woman, known as the “Virgin Shima,” and who the group claims is a blood-relative of Kyoshiro. From here, the idealistic Kyoshiro of the first series is dead, and the sleepy-eyed killer mercilessly beheads Christian priests and cuts down unarmed nuns in cold blood.

Animeigo has shepherded “The Sleepy Eyes of Death” series since the days of VHS and then Laserdisc. The series appearance on DVD has been highly anticipated, and Animeigo has not let us down. All four disks are conveniently packaged in a folding box, and it is hard to believe that this much awesomeness takes up so little room on your shelf. As always, the subtitles are impeccable, with your choice of yellow or white, and a few other options such as “expanded subtitles” which offer cultural notes along with the dialog. There are also an interactive map of Japan, extensive production notes and a booklet with excerpts by Patrick Galloway who wrote Stray Dogs & Lone Wolves: The Samurai Film Handbook.

I can’t wait until the next boxset is released!

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