film

Rapid Fire Reviews #13 What I’ve been watching this year

2021 isn’t even two (full) months old yet and it already feels like it’s hellbent on telling 2020 to “hold it’s beer” based solely on the way it’s gone so far. So while things haven’t exactly been the *immediate* reversal of fortune that we’re all hoping for- there’s always more movies to pour down our eyeballs! So far this year I’ve been indulging in repeat viewings of older films, watching at least one new film, and returning to my mining of the South Korean New Wave that began in the 2000’s and has been consistently enthralling ever since. There were a few weeks where I went on another Noir binge, and it was glorious. Hopefully this directs you towards another new favorite, a thought provoking experience, or at least an entertaining way to absorb an afternoon while ignoring the outside world. Cheers, and welcome to 2021, the sequel we never wanted, but got anyways!

One Night in Miami (2020)

Written by Kemp Powers, based on the play also by Powers, and directed by Regina King, “One Night in Miami” is a theoretical film based on the question, “What if Malcolm X, Muhammad Ali, Jim Brown, and Sam Cooke were all friends and came together for a night in Miami? How would that unfold?“. The answer to that question is quite the story. The beginning of the film establishes each major character experiencing failure, or a loss, something that shakes their confidence. The young Cassius Clay (Eli Goree) comes quite close to losing a boxing match at Wembley Stadium in London while Sam Cooke (Leslie Odom Jr.) the soulful singer, experiences one of the worst sets he’s ever had for an old and cold all white audience in New York City’s Copacabana nightclub. Jim Brown (Aldis Hodge), the star NFL player, returns home to Georgia on which lies a vast plantation. Everything seems cordial enough between Brown and family friend Mr. Carlton (Beau Bridges), that is until Mr. Carlton casually reveals some deep-seated racism that rattles Brown. Then there’s Malcolm X (Kingsley Ben-Adir). At this point in his life, he’s become uncharacteristically paranoid about a cornerstone of his cause in life, The Nation of Islam, as he tells his wife of his plans to leave the group. Fast forward several months later to 1964 where all four men have landed in Miami for Clay’s title bout against Sonny Liston. Thus we have set the stage and from there the performances, and subtly exquisite camerwork, take center stage as these four legendary personalities laugh together, yell at each other, debate each other thoroughly and thoughtfully, and fully splay out the emotional range of good and lasting characterwork. I was blown away by this one. Personally, I was really only aware of Malcolm X and Cassius Clay, aka Muhammad Ali, but the choice of all four men was inspired in my opinion. This is an actor’s movie, as noted before there is some good clever camerwork, and excellent scripting, but it’s the performances I will remember most, each actor brought something memorable and unique to their role and did their due diligence in recreating the larger than life personas. This is an excellent film, and I sincerely hope you give it a watch.

Chinatown (1974)

Written by Robert Towne and directed by Roman Polanski, “Chinatown” is one of the best neo-noirs of all time, with possibly the best script in the business. This film is immaculate in its execution, and if you’re a student of cinema, it’s required viewing. Jack Nicholson stars as J. J. “Jake” Gittes, a private investigator who stumbles upon a bizarre case that constantly ratchets up the intrigue and mystery at every opportunity. If you somehow haven’t seen this one yet, I’ll refrain from spoiling things, but just know that this film comes with my highest recommendation. It’s a biting, cynical, and staggering neo-noir that stands tall in American cinema’s past. Jake’s given a case early on in the film to investigate a potential affair between a married couple, as the first scene in the movie establishes, this is a common practice for private eyes. After he tails the husband, Hollis Mulwray (Darrell Zwerling), around town and takes notes on his activities, Jake believes he has enough evidence and brings the story to the newspapers, which ruins the man. However, after the story has been released, the real wife, Evelyn Mulwray (Faye Dunaway), arrives at Jake’s office informing the private eye that he can expect a lawsuit. Obviously, things are not as they seem. Gittes retraces Hollis’ steps and activities until he comes across several incongruities, like the fact that despite there being a drought in Los Angeles, Hollis was drowned. Curious. There’s so much more to the film and the layers of storytelling that are hiding in plain sight are grotesque, and gloriously rewarding as an audience member. Highly recommended.

*This is not meant to glorify Roman Polanski in any way shape or form. If you don’t know what he did, google it. I’m just here to discuss films.*

The Third Man (1949)

Written by Graham Greene and directed by Carol Reed, “The Third Man” is one of the finest noirs to have come from the golden age of cinema. If you’re inclined to see all of Orson Welles performances, or curious about the genre of Noirs across the board, or even just wanting to widen those international film credentials, you can’t go wrong on any of those counts with this film. Speaking of Welles, there’s a dual casting here that is one of the finest choices of cinema’s earlier eras. Joseph Cotten stars as the lead, Holly Martins, an American author of paperback Westerns who gets caught up in the crimes and mysterious nature of his old friend from their shared youth, Harry Lime (Orson Welles). Joseph Cotten and Orson Welles had worked together since the days of the Mercury Theater in New York City, since the “War of the Worlds” radio broadcast and “Citizen Kane” onward! They were longtime friends and coworkers and the fact that this film is essentially about the death of nostalgia, about the morality of doing what’s right despite your personal attachments, well that’s just brilliant emotional manipulation if you know the story of the two. The film takes place in post-war Vienna with the city being split up between the allied nations, the Americans, British, French, and Soviets. Much of the city is still in ruins and seems like it could all crumble into dust at a moments notice. Martins arrives in Vienna as he’s been given notice that his good friend Harry Lime has died, hit by a car in the street. After the funeral Martins gets acquainted in town, he’s also questioned particularly intently by Major Calloway (Trevor Howard) a member of the British Royal Military Police whom Martins mockingly calls ‘Callahan’ throughout the film. After Martins questions a couple locals who have stories that are inconsistent with the “official” details, he decides to stick around and see what comes of it. The film makes some truly unique choices, particularly for the soundtrack. The whole soundtrack is performed by one man and one instrument, the Zither played by Anton Karas. If you don’t know what that is, picture the American cartoon, “Spongebob Squarepants”. Strange right? Well, especially in the first season of that cartoon, background music was usually performed by someone with a Zither. In fact, when I was watching this film, one of my roommates returned home and had walked in from the back where he could hear the Zither music and commented before entering the living room that “Oh hey, you’re watching Spongebob?” and he was quite surprised to see a black and white noir in its place. Anyways, the cinematography and lighting also hold fascinating calibrated choices like shooting Vienna, mostly, in extreme Dutch angles, especially once the footchases of the last half of the film begin. The lighting maintains an expressionist quality that creates an atmosphere that envelopes you into the mystery as the film goes on. The back half of the film is where the best cinematography lives in my opinion. The manhunt for Harry Lime in the streets and sewers of Vienna with seemingly hundreds of pursuers feels like a fever dream. A fuller analysis of the film may be required later on at some point, but for now, trust me, it’s pretty great. Highly recommended.

Le Doulos “The Informant” (1962)

I’ve already reviewed this film on the blog but I recently picked up a physical copy and gave a it a rewatch. The first time around I remember feeling somewhat engaged and entertained, but much like my first viewing of “The Hateful Eight”, I wasn’t extremely into it based on the morality of the characters (Ironically, “Eight” is now one of my favorite Tarantino movies). Granted, now that it’s been almost exactly a year since that initial watch and review (linked below this for reference), I knew the twists that were coming, and instead got lost in how the film works perfectly at making you assume one set of events is taking place, when in reality you’re only seeing bits and pieces of the truth. I was paying much more attention this time around to the camera movements and character work on display. I hadn’t even noticed the eight and a half minute one-take shot of Silien (Jean-Paul Belmondo) being interoggated by cops that expertly displays Melville’s skill at mise en scène. This may be my favorite non-American Noir, it’s one that I will be returning to anytime a lampost glows in the fog, or when shadowy figures fade into obscuring darkness. It’s an excellent movie and I highly recommend giving it a watch!

https://spacecortezwrites.com/2020/02/20/old-school-review-le-doulos-1962/

Le Silence de la Mer “The Silence of the Sea” (1949)

Written by Jean-Pierre Melville, adapted from the short story by Vercors, and directed by Melville, “Le Silence de la Mer” is the story of an uncle (Jean-Marie Robain) and his niece (Nicole Stéphane) who must oblige an S.S. Nazi officer, Werner von Ebrennac (Howard Vernon), while under their occupation in Paris, 1941. Having seen many of Melville’s other later films, I anticipated the origins of his style that’s all over the later Noir films- but this being his first film, it was quite different from those. While Melville would often adapt literature for his films, this one was a unique choice because this story was one that was frequently passed around by French Resistance members during the occupation, and it was penned by an infamous French author known only by the pseudonym “Vercors”. As Melville was also a member of the Free French Forces during the war, he was an informed choice to say the least. Upon Werner von Ebrennac’s arrival, both L’oncle and La nièce agree to live as though he had never arrived. A vow of silence between them. Which is a really fascinating choice because of how it affects the S.S. officer over the course of the film. He considers himself an intellectual after all. He’s well read, a lover of the Parisian arts, and a firm believer in Germany’s cause- that is until he finds evidence of the cruelty being committed against the Jews, and it breaks something inside of him. It’s a unique film regarding the Nazi occupation of Paris, and I highly recommend giving it a watch.

Les Enfants Terribles “The Strange Ones” (1950)

Written by Jean Cocteau, adapted from Cocteau’s own novel, and directed by Jean-pierre Melville, “Les Enfants Terribles” is, as the translation of the title would indicate, a strange one. Nicole Stéphane returns after the incredible “Le Silence de la Mer” to play Elisabeth, one half of the film’s focus. It’s almost as if Melville offered her the role due to “the niece” only having a handful of lines in his first movie, as this role is the exact opposite in tone. Paul (Edouard Dermithe) and Elizabeth are indeed strange, they spend most of their time in their room with each other inventing all sorts of mind games, pranks, and a full on display of Freudian psychology at work. Elisabeth (and her brother for that matter) are constantly talking almost for the entire runtime. The two are always talking over each other, at each other, and against anyone unfortunate enough to dare walk into their den of treachery and incestuous entanglement. Yes, it’s that kind of movie. It’s uncomfortable and weird, but hey, if you’re a Melville purist, it IS worth a watch for the camerawork at the very least. Out of all Melville’s films that I’ve seen so far, this one was the hardest to sit through. Not recommended.

L’aîné des Ferchaux “Magnet of Doom” (1963)

Written and directed by Jean-Pierre Melville, based on the novel by Georges Simenon, “Magnet of Doom” is a road movie of sorts that has it’s merits, but was ultimately one of Melville’s lesser films for me. The film can be painstakingly slow at times, and while that’s a criticism that could be leveled at most of Melville’s work if you’re an impatient film watcher, I always felt as though his other films could get away with it purely out of their inherent mystery, intrigue, and atmosphere. This films stars Jean-Paul Belmondo, who always makes interesting choices as an actor, and Charles Vanel, a prominent French actor and director who appeared in over 200 films during his 76 year career. In the film, Belmondo plays Michel Maudet, a failed Boxer who’s broke and penniless looking for work. Which just so happens to be perfectly timed for the role of personal secretary for Dieudonné Ferchaux (Vanel) a senior executive of a large bank in Paris whose criminal past has come back to haunt him. Thus he’s in a rush to ensconce to South America by way of North America. So Michel’s hired on the spot and they fly out to New York, with Michel leaving his girlfriend behind without telling her goodbye, or even acknowledging her. Both men seem to be of dubious morals. The two just need to make a stop at Ferchaux’s New York City bank to withdraw the rest of his funds and then off to Venezuela! Obviously, it’s not going to be that easy. The bank can’t move that much money immediately so Ferchaux gets antsy and they decide to drive to New Orleans in the meantime where they will have the money wired to them, not wise to stick around for an extradition when you know it’s coming. Thus we get an American road trip with these two prominent French actors of their time. The movie has value in how the audience is given an outsider’s perspective on American culture, scenery, and variety of lifestyles. The film also pays homage to “Citizen Kane”, “The Set Up”, and the road movie genre overall. When it ended with one character nonchalantly disregarding the dying words of the other, I was almost glad it was over. That might seem harsh, but this one did not engage me as much as I would have expected from seeing many of Melville’s other films. Not entirely recommended.

Mother (2009)

Written by Eun-kyo Park and Bong Joon Ho, from a story by Bong Joon Ho, and directed by Bong Joon Ho, “Mother” is a superbly deceptive thriller that toys with your expectations in brilliant fashion. In a town near the countryside in South Korea, a watchful Mother (Hye-ja Kim) runs a small herb shop while keeping her adult son, Yoon Do-joon (Won Bin), safe and out of trouble as much as possible. Do-joon isn’t exactly ‘all there’ when it comes to mental capacity though, which is exactly how he ends up getting wrapped up in a murder mystery as the main suspect. He’s obviously taken advantage of by the local police who seem pre-occupied with moving on to their next case rather than doing the hard investigative work to find the real killer of Moon Ah-jeong (Hee-ra Mun), an exceptionally unlucky young schoolgirl. With the local police content with their passive scapegoat who signed his own confession early on citing, “Well, if I really did it, shouldn’t I be held responsible?” Thus once our titular Mother feels she has exhausted all legal and formal methods of uncovering the truth, she sets out on her own to solve the murder mystery and absolve her son of his alleged crimes. I’ve seen several of Bong Joon Ho’s films now, and while I’ve generally enjoyed his work, this is the only film besides “Parasite” (https://spacecortezwrites.com/2020/01/30/review-parasite/) that has struck me so profoundly. I still have yet to see “Memories of Murder”, which is considerably harder to track down in physical form than his more recent films (Fret not, a physical edition from the Criterion Collection is on the way! https://www.slashfilm.com/memories-of-murder-re-release/ ), but this is far closer in tone and quality to “Parasite” than his work with American actors in “Snowpiercer” and “Okja”- both of which were enjoyable and solid films, though this rises above them. Highly recommended.

I Saw The Devil (2010)

Written by Hoon-jung Park and directed by Jee-woon Kim, “I Saw The Devil” is an extremely violent revenge tale that masterfully tackles genre sensibilities with a mind for the consequences of revenge and what it does to body, mind, and soul. This film was recommended to me as a “South Korean revenge movie” and while that may have been accurate at base level, because it certainly IS about revenge, it’s also so much more than that. I did not expect this movie to grip me so viscerally. I have to say right away that if you are not a fan of bloody violence, of eye-covering, wincing-while-watching violence, this one may not be for you. Admittedly, I’ve never been a fan of that sort of thing unless it’s gloriously over the top in it’s depiction of violence, like what Quentin Tarantino does for example, or even in something as ludicrous as “Dead Alive”. Though, even I got through it because it was that engaging. That being said, the story of eye-for-an-eye violence here is eerily captivating. So, without ruining the plot for you, this movie primarily follows two men and their subsequent feud through grief, hatred, and a callous disregard for life, family, and everything that makes us human. Jang Kyung-chul (Choi Min-sik) is our villain, and you’ll know why almost immediately once the movie begins. He’s a murderous serial killer with brutal efficiency who performs disgusting rituals with his victims. His luck begins to change one day when he captures and kills the fiance of Kim Soo-hyeon (Lee Byung-Hun), an extremely capable security agent of sorts. Once he begins to track down Jang Kyung-chul, he, along with his deceased fiance’s father (who just so happens to be the Chief of Police in their area), decide not to outright kill the man but to make him suffer unspeakable pain. From there the film boomerangs between the power struggle of both men, each of whom gets increasingly more vile with their violent crusade against each other. It’s intense, bloody, and despite it’s genre trappings it actually does have something to say about revenge and what it does to us. Definitely recommended!

*If during your read of this edition of the Rapid Fire Reviews you thought to yourself “Wow, there’s a lot of old French movies in this one.” That’s because I was in the midst of reading “Jean-Pierre Melville: an American in Paris” by Ginette Vincendeau and writing a review of the book for another website called http://www.filmsfatale.com which I highly encourage you to seek out! My Melville piece should be up soon, but I’ve also already begun my writing over there with the article “What if: Jim Carrey and Adam Sandler Were in a Movie Together?” (https://www.filmsfatale.com/blog/2021/1/29/what-if-jim-carrey-and-adam-sandler-were-in-a-movie-together?rq=Adam%20Sandler) I’ll still be writing here in my free time, but give Films Fatale a look, they’ve got many, many, excellent articles and interviews on the site, check it out!

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Old School Review: Francis Ford Coppola’s “The Conversation” (1974)

Written and directed by Francis Ford Coppola, “The Conversation” is a paranoia-thriller surrounding a man within the surveillance industry, released fittingly during the height of the Watergate Crisis. The private surveillant in question is Harry Caul (Gene Hackman), and we first encounter him in the field, covertly recording audio of a conversation between a young couple (Frederic Forrest and Cindy Williams) out for a walk. The two seem innocuous enough as they circle through the crowded plaza, we only get bits and pieces of their conversation as Harry and his small team use a variety of methods to capture their exchange. This film has a simple, but taught, premise and while it may be a slow burn as far as the pacing of the story unfolding- it is one wrought with tension, analysis, and questioning. It’s also a small miracle that this film is as good as it is because it was made and released inbetween Coppola’s first two “Godfather” films!

After Harry begins to analyze the audio back in his lab alongside his partner in the business, Stan (John Cazale), he uncovers a possible motive for his client wanting this information- with deadly implications. As a private, small time, surveillant Harry rarely knows intimate knowledge of who he’s tracking or why somebody wants them to be followed. He only knows the target and any knowledge relevant to getting information out of them through stealth and carefully applied technologies. As things escalate Harry finds himself between two sides of some high level corporate espionage, driven to prevent the murder of the young couple he was hired to tail. Harry Caul is an interesting character, especially for Gene Hackman after winning the Best Actor Oscar in “The French Connection” just two years prior. Here Hackman turns in Detective “Popeye” Doyle’s bombastic grit for a more measured and inward determination within Harry Caul. Harry’s a quieter detective, one whose problems are more internalized than Doyle’s.

Which leads me to the only real crux of an issue that I have with the film. After visiting a surveillance convention and meeting up with several acquaintances, Harry brings them back to his lab for a social drink. Up until this point in the film Harry has exhibited a very careful and fairly paranoid persona, he doesn’t let people into his life and he hides his secrets well. He’s even known by the others at the convention to be a shrewd businessman by making his own tech and never sharing his blueprints or prototypes to anyone. So, why has he invited a group of people to his working lab where his audio reels and secretive methods are hidden? After some deliberation, I’ve come to the conclusion that there are a couple beats and one earlier scene that showcase how conflicted Harry Caul really is when it comes to social interactions and the nature of his relationship with intimacy. He seems to be a character that craves camaraderie and attention, but he also seems incapable of cultivating it in his own life. This character flaw is the only reason that I can fathom as to why he would loosen his standards so far as to let an unknown woman close to him and his secrets- which she takes full advantage of. Other than this scene, the movie feels flawless in Coppola’s hands- and most of it is as far as I can tell.

“The Conversation” is an excellently poised film within Coppola’s 1970’s filmography. Squeezed inbetween his first two “Godfather” films and followed up by “Apocalypse Now” in 1979, this was an excellent decade for the director. Rarely do I recommend a film based on it’s technical aspects- but even if the plot or performances didn’t catch your eye then maybe the audio and editing skill on display will, they’re absolutely fantastic for the film’s time. As a plus, a pre-Star Wars Harrison Ford makes an appearance as a villainous corporate underling! What’s not to love about that?

Final Score: 1 Mime

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Old School Review: The “Lone Wolf and Cub” Film Series (1972-1974)

Recently I began watching a Samurai film series from Japan made in the early 1970’s called “Lone Wolf and Cub” based on the hugely popular Manga of the same name. I’ve been slowly wading into the popular Samurai genre of Japanese films for a little while now. I started, as most Americans do, with Akira Kurosawa in “Yojimbo” and “Sanjuro”, before plunging into the famed director’s sword brandishing epic “Seven Samurai”. From there I found “The Sword of Doom” partly because that’s a great title- but also because it starred Tatsuya Nakadai (Who gave memorable character appearances in both Yojimbo and Sanjuro) as the lead, with the legendary Toshirô Mifune as a revered master swordsman in a minor, but powerful, role. All of these films have reviews here on this blog, and they left me wanting to discover more! One day after seeing a few reputable cinephiles on twitter take note that the series had landed on the Criterion Collection’s streaming service, I knew I had to check it out. It must seem as though I’m plugging this streaming service all the time- but it is only because I often find films there that I cannot find anywhere else, and as a student of the medium- I always need to see more movies. Always.

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Rather than go through each film and review them individually, it made more sense to sum up the series as a whole and what made it great. Though, for your convenience I’ve listed each film’s title and year of release below this piece. Throughout these six films the most singular and significant factor that makes them stand out from the rest of the genre is the fact that Itto Ogami (Tomisaburo Wakayama) roams the vast Japanese countryside with his infant son, Daigoro (Akihiro Tomikawa) by his side. In the beginning of the first film, we see Ogami in his role as the shōgun’s executioner, mercilessly cutting down an incredibly young daimyō (Essentially a Lord in the feudal sense, a form of royalty within Japan’s Edo period. Forgive me if this is inaccurate, I’m only going by slight internet research and how this role is depicted within the films). This is important as it sets this world of cinema apart as a particularly brutal one, not even children can escape with their lives. It also serves as the assumed revenge for Ogami’s wife who was killed by three ninjas afterwards. It’s a bit more complicated than that, but it boils down to the “Shadow” Yagyū Clan framing Ittō for treason and subsequently taking over his executioner’s post. Ogami quickly gathers his son Daigoro and offers the toddler a choice to avoid the hardships of their uncertain future by death or to join his father “On the Demon path to Hell”. Which is, essentially, to wander as assassins-for-hire as they seek vengeance by hunting down all members and known associates of the Yagyū Clan. Obviously, Daigoro accepts the ronin lifestyle.

Holy Mother of Violence!

The hook of the series, for me anyway, is the absolutely insane graphic violence that is on display throughout these films. I’m fairly certain that there isn’t a film in the bunch that doesn’t have at least five severed limbs from anyone foolhardy enough to challenge Ogami. From the candy-cane red blood that sprays from the Wolf’s victims to the inventive and bizarre ways in which he has outfitted Daigoro’s baby cart for maximum carnage- the series is fundamentally soaked in blood and corpses. The villains that seek to destroy Ogami and Daigoro get cartoonishly creative with their various techniques as the films progress. From hiding in walls and stone barriers to literally writhing through the dirt and snow to pursue the Lone Wolf and Cub- these enemies can seem unending at times, though we as the audience know that Ogami’s mastery of his Suiō-ryū swordsmanship is unparalled! These films could be categorized under exploitation within the Samurai genre, and there is plenty to be said about the snap-zooms and bad guys giving whole monologues with swords jammed in their skulls, but there’s enough artistry beyond pure shock and awe that propels these films into a category all their own. What other films series so values extreme bloodletting alongside such strong familial bonds?

Silence and the poetic nature it instills

The use of sound in these films is uncannily serene at times. Depending on the scene, these films can have either a melodic score to accompany Ogami strolling with Daigoro’s baby cart, or a jazzy upbeat tempo to fit the pace. Don’t get me wrong, I love the scenes when the 1970’s funk kicks in to accompany Ogami’s blending of bad guys, but if you’re paying attention you’ll begin to notice the times that have the least noise weigh the most thematically. Below this article I’ve left a link to a video analysis of how these films utilize silence effectively, and I urge you to check it out. Often when Ogami is stoically seated at altars and shrines, the score takes a beat or two back to meditate and breathe inbetween the chaotic fight scenes. The best use of silence in each film, in my opinion, is at the beginning of Ogami’s one-on-one duels with the central villain of the film. Upon drawing swords, each warrior takes his or her stance and waits, calculating, taking only slow measured movements. It is the calm before the storm. It heightens the tension from some of the sillier one-versus-many scenes’ over the top violence and allows a moment of uncertainty to slip in. Who will strike first? Will Ogami come away unscathed? Or will he finally meet his match? The films often put a lot of technical precision, craft, and care into their fight scenes with excellent choreography, but the biggest diversion from this tactic in the series lies in the third film “Baby cart to Hades”. It’s a far slower film than the rest and focuses more on the ulterior dimensions of the warrior spirit within Ogami. Deep within the second act Ogami is forced to endure a ridiculous amount of torture that would make Mel Gibson proud. Through his restraint and self control, he defeats his enemies. These things help to elevate the film series beyond it’s grindhouse attractions.

Cinematography

From thick wooded forests to sweeping sand dunes and even snow topped mountains, the “Lone Wolf and Cub” movies put a heavy emphasis on the locations that our two assassins travel through. Visually, location is front and center where the camera is concerned. Each film does it a bit differently, but whether through differing camera techniques or inventive framing, there is always a sense that the world these characters inhabit is fully realized, if a bit fantastical. I particularly appreciate any scenes that immerse themselves in mood or when depth of landscape is considered. The fight scenes themselves are constructed for the most visceral and eye-popping blood splatter, and it’s a joy to see Ogami take on literal armies of opponents at times. Throughout all the spraying blood, dubiously performed monologues, and patient wanderings through varying landscapes, the cinematographers of these films have thoroughly earned their place in celluloid history.

The Elephant in the room…

While these films are highly entertaining and culturally significant, we must take a moment to acknowledge the sexual acts of violence against women. I am no scholar of Japanese society, especially of any time period or place, but these films do depict several instances where women are taken advantage of. Maybe it’s more off-putting as an American because what we’re shown is a bit more explicit than our legacy of films, at least in the portrayal of the sexual assault. The films explicitly exist in the pulpy and exploitative arena of cinema- so I feel that it’s just wise to know that these scenes exist and could put some viewers off from watching the rest of the films. Though, to be fair, Ogami is never the perpetrator of these violent sexual acts, the villains here tend to be the worst of society. So, maybe making them out to be monsters of every variety was the intention to get audiences on board with Ogami’s particularly violent dispatching of such vile men? So, it can get ugly at times, but, hey people are a mixed bag themselves right? If you can get past these instances of vulgarity, then I would highly recommend giving these films a watch!

Final Score: 6 films, 6 circles of Hell

*Below I’ve listed a couple links to more information on these films that I quite enjoyed and found to be rather informative. If you want to know more about these films, check it out!

https://www.criterion.com/current/posts/4287-samurai-and-son-the-lone-wolf-and-cub-saga

Sword of Vengeance(1972)

Baby Cart at the River Styx(1972)

Baby Cart to Hades (1972)

Baby Cart in Peril(1972)

Baby Cart in the Land of Demons(1973)

White Heaven in Hell(1974)