13 Assassins [2010]

The Shogun’s younger brother is an evil man with hate and cruelty in his heart. When the depth of his evil becomes apparent to a senior government official he hires the samurai Shinzaemon to assassinate him before he can ascend in power. Shinzaemon goes on recruit 11 more samurai for the mission – who are joined on their journey by a hunter – making it the tale of the 13 assassins.

This is a remake of a film of the same name and though I can’t find the original to rent and compare – it seems moot as it’s the exact plot of SEVEN SAMURAI – with the main differences being the number of characters – and the threat is from the government rather than bandits. Let me remind you – Rule #1 – originality is overrated. You’ve seen this movie before – I promise you – but the story is compelling never-the-less.

Given the nature of the heroes of this film are samurai – and samurai are not normally known for being expressive – that leads to what can be perceived as little character development – that perception is mostly reality. This lack of character development though – does not lead to any less desire to wanting to see them succeed with every ounce of your being. The majority of the real character depth is with the villain – and he is such a wonderfully evil villain. With his apparent evil and condescending above the law nature – you wouldn’t care if smurfs were after him – as long as someone was.

The villain’s character development is a major triumph for this film – because if you consider giving 13 characters a personal sense of purpose – goals – motivations – and the like would be exhausting and make the film 4 hours long – much like SEVEN SAMURAI (which is one of my top 5 favorite films of all time – so I’m not knocking it). But if you give the bulk of the character development to the villain – you come to accept the assassins as being in the right even if you don’t know them – and it makes each of their deaths equally sad.

The film – in the cut that was released to Blu-Ray in America is roughly 2 hours – with the final 50 minutes of the film being essentially a bloodbath. Not once through the final battle did I think that it was taking too long or getting boring. I saw it as less of an extended action scene and more of a dramatic scene that kept me engaged throughout. There was no music playing over the bulk of the battle – as to not falsify the emotion and give you the traditional movie triggers to tell you to care. The clangs of the swords, the screams and shouts and the visuals of the mud and blood – was enough to jar me into caring and kind of leave me dumbstruck.

That’s not to say the film was essentially a build up to the action scene – as the assassin’s quest prior to the battle was an interesting story. There wasn’t a cheap scene in the build-up – which is just strong storytelling. The conclusion of the story was extremely satisfying – and even a little bit of a twist that didn’t exactly fit in with the exact nature of the story – but it was pitch perfect to resolve the film (though I interpreted it one way – and considered it the only solution – I guess some could want to believe the other).

For some, I can see how the lack of character development could lead to a lack of recognition while they fought and died muddied and bloodied – but with such beautiful noble samurai deaths – it didn’t phase me. Several of the assassins were given a small bit of this or that that allowed me to recognize them upon their demise – several were not and I didn’t recognize them as being X or Y – but like I said – it didn’t worry me.

I guess I found a few small instances of new technology a tiny bit distracting – but it was used so few and far between that it didn’t impact me that much. I would say for the most part – a lot of old school directing techniques and action sequences helped sell me.

Netflix refused to send this movie to me for a while – though it sat on the top of my rental queue with no wait – which brought up my excitement – and could have easily made the presumptive disparity hard to overcome – but it met and exceeded my expectations. This is not just a renter – but a movie I want to own and kind of wish I didn’t already returned it because I want to watch it again already – I highly recommend it.

* I apologize for lack of pictures – I like to use them to break-up the text – but it appears that once I Googled some up most have been removed due to the US Digital Millennium Copyright Act – which is a shame it’s a visually stunning film and would like to showcase it in my review

Stray Dog [1949]

Set in post WWII Japan - a rookie cop is pickpocketed and loses his gun. He begins a desperate search to find his weapon in fear of what damage it could cause in the wrong hands.

The film unfolds as if it’s meant to be a modern day fable of not allowing the weight of the world crush you – yet there’s a bit a disconnect when it comes to the universal “ah-ha” moment we are meant to feel at the end of a good fable. We are given the “wisdom” of a senior officer – and it basically boils down to “you’ll get over it, kid” – which even though may be true – isn’t as powerful as you’d like for a fable or a movie.

I’ve only really seen Toshiro Mifune in Kurosawa’s samurai films – and could barely recognize the man – but the intensity of his performance was ever present. As he investigates the emotional build up keeps showing itself through Mifune’s face and body language – the guilt he feels – as if this major dishonor to him speaks for the culture of post war Japan.

As he learns of the crimes his missing weapon has been involved in – he is encouraged not to put the weight of the world on his shoulders even though it’s hard not to feel guilt in a situation like this. He must learn in order to deal with his own humanity that it’s the choices that people make that define them – not the mistakes and curves life throws at them. He could have chosen to move on with his life and career – he was given a punishment – but instead he chose to move forward with the investigation and retrieve his weapon because of the character of his being.

Thus again – this would speak as maybe a message from Kurosawa to post war Japan – to not be in shame and use the defeat to lead down the road to bad things – but to learn from the mistakes and grow from out of those lessons.

Actually, as I write this I’m beginning to realize how the fable actually works very well as a message to the society as a whole - though I would’ve liked to see a major “ah-ha” moment – but I guess you can use that ambiguity to say “it’s your move, society”.

As for the film – you’ll find me pretty hard pressed to say that Kurosawa doesn’t know what he’s doing – because he’s as good as a director as have ever been. He keeps the story engaging throughout – uses the composition of his shots, lighting and single continuous shots wonderfully as always.

I had reservations about the story – but after having time to think – it’s quite good – though I realize I’m not always in the mood for ambiguity – I’d recommend it if it sounds interesting.

Bohachi Bushido: Code of the Forgotten Eight [1973]

Despite the fact that notorious assassin Shino rejects the ways of the Bohachi clan – instead of being handed over to the authorities – Shino works as the lead assassin to help the Bohachi clan seize power in the region by eliminating their competition.


I’ve defined pinky violence – as women in the lead aggressor role who assume power over men/authority, which are usually corrupted, by using sex and violence. From the “expert” interview on the DVD – pinky violence is defined as being women’s sexuality enticing men to violence. (The expert was sitting in his basement with fast food wrappers around him – so his credentials have taken a hit by his presentation) So, by either definition this film WAS NOT pinky violence (though it’s marketed as one) – it is a period drama/samurai film – with tons and TONS of nudity.


No complaints about the nudity. None.
I wasn’t enthusiastic about the sets – it looked very studio and fake – but as the film progressed I began to really like how they were being used to add contrast. As the film unfolded – and a psychedelic element was introduced the sets made more sense – and it worked so much better and became something I really liked instead of cringed at. I think the directing was solid – and though the film dragged a bit in parts – the filmmakers knew what they were doing in making a very good film.


I liked Shino – though his character didn’t make as much sense to me. The beginning of the film – he flat out rejected the ways of the Bohachi clan – and I assumed that this is where the main conflict would come from. He would play the clan and the authorities against each other – and it would be Yojimbo / A Fistful of Dollars kind of story. Instead he seemed to go along with the flow of the clan way too much and became less of a strong figure and more of a lapdog. I kept wondering when he’d show his hand – and honestly – I’m not sure if he did.


The main contradiction of Shino – was he tries to kill himself pontificating “If death is hell – how does it compare to the hell that is life?” He is rescued – but is obviously fearless of his own demise. So, why does he care if he’s turned over to the authorities? Isn’t it honorable to die in battle against the many Bohachi or the army of authorities? The film tries to play that he is fearless and that’s what makes him unstoppable – so why bend your morals, Shino? Fucking fight everyone!
The Code of the Forgotten Eight sounds really fucking cool – and you think that Shino will be the last of his clan of eight samurai and he was going to uphold his code all over the Bohachi clan’s asses! You learn pretty early though – that the Bohachi are the ones who have decided to “forget” the eight “virtues” – which essentially boils down that they have allowed themselves to become chauvinist pigs. They freely torture and rape women into submission – and when you think that the women will rise up against them – (especially five women in particular) – they just play submissive to the clan and let them use them to hold power by ruling through their brothels.


Wasn’t that in SCARFACE; once you have the women – then you get the power?


Unfortunately, with Shino becoming the Bohachi’s lapdog – and the mysterious ninja clan not being much of a major factor – and the women happy to be dominated – and a run time of 81 minutes – the film doesn’t hold up to what should’ve been. Meaning – without telling you the ending - there was no real conclusion – there were a few great fight sequences – and a pretty cool “ending” – but there was no sense of justice done or tragically left undone.


I wish this was the first or second film of a series and I can turn to the sequel – and continue the story – as this felt like a solid middle part of a pretty epic story. I recommend this film only hesitantly – for the style, direction, fight sequences and ridiculous amount of nudity – but not for the story.

F is for...

Gonzo doesn't begin to describe this wild women-in-prison film. A mad mix of outrageous exploitation, flamboyant art movie, and energetic comic book, this manga-inspired cult classic is actually the second film in a series, but you hardly need the history. Matsu (Meiko Kaji, of Lady Snowblood fame) is an innocent woman in jail who defies the sadistic warden and brutal guards with silent stares and sudden strikes. Nicknamed "Scorpion" for her lethal, lightning attacks, she is systematically abused, tortured, and humiliated by the vengeful warden (guess why he wears that eye patch), but escapes with a chain gang and leads the cops on a violent chase through the countryside. The doomed "Seven Sinful Women" are systematically cut down by the trigger-happy posse, but not before they take a few with them. Kaji gives a near silent performance as the smoldering Matsu, who stares out from under artfully tousled hair with piercing eyes and spars with her bullying, psychotic cellblock rival. Director Shunya Ito paints his striking set pieces in brilliant colors: an autumnal death scene that turns from restful, leaf-blown orange to a desolate gray in a flash, a blue waterfall that suddenly runs red with blood, an escape down a literal mountain of garbage. Never has exploitation looked so beautiful.

Mastered from a gorgeous widescreen print, the image is sharp and the colors vivid. The subtitles are printed on the film, but in this case they are easy to read and grammatically sound. The DVD also features the theatrical trailer and informative liner notes that chart the series' background history by film programmer and historian Chris D. (synopsis provided by Amazon.com)

directed by Shunya Ito

released 1972

Female Prisoner #701 Scorpion: Beast Stable [1973]

After watching the first Female Prisoner #701 Scorpion film – I wasn’t exactly impressed – I wanted a pinky violence film but got a women-in-prison film. Even though I was disappointed - I really wanted to give the second film - Jailhouse 41 - a try. The only problem with that is the second film is mysteriously out of print – yet the third and fourth films in the series come in a box set along with the first. In the mood for a kind of pinky violence film – I decided to give Beast Stable a shot.

Scorpion (played by Meiko Kaji) is still on the run from the law – ever since her boyfriend a crooked cop set her up in the first film. Beast Stable opens with Scorpion narrowly escaping capture by cutting off a detectives arm after he handcuffs her. Yuki, a prostitute, meets Scorpion as she’s trying to escape the handcuffs – and takes her in. Scorpion goes on to cross a local gangster – while the one armed detective is still searching for her – but little do they know - they don’t want to corner the Scorpion.

This film is fantastic in so many aspects – I’m really kicking myself for not watching it sooner. It’s visually stunning and surreal – but that’s not to say that it doesn’t have a pretty good dose of sleaze, violence and exploitation-like bizarreness. When I say a pretty good dose – I don’t mean over-the-top – it’s fairly low-key when compared to other pinky violence films released by Toei around the same time.

I really liked Meiko Kaji as the Scorpion – first off she’s gorgeous – secondly she’s the lead character but has so few lines - so she has to play the character more with body language and blank facial expressions that blossom when alone (or with Yuki - who I felt there was a developing quiet love story). You also have to take into account that she’s an escapee so she’s also got to blend in and be so subtle about all that she does in public – even though she’s an extremely dangerous person to the people who cross her.

Kaji has the direction of Shunya Ito to thank for really helping pull together a great performance with a great film. Ito uses surreal elements to help provide tension or to help express what the Scorpion has bottled up inside of her. He also uses the composition of the frame and the angle at which he shoots as a way of helping build up the audiences reaction to a particular scene.

I thought it was interesting – that the film dealt with a taboo politically charged topic at one point – that was handled and show in two different ways simultaneously – as to not preach to an audience. In some of the exploitation films I’ve seen – they usually take on a taboo topic head on – and tell you – this is how you should feel and we will be exploiting it as a motive.

That’s not to say the film doesn’t have its flaws – such as how the One Armed Detective connected both Yuki and the Scorpion – maybe I missed something but Yuki never tipped her hand to anyone from what I remember. I thought Yuki’s mentally handicapped brother was a bit over the top – but that’s what an exploitation film is supposed to be (not exploited in a ‘duh-duh’ way mind you).

My only other confusion was I kept expecting the lead gangster’s woman to turn out to be a dude – but I guess she just wasn’t an attractive lady… With biggish hands… And 5 o’clock shadow...

This is a great film – and I think it’s great as part of the series – and would even work as a stand alone film. I’m giving this one a perfect 5 out of 5.

Female Demon Ohyaku [1968]

Ohyaku has been running away from her mother’s shadow for her entire life – but when she meets Shin (a thief planning a huge heist on the mint) – she falls in love and is given the strength to move past that shadow. But when Shin is killed after the heist – Ohyaku has to discover her own strength to gain vengeance on his killers.

Certainly a precursor to what would be known as the pinky violence genre – but still in the range of “pinku”. This film is wonderfully shot in black & white – though it may detract from some more of the scandalous and possibly beautiful aspects of the film (namely Ohyaku’s tattoo – which could come off as quite powerful if shown in full color). This film doesn’t feature any nudity though it features plenty of the over the top violence, sex and torture one comes to expect of the later films in the pinky violence genre.

Directed by Yoshihiro Ishikawa - I give this film a solid 4 out of 5 - for those who might wonder if they pinky violence genre is worth all my talk - it's kind of a pinky-lite - not as garish but just as fun.