When it comes to period exploitation films of the 1970s, one name looms large – Kazuo Koike. A prolific mangaka, Koike also moved into writing screenplays for the various adaptations of his manga including the much loved Lady Snowblood and an original series in the form of Hanzo the Razor. Lone Wolf and Cub was one of his earliest successes, published between 1970 and 1976 the series spanned 28 volumes and was quickly turned into a movie franchise following the usual pattern of the time which saw six instalments released from 1972 to 1974. Martial arts specialist Tomisaburo Wakayama starred as the ill fated “Lone Wolf”, Ogami, in each of the theatrical movies as the former shogun executioner fights to clear his name and get revenge on the people who framed him for treason and murdered his wife, all with his adorable little son ensconced in a bamboo cart.
The first instalment in the series, Sword of Vengeance (子連れ狼 子を貸し腕貸しつかまつる, Kozure Okami: Kowokashi Udekashi Tsukamatsuru), begins with Itto Ogami’s fall from grace when he’s framed by a rival clan, Yagyu, who have their eyes on his family’s historical position as the Shogun’s official “executioner”. In fact, when we first meet Ogami he’s in the middle of an unusual job – he’s to be the “second” in the seppuku of a noble lord, only this noble lord is a toddler whom Ogami must behead (the child will obviously be spared the horror of cutting his own stomach, but not excused the execution). Returning home after completing his grim task with seemingly no reaction at all, Ogami embraces his own young son, not so different in age from the boy whose head he just removed, and talks warmly with his wife who describes to him an ominous nightmare she’s been having in which some of the lords Ogami has been the second for come back for revenge.
Though Ogami decries his wife’s fears as ridiculous, his house is indeed raided, his wife killed and a tablet bearing the Shogun’s crest placed on his memorial altar neatly incriminating him for plotting against his master. Ogami manages to defeat the Yagyu clan members who’ve been sent to arrest him and sets off on a quest for vengeance, wandering the land as a swordsman for hire with his little son, Daigoro, also apparently for rent too.
Despite his cool exterior and lack of outward expression, Ogami is clearly attached to his son both as the head of his clan and as a father. In deciding what to do with the child, he gives Daigoro a simple test in which he positions a sword and a ball on the floor and instructs his infant son to choose one, even knowing that he can’t understand well enough to make anything other than an instinctual choice. Had he chosen the ball, Ogami would have sent him to meet his mother but Daigoro chooses the way of the sword and so the pair are forced onto the “Demon Way”, a path filled with blood and violence as they journey onward to avenge the death of a wife and mother, and restore the good name of their clan unfairly tarnished by a dark plot.
Though his quest is for bloody vengeance, Ogami is not a cruel man as evidenced by the first job the pair receive which is for little Daigoro who finds himself seized by a woman driven mad by grief following the death of her own infant son but seems to calm down a little after being allowed to breastfeed Ogami’s boy. Though the woman’s mother apologises and offers to pay for “borrowing” Daigoro as it says on the large sign attached to his cart, Ogami refuses to take the money seeing as Daigoro needed feeding anyway. Similarly, when the pair find themselves swordless and trapped among vicious bandits, Ogami saves the life of a prostitute who just attempted to stick up for him by giving in to the bandits’ demands and publicly sleeping with her.
This earns him the woman’s eternal admiration, not only for “degrading” himself by sleeping with such a lowly woman as herself and in such a public way, but apparently making quite a success of it for someone supposedly terrified into silence. No one, she says, could be so considerate and bring such satisfaction to a woman in a state of fear. Indeed, Ogami has been playing the long game, pretending to be just another terrified hostage of this tiny hot spring town but when the bandits suddenly declare it’s time to get rid of anyone who’s seen their faces, Ogami leaps into action with a series of cleverly hidden tools secreted about Daigoro’s cart.
That is to say, he’s there on a job, saving the townspeople is more of a happy byproduct than his ultimate intention. On his entrance into the town, Ogami comes across the scene of a local woman failing to escape the bandits’ clutches before being stripped, molested, raped and murdered in front of the father who has come to try and save her and is also murdered for his pains. Ogami, end game in mind, does nothing. The bandits eventually find their comeuppance on the edge of Ogami’s sword, but it’s too late for a poor young woman and her elderly father.
Inhabiting a similar cinematic world to the also Koike scripted Lady Snowblood, Sword of Vengeance is a Leone-esque, western-tinged tale of a mysterious wandering assassin, albeit one pushing a baby cart. Complete with the more expressionist aesthetics of the Japanese ‘70s exploitation film from the colourful ice and fire opening to the exaggerated blood spray in the genre’s characteristically thick, too bright red, Sword of Vengeance is a worthy start to the cycle which casts Ogami downwards from his elite samurai roots and onto the “Demon Way”, bound for hell by way of vengeance, and all with a smiley faced toddler peeking out from a constantly moving cart.
Original trailer (English subtitles)
The Peony Lantern (牡丹燈籠, Kaidan Botan Doro) has gone by many different names in its English version – The Bride from Hades, The Haunted Lantern, Ghost Beauty, and My Bride is a Ghost among various others, but whatever the title of the tale it remains one of the best known ghost stories of Japan. Originally inspired by a Chinese legend, the story was adapted and included in a popular Edo era collection of supernatural tales, Otogi Boko (Hand Puppets), removing much of the original Buddhist morality tale in the process. In the late 19th century, the Peony Lantern also became one of the earliest standard rakugo texts and was then collected and translated by Lafcadio Hearn though he drew his inspiration from a popular kabuki version. As is often the case, it is Hearn’s version which has become the most common.
Windows on Worlds 