A noble-hearted libertine stands up for love in an increasingly corrupt Edo in Kazuo Ikehiro’s adaptation of the well-known novel by Shin Hasegawa, In a Ring of Mountains (中山七里, Nakayama Shichiri, AKA 7 Miles to Nakayama). The son of a Daiei executive, Ikehiro joined the studio in 1950 working as an AD to Kenji Mizoguchi, Kazuo Mori, and Kon Ichikawa before being promoted to director in 1960 and then briefly demoted back to AD for annoying studio head Masaichi Nagata with the satirical content of his second film. Nevertheless, he later developed a close working relationship with top star Raizo Ichikawa and gained a reputation for unconventional jidaigeki displaying many of the techniques associated with the New Wave rather than the often more classically minded period films which were a Daiei mainstay.
In this rather more modern tale set sometime in the Edo era, Ichikawa stars as big guy around town Masakichi who is nevertheless viewed with suspicion by local law enforcement officer Tohachi (Koh Sugita) who rebukes him for spending too much time with “yakuza” while out on the road conducting business for the lumber yard where he works. As we’ll come to discover this is a bit rich because Tohachi is as bent as they come, later raiding a gambling den in order to seize the proceeds for himself while in cahoots with equally corrupt magistrate who is also Masakichi’s boss but has designs on his girlfriend Oshima (Tamao Nakamura). After Masakichi proposes to her and goes so far as to set up a house and set a date to solemnise the union, his boss rapes Oshima which leads to her committing suicide and Masakichi killing him thereafter heading out on the run vowing to be Tohachi’s enemy for evermore. Sometime later, however, he gets himself mixed up in intrigue in another town where the corrupt magistrate is actually running the illegal gambling den and taking advantage of a naive young man, Tokunosuke (Koichi Ose), to press him into debt while trying to get his hands on his fiancée Onaka (also Tamao Nakamura) who happens to look exactly like Oshima.
Something is very definitely rotten in Edo, the corruption so rampant as to be all but inescapable but Masakichi is so jaded that to begin with he doesn’t much care only to be reawakened on realising the same thing is happening again and to another woman who looks like his first love. Before he even sees her, he half-heartedly tries to warn Tokunosuke off gambling realising that he has no idea what he’s doing and seems to be having a run of very bad luck but Tokunosuke is a stubborn and insecure man who doesn’t know what’s good for him making one bad decision after another. When they are forced on the run together, Tokunosuke can’t help but feel his masculinity is being challenged by Masakichi’s infinite capability and is convinced that Onaka will eventually choose to leave with him. Consequently he repeatedly attempts to convince Onaka that Masakichi is a third wheel while quite obviously out of his depth and entirely incapable of protecting her from the mess that he has in part made through his series of poor decisions and general uselessness.
In this case, the hero isn’t so much standing up to injustice in the corrupt Edo-era society as standing up for love, exorcising his guilt over having been unable to protect Oshima by ensuring that Tokunosuke and Onaka’s romance is allowed to blossom. Even so, Onaka eventually concedes that his eyes frighten her while he remains trapped in the past reassuring her that he is aware she and Oshima are not the same and has no desire to intrude on her romantic destiny. The final showdown literally takes place in the ruins of the destroyed society as the trio take refuge in an abandoned village, an entire house later collapsing as Masakichi fights off Tohachi’s goons while beset by a heavy mist. Making frequent use of dissolves and canted angles to reflect Masakichi’s listlessness and sense of despair along with a couple of songs performed by Yukio Hashi, Ikehiro’s jidaigeki drama is an unusually romantic affair as the hero stands up to injustice only indirectly as means of rescuing love from the oppressive corruptions of Edo-era society.
Trailer (no subtitles)