Yasha (夜叉, Yasuo Furuhata, 1985)

In melancholy gangster movies, the hero often dreams of leaving the city for an idealised rural paradise to start again as a righteous man redeeming himself through hard work with a good woman by his side. Usually, they don’t make it, their goodness is nothing but a weakness in the harsh post-war environment, but even if they did could they really lay their violent souls to rest and live as the rest of us do? Once again played by a manfully stoic Ken Takakura, the hero of Yasuo Furuhata’s Yasha (夜叉, AKA Demon) tries to find out, but discovers that sooner or later the past will always catch up with you. 

15 years ago, fisherman Shuji (Ken Takakura) was the notorious Osaka yakuza known as “Yasha”. A war orphan given refuge by a gangster brotherhood, two things happened to change his way of life, the first being innocent country girl Fuyuko (Ayumi Ishida) whom he met by chance and rescued on the dangerous streets of the city. The second is the death of his younger sister who had become addicted to heroin. Fiercely resistant to the traffic of drugs, Shuji quit the clan, married Fuyuko, and retreated to her fishing village home to take over her late father’s fishing business. Well respected in the community as a steady hand, he now has three children and a settled happy life though one tinged with anxiety in the need to keep his back covered lest anyone find out about his violent past. 

The violent past is brought home to him when a young woman, Keiko (Yuko Tanaka), arrives in kimono with her young son in tow to take over the local bar. Keiko is a bar hostess from Osaka hoping to make a new start far away from the city, not so much for herself it seems as her no-good boyfriend Yajima (Takeshi Kitano) who is a drug-addled thug and openly hostile to her little boy. It’s Yajima who threatens to disrupt the gentle rhythms of the town, firstly getting the fishermen hooked on all night games of mahjong which damage their daytime productivity, and then selling them heroin to keep them propped up. Unused to such urban vices as hard drugs and serious gambling, the fishermen are lambs to the slaughter, handing over their hard earned savings to the thuggish Yajima to keep their heads above the water. 

Shuji wants to keep the town clean, but he can’t exactly admit just how familiar he is with things like drink and drugs which are, as his friend Keita (Kunie Tanaka) points out, not things “normal” people should know about. After realising an old friend is the middle-man, Shuji has a quiet word with Yajima as one thug to another but it only makes the situation worse. He tries talking to Keiko instead, but her decision to get rid of the drugs has disastrous consequences for all when Yajima goes on a crazed, knife-wielding rampage through the town which only Shuji can end. During the fight Yajima slashes Shuji’s fisherman’s jumper right through to the expose the demon beneath, leaving his colourful tattoos on show for all to see. 

You’d think that Yajima’s rampage would have taught the town a lesson, shown them that they were in over their heads and Yajima was not the sort of person it was good to be associated with, but their animosity overwhelmingly turns to the demon Shuji whom they unfairly begin to blame for their many misfortunes. The fishwives begin to avoid Fuyuko, telling their kids not to hang out with her kids and suggesting that it must have been Shuji who got the guys playing mahjong. Shuji meanwhile doubts himself, drawn to Keiko as to Osaka and the sleeping demon within. Yasha reawakens and he wonders if he has the right to live here after all. 

Fuyuko’s mother tells her that it’s a good wife’s job to quell the demon, but she struggles to maintain hold on Shuji while Yasha is pulled towards the city. He makes a manly choice, attempting to redeem Yajima in redeeming himself by returning to his point of origin. The widow of his old boss warns him off, reminds him that he’s a fisherman now, and that should he move against her she will have to act in accordance with the rules of the underworld, but privately mutters to herself that he hasn’t changed at all, “stupid man”. In the end, Yasha’s manly gesture ends in futility. He cannot escape himself but neither can he solve his problems through violence as he might have before, not least because the code is no longer secure motivating those he thought he could trust towards betrayal. He still has a choice, leave with Keiko to be Yasha once again accepting the futilities of a violent life (and its inevitable end), or stay to be a peaceful fisherman with the “good wife” Fuyuko. One man cannot possess two souls, but the given the chance the demon can be subdued if there is the will to subdue it and the belief that the man himself is good enough for the world in which he wants to live.


Original trailer (no subtitles)

Lone Wolf and Cub: Baby Cart in the Land of Demons (子連れ狼 冥府魔道, Kenji Misumi, 1973)

baby-cart-land-demonsOgami (Tomisaburo Wakayama), former Shogun executioner now a fugitive in search of justice after being framed for treason by the villainous Yagyu clan who are also responsible for the death of his wife, is still on the Demon’s Way with his young son Daigoro (Akihiro Tomikawa). Five films into this six film cycle, the pair are edging closer to their goal as the evil Lord Retsudo continues to make shadowy appearances at the corners of their world. However, the Demon’s Way carries a heavy toll, littered with corpses of unlucky challengers, the road has, of late, begun to claim the lives of the virtuous along with the venal. Conflicted as he was in his execution of a contract to assassinate the tragic Oyuki in the previous instalment, Baby Cart in Peril, whose story was perhaps even sadder than his own, Ogami is about to descend further still as a commission to kill a living Buddha proves even more sordid than expected.

Baby Cart in the Land of Demons (子連れ狼 冥府魔道,  Kozure Okami: Meifumado) starts as it means to go on as Ogami finds yet another coded way of touting for business when he notices the strange demonic drawing on the face mask of a resting man and correctly reads it as a message for the Lone Wolf and Cub. The Kuroda clan have despatched five of their best men wearing just such masks in order to test his skills and find out if he’s worthy of their job. Each time he defeats one, he’ll receive 100 ryou (a fifth of his fee) and part of the reasons and explanations he requires in deciding whether to take the job.

This time the assignment is to do with a mislaid yet incriminating letter from the Kuroda lord, Naritaka (Shingo Yamashiro), who has unwisely been deceiving the Shogun as to the identity of his children. Very much in love with his mistress, Naritaka has been passing off their daughter, Hamachiyo (Sumida Kazuyo), as his son Matsumaru. Meanwhile the real Matsumaru, his legitimate heir through his legal wife, has been imprisoned in the compound and kept away from prying eyes. A particularly stupid and pointless ruse, yet the lord has created even more problems for himself by allowing a letter outlining all of this to fall into the hands of a treacherous priest, Jikei (Hideji Otaki), who turns out to be the head of a ninja spy network. Ogami’s job is to kill Jikei and get the letter back but it comes with some additional spice – Jikei plans to hand the letter to Lord Retsudo, Ogami’s arch nemesis.

Ogami’s world is a feudal one where allegiance to one’s lord trumps almost everything. The lords are, however, often dishonest, selfish, and cruel. The hypocrisy of the samurai world is a phenomenon well known to all, and most particularly to Ogami who has found himself at the mercy of the ambitious Yagyu clan. Whatever else he may have become, Ogami is a man of honour to whom the way of samurai maintains a deep spiritual importance. Jikei’s attempt to unsettle Ogami by asking him what he thinks he’s going to achieve on the Demon’s Way and if killing a living Buddha is a fitting use of his talents, further pushes Ogami into a spiritual crisis regarding his quest for vengeance and ongoing career as a sword for hire.

Naritaka has, indeed, broken his code in lying to the Shogun but also in rejecting his position and creating an alternative family of his choosing by favouring the female child of his mistress over his legitimate male heir. In addition to his contract to kill Jikei and retake the letter, Ogami also receives a request to assassinate the lord himself alongside his concubine and even their daughter. This illegitimate line cannot be allowed to continue, the illicit family born of personal choice must be cut off before it begins to corrupt the future of the Kuroda clan. Actively plotting the death of one’s lord is an unthinkable concept, yet a retainer also has a responsibility to guard the honour of their house and so the lord must go, even if the retainer is bound to follow him.

The decision to execute the entire family recalls the series’ origins in which Ogami was seen to act as a second in the “harakiri” of a toddler shortly before seeing his own family fall under the sword of a Yagyu plot. Daigoro is growing older at an unnatural rate but shows a little more willingness to engage in acts of altruistic heroism than his father, such as in an episode where he decides to refuse to identify a local pickpocket even if it means he himself will be flogged in her place. Ogami looks on in inaction, yet there is the faintest flicker of pride in his otherwise impassive face as his fearless son opts to undergo a harsh punishment rather than allow someone else to suffer even as she tries to save him in turn. Daigoro also has an awkward moment of connection with the similarly aged unlucky princess but remains apparently unmoved by her fate at the end of their mission. The legitimate prince may have been liberated and the official line restored, but there has been a heavy price for all concerned and the Kuroda clan is far from saved.

Baby Cart in the Land of Demons marks the return, albeit for the last time, of the series’ original director Kenji Misumi who gets rid of the heavily exploitation leaning approach brought by Buichi Saito in the previous film, Baby Cart in Peril. No voiceovers, no musical sequences, and an overall return to quiet contemplation mixed with impressively balletic fight sequences rather than the frenetic action and sudden trickery which defined Baby Cart in Peril send the series back to its spiritual roots after a brief foray into the contemporary jidaigeki. Baby Cart in the Land of Demons is also the first in the series which contains no female nudity though it does make room for another skilled female warrior and also repeats the motif of Ogami leaving a melancholy woman behind him as he sets off into the sunset, yet this time it’s a woman who has chosen her own path in keeping with her own code and earned Ogami’s respect, and perhaps sorrow, in the process. Ogami is drawing closer to Retsudo, though his path leads him through a land of demons each more villainous than the last and justice seems like an unrealistic ideal where only men like Ogami stand at the gates of man and beast.


Original trailer (subtitles in German for captions only)