Two years before finding fame as Zatoichi, Shintaro Katsu starred as his mirror image in a tale of pure villainy, The Blind Menace (不知火検校, Shiranui Kengyo). As the title suggests, the film follows the upward trajectory and eventual downfall of an unsighted man who gleefully rapes and pillages his way to becoming the leader of his community aided and abetted by the ills of the feudal era which allow him to profit from his crimes until the past finally catches up with him.
After all as he later says, “as long you as you keep rising in the world, past misdeeds don’t matter.” In any case, even as a child the man who would later be known as Suginoichi (Shintaro Katsu) is incredibly unpleasant. In the opening festival sequence he picks his nose and flicks it in a barrel of sake so that the men drinking will abandon it. The only sign of possible goodness in him is that he takes the sake home for his mother to enjoy, though he seems to relish the idea of her unwittingly drinking his snot so perhaps that was the real purpose. Other hobbies of his include conning wealthy passersby out of a ryo with a well worn scam in which he asks them to read a letter from his uncle which mentions that it should include one ryo only what’s in there is a stone. When the reader explains the situation, he accuses them of trying to take advantage of his blindness and makes a fuss about it until they’re embarrassed into coughing up a ryo of their own (not a small sum for the time period).
In some ways his poverty and disability might explain his behaviour. His family set up is subverted with his mother much like him money hungry and willing to do anything to get it while his saintly, henpecked father is gentle and honest. This might have taught him the wrong lessons about masculinity that lead him to see his father as weak in allowing the world to trample him while taking his mother’s advice to heart that if they only had a 1000 ryo they could get him trained up properly so that he might one day become a Kengyo which is a little bit like a community leader for the blind with social status and political influence.
It’s this kind of social affirmation he seems to crave, but is essentially a narcissistic sociopath who takes advantage a stereotype that in some ways infantilises the blind and those with other disabilities who are believed to be pure-hearted and incapable of intrigue or evil. He seems to come to the rescue of a noblewoman who asked his boss, the Kengyo, to lend her money secretly because her brother has been caught embezzling but then rapes her, asks for the money back, and blackmails her into further acts of sexual exploitation offering her only 5 ryo a time knowing she needs 50. He thinks nothing of using his acupuncture skills to kill a man who was carrying 200 ryo to buy a “boneless girl” for a freak show and then framing a man who saw him do it but agreed to say nothing for a 50% cut for the crime. Suginoichi later teams up with “Severed Head” Kurakichi (Fujio Suga) to commit a series of burglaries including that of the Kengyo master who he also has killed to usurp his postion.
But as he said, once his recognition is in sight with an invitation from the shogun everything begins to fall apart as all his wrongdoing starts to catch up with him. The feudal world had allowed him to prosper partly because of other people’s greed but also the social codes that favour shame and secrecy along with people’s unwillingness to accept that a blind man can also be selfish and evil despite a lot of evidence to the contrary. Elegantly lensed by Kazuo Mori who brings a sense of realism to the hardbitten backstreets of the feudal poor, the film may suggest that the wealthy only get that way by trickery and exploitation and the only way to rise to the loftiest place is to be like Suginoichi and not care what you do to get there but is clear that once you arrive you won’t stay very long because one day the past will really will come back to bite you.
4K restoration trailer (no subtitles)
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.
Kon Ichikawa turns his unflinching eyes to the hypocrisy of the post-war world and its tormented youth in adapting one of Yukio Mishima’s most acclaimed works, The Temple of the Golden Pavilion. Inspired by the real life burning of the Kinkaku-ji temple in 1950 by a “disturbed” monk, Enjo (炎上, AKA Conflagration / Flame of Torment) examines the spiritual and moral disintegration of a young man obsessed with beauty but shunned by society because of a disability.
Windows on Worlds 