Tag: 1969

Two Undercover Angels

  By

★★
“Poster 1, Movie 0.”

I have some friends – people whose opinions I typically respect – who swear by Jesus (Jess) Franco. For example, Tony, who used to run Psychotronic Video in London, and whose all-time favourite movie is Faster, Pussycat! Kill! Kill! This is clearly a man of taste. But he also like Franco movies. Me? God knows, I’ve tried. On multiple occasions. Sober and drunk. But the vast majority of the ones I’ve seen seem like mediocre hack jobs, showing no directorial talent at all. The one I might give a pass to is Faceless, which is lurid enough to be fun. But otherwise? Plodding and dull, despite the typical presence of some undeniably attractive lead actresses. This does not break that mould. 

It was just in a number of films featuring the two lead characters, a pair of female detectives called the Red Lips. There’s the blonde Regina (Vanni) and the redheaded Diana (Renaud). Here, they are hired by businessmen Mr. Radek for $50,000, to investigate the disappearance of Lita Regnier, a model who is the latest in a series of mysteriously abducted beautiful women. The trail eventually leads the due to enigmatic, reclusive painter and sculptor Karl Tiller (Hoven), for whom Lita had previously modelled. Turns out he’s a bit mad. Along with his werewolf-like assistant Morpho (Lemoine), who does the actual abductions, Tiller photographs the women as they’re being terrorized and murdered by Morpho, and turns the corpses into statues. 

If this sounds vaguely familiar, it’s because Franco is ripping off ideas from previous, much better, movies, such as Peeping Tom and House of Wax. Of course, there are a lot of other influences too, from the Bond films through to Danger: Diabolik and the other Euro-crime movies popular in the decade. Franco’s inability to stage scenes in ways that generate the slightest excitement, more than counterbalance the fact that he has lovely eye-candy in the shapely shapes of his two leads. The problem is, far too many scenes which are only of tangential relation to the main story, such as the go-go dancing, or romantic dalliances for one of the Red Lips, more or less unnecessary to the plot.

Initially, it seemed as if this might be a parody along the lines of Our Man Flint. Virtually the first time we see Regina, she is naked under the sheets in bed and breaks the fourth wall to proclaim to the viewer that she can’t possibly get up unless we look elsewhere – the camera duly obliges by staying on her face in medium close-up. But consistency would be too much to expect from Franco, and there’s nothing like it the rest of the way. Nor, despite that genuinely impressive poster, is there much in the way of action. Even when a bomb in a bouquet is delivered, our heroines don’t open a window and toss it out. No, they run through the house with it, down the stairs and over next to the swimming pool before tossing it away. I do not find such idiocy endearing or amusing.

Dir: Jesus Franco
Star: Janine Reynaud, Rosanna Yanni, Adrian Hoven, Michel Lemoine
a.k.a. Sadisterotica

Zenabel

  By

★★½
“A comedy, from the director of… Cannibal Holocaust ?”

I’m not kidding. Director Deodato is best known as the man behind one of the most notorious of all “video nasties,” a film which created such a furore, he had to produce the actors to convince the Italian courts he hadn’t killed them. But in almost fifty years of work (he’s still active today), Deodato has done everything from spaghetti Westerns to science-fiction. And more than a decade before Holocaust, back in 1968, he directed this bawdy action-comedy.

Set in the early 17th century, the titular heroine (Love) is a peasant girl who discovers she is actually the daughter of a duke and duchess, overthrown and killed by evil baron, Don Alonso Imolne (Ireland). She sets out with her “virgin army” – initially consisting of two other local women, but growing along the way – to take revenge, with the help of the local rebels under Gennaro (Parenti, the film’s producer and also Love’s husband). However, the baron has his own plans, which involve burning Zenabel at the stake.

The main problem is Deodato’s inability to pick an approach and stick with it. Love actually makes for a very good heroine: she’s feisty, brave and smarter than just about anyone else in the film. However, these positive aspects are perpetually battling against the chauvinistic or flat-out elements of sexist comedy. These have not aged well – and, indeed, hardly seem less than Neanderthal, even by the dubious standards of sixties Italy. Let the rape jokes and blatant homophobia flow! Though the latter is at least defused somewhat by Stander (best known as butler Max from Hart to Hart) as a randy villager who pretends to be gay, in order to come along with the all-female army. Hey, I laughed, even if subtle, it certainly ain’t.

As the salacious German poster, and title which translates as “Countess of Lust”, likely suggest, there is no shortage of nudity from Love and the rest of her recruits. That’s likely because it’s an unofficial adaptation of Isabella, Duchessa dei Diavoli, an erotic comic which ran for a decade, starting in 1966. This beat the official film version, starring Brigitte Skay and directed by by another cross-genre veteran, Bruno Corbucci, to Italian screens by a year. I’ve seen that, under its US title of Ms. Stiletto, and it’s tilted significantly enough to the sex side, not to qualify here [though not so far as the 1975 French re-release of Zenabel, under the title La Furie du Desir, which had hardcore scenes inserted!]

This take is still an almost schizophrenic film. The wild swings from the empowering to the crude make it feel like two directors were involved, with sharply contrasting visions, and the poor editor was caught in the middle. Similarly, the viewer will be pulled in a number of different ways from scene to scene, and the end result for me tilted somewhat toward the negative. Though as far I know, at least Deodato didn’t get hauled into court this time, it perhaps does show his talents are not in the comedy genre.

Dir: Ruggero Deodato
Star: Lucretia Love, Mauro Parenti, John Ireland, Lionel Stander

Muñecas Peligrosas

  By

★★★
“Carlitos Angels”

munecasNot far removed from Peligro… Mujeres en acción!, this is actually a sequel to Con Licencia para Matar, which I’m still seeking in a subtitled format. Some day… While nominally starring Fernando Casanova as agent Jim Morrison (maybe The Doors weren’t big in Mexico?), this is really about the Tigresses, a freelance group of female bodyguards, with a fetching line in black catsuits. There’s leader Emily (Cranz), associates Barbara (Angela) and Diana (Monti) and Tigress in training, Leonor (Ochoa), experts variously with a gun, bow, sword and fists. Jim brings them on board to help protect scientist Professor Livingson, the inventor of a key ingredient in rocket fuel, K-20; he’s travelling to Mexico to update its manufacturing plant. That will expose him to Garrick (Armando Silvestre), a villain who wants the secret of K-20 for himself, and it’s up to Jim and the ladies to protect the Professor.

Despite the name of the group, the title actually translates as “Dangerous Dolls,” and this takes itself a bit less seriously than Peligro – a mixed blessing. There are aspects that are deliciously silly: Garrick’s minions all wear uniforms and hats with his logo on it, making it look as if he recruited en masse from a Devo convention. There’s also a (likely borderline offensive now) running gag involving an obviously not-Japanese karate instructor, speaking gibberish. However, the storyline doesn’t stand up to any scrutiny at all, such as the way Emily just happens to be going out with Garrick’s second-in-command. What are the odds? I could also have done without the musical numbers, and describing most of the actresses’ action abilities as “a bit crap,” would be kind. It’s clearly less about what you do, than about how cool you look doing it, except for Leonor, who is there for comic-relief purposes. Fortunately, the martial abilities of Garrick’s minions are worse still – near what you would get if you did recruit from a Devo convention.

That all said, I can’t claim I disliked this, and it’s certainly self-aware, so the flaws don’t stop it from being entertaining nonsense. If Garrick’s motivation is largely obscure – what, exactly, is he going to do with the catalyst? – he’s very well-dressed, and it’s nice to see a supervillain with a sense of style to match the good guys. He takes the time to come up with ingenious items like an “organic disintegrating agent” and chivalrously sets a countdown time for four minutes, to allow the Tigresses and Jim time for a final fight-back. Meanwhile, the ladies (outside of Emily) are largely independent-minded, and in no need of male attention or help, quite a laudable feat for 1969 Mexico. I was expecting Jim to bed his way through most of them, and was gratified to see this doesn’t happen: it’s likely less chauvinist than Bond films of the era. If only they’d put more effort into the action.

Dir: Rafael Baledón
Star: Barbara Angely, Leonorilda Ochoa, Emily Cranz, Maura Monti

Temptress of a Thousand Faces

  By

★★★
“Face-off?”

temptressThis loopy slice of sixties Shaw Brothers nonsense is best described as a bizarre combination of martial arts, 007 and Danger: Diabolik. The titular supervillainess has Hong Kong at her mercy, robbing at will due to her extraordinary disguise capabilities. The police, in particular detective Ji Ying (Chin-Fei), are aggravated, and matters are not helped by the local media sensationalizing things, realizing news about the Temptress sells a lot of newspapers. They are led by Molly (Ting Hung), who goes as far as fabricating stories entirely, which brings down on her the wrath of Ji Ying. The Temptress is similarly upset by Ji Ying’s public pronouncements condemning her as a threat to society and kidnaps the policewoman, bringing her to a secret lair purely to explain how the Temptress is doing to destroy Ji Ying’s life. This she proceeds to do, by carrying out subsequent robberies while wearing Ji Ying’s face, causing her to be arrested for those crimes. The cop escapes custody, and it seems the only way to prove her innocence is to capture the real Temptress.

There are so many aspects here that are utterly ludicrous; my favourite was likely the Temptress’s lair, which is exactly what I would build, if ever I become an evil overlord. It’s all dry ice, pillars and needlessly complex torture devices, though does at least have a pool, in which the Temptress occasionally lounges, being soaped down by pastie-wearing minions. I also enjoyed the way said henchmen, on the numerous occasions when they are sent to capture Ji Ying, will inevitably first try to defeat her in hand-to-hand combat, and only after failing, then resort to pulling out their guns. To offer an honest assessment, the Temptress needs to have spent more money on her recruitment policy and rather less on the facilities. And I haven’t even got to the glorious fight between Ji Ying and “Ji Ying”, when the cop bursts in on the Temptress, wearing her face and snogging her boyfriend. Coincidentally, they’re both wearing the same outfits, and the poor man has no clue which one is the real deal, adding to the scene’s utterly surreal quality.

But, it should be stressed, these hardly detract from the entertainment value to be had here, even if many of them were apparently intended to be taken far more seriously at the time (which would be 1969) than they deserve. The heroine and villainness make for a fine pair, and given the era, it’s especially refreshing that just about all the men involved are incompetent and/or background figures. Accept that you will probably be laughing at the film as much as with it, and you’ll find an enjoyable 76 minutes of nonsense to be had here. [Tip of the hat to Dieter for pointing me in the direction of this one!]

Dir: Chang-hwa Jeong
Star: Tina Chin-Fei, Liang Chen, Pat Ting Hung

Peligro… Mujeres en acción!

  By

★★★½
“On Her Mexico’s Secret Service.”

peligrosIn the sixties, it seemed the world was awash in 007-inspired romps, with immaculate-dressed, heroic secret agents from every nation punching, shooting and sleeping their way through friends and enemies, with a quip and a raised eyebrow. One such Bond-wannabe was Alex Dinamo (Alemán), star of two Mexican movies, 1967’s SOS Conspiracion Bikini, and this sequel, made the following year, whose title translates as Danger! Women in Action. Which is where we come in. For despite stemming from a time and place not exactly noted as a bastion of advanced sexual liberation, it manages to be a damn sight more equal-opportunity than any Bond film of its time, or even since. For not only is the chief villain a woman – territory at yet still unexplored by 007 – Dinamo’s is given a sidekick, Maura (Alava), who is equally as competent, and he is happy to use the skill-sets of a number of other women on the battlefield here, without too much in the way of sexist one-liners.

As in its predecessor, the story sees Alex take on shadowy evil organization S.O.S, the Secret Organizational Service, who intend to carry out various terrorist acts in Central and South America, and exploit the resulting chaos. Initially, the target is a refinery in Ecuador, whose destruction will paralyze the country, and it’s only with the timely delivery of information from Barbara (Angely), that the location where the S.O.S. commandos will come ashore is discovered: it’s up to Alex, Maura and Barbara to hold them off in an extended (and quite well-staged) fire-fight. With that dastardly plot foiled, S.O.S’s evil overlady, Solva (Campbell) moves on to a plan to poison the water supply in Puerto Rico with a biological weapon. It’s up to Alex and Maura, this time with the help of an agent working undercover in S.O.S, to foil that plan, by launching an assault on the facility producing the bioweapon. Yeah, there might be some shooting here too. And explosion. Plenty of explosions.

Frankly, it’s strikingly progressive how gender is mainly a non-issue here, though Alex clearly has an eye for the ladies, whose costumes are designed to reveal as much as conceal. In particular, for a terrorist group, S.O.S. appear to be firm believers in affirmative action, with its top tier mostly consisting of women, all the way up to Solva. Similarly, Alex treats Maura, Barbara, etc. as competent individuals in their own right. The main problem is the stuff around the fringes, which is not as exciting as the makers seem to think. For example, there is a sequence of Barbara scuba-diving which seems to go on for ever; while I’m sure that kind of thing was novel and worth touting in the sixties (Thunderball, made a couple of years previously, had exactly the same problem, as I recall), it has not aged well at all. The film is also generally inordinately proud of production values which are no more than workmanlike. On the other hand – literally – you have stuff such as an S.O.S. operative with a gold artificial limb, whom we first see casually sharpening its edge on a whetstone. That’s still pretty cool, and as knockoffs go, this is better than most.

Dir: René Cardona Jr.
Star: Julio Alemán, Priscilla Alava, Elizabeth Campbell, Barbara Angely

Fraulein Doktor

  By

★★★½
“Germany calling…”

frauleindoctorThere’s a lot going on in this World War I spy thriller: probably a little too much, though it’s still generally interesting. The titular character – I wouldn’t go so far as to call her a heroine, for reasons that will become obvious – is a nameless German spy, whom we first see coming ashore at the British naval base of Scapa Flow. Her two male associates are captured, with Meyer (Booth) being “turned” by British intelligence officer, Colonel Foreman (More). Meyer reveals the fraulein’s mission is to find out on what boat Lord Kitchener will be leaving the base, so it can be attacked. Despite More’s desperate efforts, the plan succeeds and Kitchener is killed. That’s not the first time she has caused problems: in a flashback, we see her seducing French scientist Dr. Saforet (Capucine), in order to steal the secret of a dreadful new chemical weapon. Meyer, now a double-agent, is sent back into Germany with the aim of killing her, and appears to succeed. However, that’s just a ruse, so the not-so-good doctor can complete her biggest mission: organizing a raid on Allied headquarters to steal their defense plans, in advance of a massive German push.

It’s refreshingly grey in terms of morality. Neither side comes off as occupying the high ground, and there’s very much a sense of grubby necessity. For instance, when the agent is being presented with a medal for her role in killing Kitchener, the presenting German officer refuses to shake her hand, because he considered Kitchener a fellow officer as well as a friend, and his death was “cheating”. But they are perfectly happy to use her talents: when the idea of sending a woman in is questioned, her commander replies, “Why not a woman? She has imagination, precision, courage beyond any man on any battlefield. She has only two weaknesses: traces of pity and grains of morphine.” The latter adds an extra wrinkle in her final undercover role, as a nurse on a Red Cross train, heading to the front, and she has no reluctance in using her body to achieve her goals – whether with men or women. Kendall gives a solid performance, and I was surprised to discover this was inspired by a real person, Elsbeth Schragmüller, whose identity as “Fraulein Doktor” was not revealed until almost 30 years after the end of WW1. Details of her actions are still sketchy, offering the makers a blank canvas on which to paint: no evidence she was a bi-sexual drug-addict, for instance!

As noted, there’s too much going on here. The mission to kill Kitchener could have been an entire movie in itself, as could the theft of the chemical weapon, but instead, these are galloped through at an over-anxious pace. The finale then seems to forget about its leading lady entirely, heading off in an completely different direction, depicting the German attack, both with conventional weapons and poison gas, and the effects on the Allied troops. Shown below, it is truly a nightmarish sequence of epic proportions, enhanced by Ennio Morricone’s discordant score: I believe the Yugoslav army supplied military extras, and that ups the ante considerably. It makes for a grim, rather than rousing finale, bringing home to the fraulein, the responsibility of what she has done. I can see why it was a commercial flop and has largely been forgotten, yet despite its flaws, it deserves a better fate than obscurity.

Dir: Alberto Lattuada
Star: Suzy Kendall, Kenneth More, James Booth, Capucine

Tigresa

  By

★★½
“Tigresa, tigresa, burning bright…”

tigresaTIL there’s a genre of cinema – indeed, an entire culture – called “Nuyorican”, which is for and by the immigrants from Puerto Rico who now live in and around New York. del Mar made five such movies, mostly in the late sixties, but this 1969 production is the sole action heroine entry. It has a nice sense of local atmosphere, feeling a bit like the early work of Abel Ferrara, but also has it’s moments of berserk insanity, which one can only presume must have made sense at the time.

The heroine is Patricia (Faith), a young woman who is bullied by her schoolmates, and whose life reaches a low after she is assaulted by a bedroom intruder, an attack which also results in the death of her father. But, in a plot twist I defy anyone to see coming, she is left half a million dollars in the last will of a Jewish store-owner for whom she works, and this lets Patricia dye her hair blonde and sets her up as the owner of a nightclub, the ‘Chateau Caribe’. She has also developed a heck of a lot more self-confidence, allowing her to take revenge on her former tormentors, rescue other women from assault and continue looking for the man responsible for her assault and her father’s demise. However, her friend, Maria (Lee), has plans to rob Patricia, with the help of her boyfriend, Jimmy (H) – who, it turns out, was also the rapist. They concoct a scheme for Jimmy to seduce Patricia, providing a distraction which will allow them to break into her safe.

There are also subplots involving the local mafiosi, and a police detective (Crespo), who doggedly attempts to solve the crime by dressing as a transvestite hooker. I’m not quite sure hoe that’s intended to work: it might take a while, to say the very least, and my instinct is it probably says more about the cop’s personal proclivities than anything. Certainly puts a new spin on “to protect and serve”. I liked Faith’s performance, since she genuinely manages to get your sympathy, as the dysfunctional nature of her relationship with her father becomes apparent. He gets drunk because its the only way he says he can see his late wife; so she then gets drunk, wanting to see her dead mother too. This is accompanied by a tinkly, music-box like score that’s quite poignant – well, up until the point that the musical cue gets overused to death, anyway.

After her transition into the tigresa [incidentally, the “La” part of the title seen on the DVD sleeve appears to be entirely the distributor’s addition], she’s still quite a laudable character, taking no shit from the organized crime boss. She refuses to let him use her club as a front for drugs and prostitution, but does partner with him in exchange for his help finding her attacker. Though this just consists of wandering local gyms trying to find someone with the distinctive back scar which was her assailant’s sole distinguishing feature – I’d have expected better from the mob. It’s just a good thing absolutely no-one in these places ever wears a shirt. There’s another bizarre diversion where she meets a gangster, who then goes home to discover his wife in bed with another man. So he drowns her in the bathtub and decapitates her lover, before vanishing from the film entirely.

Yeah, it’s like that: nonsensical in many ways, and obviously cheaply made, with performances all over the place, from the monotone to the hysterical. Yet it’s strangely hypnotic, and you find yourself watching, just to see what will happen next and in what surreal way things will develop. For all its many faults, I can’t say I ever found Tigresa dull. There are GWG films which are so forgettable, I find myself struggling to write 300 words on them. This was certainly not one of those.

Dir: Glauco del Mar
Star: Perla Faith, Johnny H, Cindy Lee, Guillermo Crespo

Watch Out, Crimson Bat!

  By

★★

The third entry in the series saw a new director, and unfortunately, a marked turn for the worse, largely because the focus drifts off Oichi. It starts briskly enough, with the heroine coming into possession of a new, effective formula for gunpowder, something barely known at the time in Japan. Understandably, this makes her the focus of attention, in particular for a group with an interest in profiting from the discovery.

I have a number of qualms with the storyline here, not least the concept that “weapons of mass destruction” (as gunpowder was, when compared to the arrows and swords prevalent during this era) are safe in any hands. Moral doubts aside, the main flaw is the introduction of characters such as Gennosuke (Ibuku) and, worse still, an immensely irritating pair of teenage orphans. Together, they succeed in making Oichi feel like a supporting character in her own movie, and she is almost entirely absent from action in the middle portion.

By the time she rides to the rescue…yes, I said “rides”, her previously unmentioned equestrian skills being hand-waved away with “the horse knows where it’s going”…the film is pretty much dead in the water. The final battle does mark another step up in scale, with Matsuyama’s skills again clearly improved, and the quantity of enemies dispatched again setting a high-water mark, even if Gennosuke gets to take out almost as many as Oichi, and the way in which the villainous henchman suddenly switches sides is laughable. In marked contrast to its two predecessors, this does have a proper ending, tying up the loose threads in a satisfying, if conventional, way. It isn’t enough to rescue the day, with interest having succumbed at a disturbingly early point.

In its incarnation as Samurai Woman (left), I believe this was the only installment to see a release in the UK. When first seen, over a decade ago, it was unimpressive, and it remains weak, particularly when viewed from an action heroine perspective. But even in general terms, it’s a poor piece of cinematic storytelling.

Dir: Hirokazu Ichimura
Stars: Yoko Matsuyama, Goro Ibuki, Kiyoko Inoue, Asahi Kurizuka
a.k.a. Mekura No Oichi Monogatari: Midare Gasa

Trapped, the Crimson Bat

  By

★★★★

Later that same year (1969), Oichi was back in action, and at the start of Trapped, seems quite content with her life as a bounty-huntress. She has even adopted an orphan, just as she herself was taken in herself, but two things wreck this relatively happy situation. She discovers her protege is really a runaway, not an orphan, and consequently has to abandon her – again, as she was discarded. Worse yet, she incurs the wrath of fellow bounty-huntress Oen (Matsuoka), a kitten with a whip and pockets full of venomous snakes, who leaves Oichi for dead. Luckily, she is nursed back to health by Matsuka (Irikawa), a farmer who doesn’t care about her shady past, and Oichi discovers the joys of a simpler existence – specifically, one not involving the slaughter of criminals for cash. Of course, the inevitable eventually happens: local thug Bunzo (Abe) starts taking the locals’ rice stocks, with Oen closely in tow. No prizes for guessing that the quiet life isn’t going to last long, especially after Matsuka is manipulated by Oen into owing a gambling debt to Bunzo.

This is a fine movie, with Matusoka in particular a grand foil for the heroine, her hair covering one half of her face like a veil, and the other half usually displaying a near-psychotic expression. Oichi’s struggles to leave her past behind feel almost like Shakespearean tragedy, and the final shots of the film, while a sudden way to end, hint strongly at an endless, futile struggle. To paraphrase George Orwell, if you want a picture of the future, imagine a Samurai sword slicing up an opponent…forever. Downbeat? Hell, yes. Wouldn’t have it any other way.

The action is decent too, with Matsuyama definitely operating a step above her first outing; although these aren’t usually so much fights, more the swift dispatch of one or more opponents, that’s par for the chambara genre. Matsuka is somewhat of an enigma as a character – it’s hard to see why Oichi falls for him, and the whole “orphan” plotline is not well handled. In particular, it’s lacking any kind of background, to the extent it feels like an entire film was missing. The rest of the story though, is well-crafted and packs a solid wallop; you could certainly argue that this is the best flight of the Crimson Bat.

Dir: Matsuda Teiki
Stars: Yoko Matsuyama, Yasunori Irikawa, Kikko Matsuoka, Toru Abe
a.k.a. Mekura No Oichi Monogatari: Jigoku Hada

Crimson Bat, The Blind Swordswoman

  By

★★★

We meet our heroine Oichi as a young child, who has just been being abandoned by her mother – not sure what happened to father, but we later discover Mom’s a prostitute, so can probably fill in the blanks ourselves. To make matters worse, the tree under which Oichi takes shelter from a storm is struck by lightning, rendering her totally blind, in a way that’s – probably wisely – left medically unexplained. However, she is then taken in by a kind gentleman, who brings her up, and on into adulthood.

She’s no luckier with her foster parent, who is murdered by a former associate, Devil Denzou (Amatsu); she is saved from the same fate by a wandering samurai. He sees her potential and trains her in the way of the sword, to the point where she has surpassed him. But she mentions the M-word – “marriage” – and he, too, exits like a, er, bat out of hell. On subsequent travels, she uses her skills to save yet another man from being lynched, and eventually, all these disparate plot threads join up, more or less. Though others, such as the woman with a killer yo-yo [GoGo Yubari’s ancestor?] just kinda drift out of the plot.

The film is at its best when there is the threat of violence; much like Sergio Leone, the lead-up lasts much longer than the actual acts, with the director ratcheting up the tension. For example, there’s one scene where Oichi visits a gambling parlour to raise money, and from the moment she sits down, you know it’s just a matter of time before her sword comes out of its red sheath (which presumably is the origin of her name – that, and the copious blood that tends to get sprayed when she’s around). There’s also a nice visual sense at work throughout here, particularly in lighting, which enhances proceedings nicely.

And, being honest, the actual drama needs all the help it can get, since it seems limp in comparison, though allowance should likely be made for the dubbing. That, however, can’t explain the bouncing back and forth in time, which may induce temporal nausea in susceptible viewers; it feels as if the finished film got tossed in the air and is shown in the order it hit the ground. And while there’s a decent “ah-hah!” when everything ties up, this isn’t enough to justify the lengthy set-up. Fewer plot threads, explored in depth, would be a major improvement.

Dir: Matsuda Teiki
Star: Yoko Matsuyama, Isamu Nagato, Jun Tatara, Satoshi Amatsu
a.k.a. Mekura No Oichi Monogatari: Makkana Nagaredoni