Tag: japan

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

The Crimson Bat series

  By

“Up to bat…”

While the samurai is one of the most common archetypes in Japanese cinema, the female version is about as rare as the female gunslinger. Although none of these women reached anything like the popularity of Zatoichi – 26 films starring Shintaro Katsu alone, never mind the recent Takeshi Kitano version – there have been a few that have attempted to break the mould. Azumi and The Princess Blade have both achieved cult status in the West, assisted by Tarantino’s take in Kill Bill, Volume 1. Back in 1973, there was Lady Snowblood, which was successful enough to merit a sequel the following year, but so far, only one samurai-ess series has survived more than two outings.

That swordswoman is Oichi, supposedly based on an animated story and character by Teruo Tanashita – but, really, who are they trying to kid? This was simply the Shochiku’s studio’s answer to Daiei’s Zatoichi, and any protestations to the contrary should be treated with deep scepticism. Both hero and heroine are blind, yet have no problem fighting for truth, justice and the Amer…Japanese way, as they wander through the traditional chambara landscape. [Indeed, in the first film, a blind masseuse wobbles drunkenly through one scene, in what can only be a casual potshot at Zatoichi] Original thought is not something to look for in the Crimson Bat series, even ardent fans will admit. However, Shochiku did strike gold in Yuko Matsuyama; albeit they didn’t have to look very far to find her, since she was married to character creator Tanashita. I get the feeling Shochiku didn’t exactly over-exert themselves in a star search.

With the success of Kill Bill, it seems a little strange that no-one has seen fit to give Crimson Bat proper English-language distribution. However, we don’t let things like that stop us. :-) While dubbed versions of all four films in the saga are available on the grey market, the bootleg prints seem to have Dutch, or occasionally Greek, subtitles. This lends the whole thing a certain surreal air, though as dubs go, they aren’t bad – an opinion no doubt assisted by the characters, who generally prefer to let their actions speak louder than their words. And since even Alex in Wonderland, pretty much the fount of all GWG wisdom, appears to have missed these, we’re proud to present what is (as far as I’m aware) the first review of the entire series to appear on the Internet.

[August 2005, Bill F writes: “You may be interested to learn that after the last film it was turned into a television series. The film series was produced by Shochiku. The TV series was produced by Toei. Like the films, the TV series starred Yuko Matsuyama. The TV series also starred Hiroshi Fujioka and it ran for 25 episodes (4/12/71 – 9/27/71).”]

  • Crimson Bat, The Blind Swordswoman

    ★★★

    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

    Continue reading →
  • Trapped, the Crimson Bat

    ★★★★

    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

    Continue reading →
  • Watch Out, Crimson Bat!

    ★★

    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

    Continue reading →
  • Crimson Bat: Wanted, Dead or Alive

    ★★★½

    Director Ichimura returned for the fourth episode, and despite similar problems as the third installment – most obviously, an apparent doubt that Oichi’s character can hold the viewer’s interest by herself – makes a much better stab at things here. Bounty-hunter Oichi finds out what life is like on the other side of the law, after she helps rescue an unwilling bride from a local magistrate; he slaps a 100 gold-piece reward on her head, which naturally, brings other bounty-hunters on her trail, led by Sankuro (Meguro).

    She ends up in a fishing village, where the “evil property developer” subplot makes a surprising appearance, despite the historical era. The reconstruction of the harbour threatens to put the locals out of work, but a plot is afoot among the local authorities to pay them only one gold piece each in compensation, rather than the 15 gold pieces actually provided by the federal government. Residents, officials, bounty-hunters and Oichi all inevitably collide, including one character played by Tetsuro Tamba, who remains even now one of the most respected (and prolific – the IMDB lists 193 films for him!) actors in Japanese cinema.

    There’s a lot of devious double-crossing and deception here, which is okay to watch, but isn’t really the reason we watch these things. And that it also turns out to be Sankuro’s birthplace is too much of a fluke to swallow. Fortunately, it all builds nicely to an extended finale, where our heroine (now also framed for the murder of a village elder) gets a chance to take out her aggression and resentment on all those who have turned her life into that of a hunted animal. It’s a great urban battle, through the town which is being demolished around her, in and out of buildings until she finally confronts the chief villain of the piece.

    Though this was the last entry in the series, there isn’t much sense of closure at the end, with (and I trust I’m not really spoiling this for anyone) Oichi merely walking off into the sunset, alone again, naturally. One senses Shochiku were hoping to continue, but for whatever reason – most likely box-office success, or rather, the lack thereof – it never materialised. However, for a series from the 60’s, it was undeniably ahead of its time, and most of the films have survived the passage of three and a half decades in an impressive style. If any enterprising DVD company were to snap them up, the rewards would likely be significant.

    Dir: Hirokazu Ichimura
    Stars: Yoko Matsuyama, Yuki Meguro, Tetsuro Tanaba, Reiko Oshida
    a.k.a. Mekura No Oichi Monogatari: Inochi Moraimasu

    Continue reading →

Gun Crazy, Volume 1: The Woman From Nowhere

  By

★★★½
“Muroga reclaims for Japan, what Clint and Sergio borrowed in the 1960’s.”

If the inspiration for this one wasn’t clear, Goro Yasukawa’s score will soon enlighten you: Sergio Leone. A character with a mysterious past and equally obscure agenda comes into a lawless town, and kicks ass. For The Man With No Name and his horse, read Saki (Yonekura) and her Harley. Given that Leone basically ripped off Akira Kurosawa’s Yojimbo in A Fistful of Dollars to begin with, the irony is satisfying. She has come to Tsuson – surely a nod to Tucson, less than two hours down the dusty Arizona I-10 from where I write this – to take on Tojo (Tsurumi), the local mob boss, who commits his crimes with impunity from the safety of an American Air Force base. She gets his attention when she interferes with his robbery of a wages truck, and takes the money herself. The two had met previously, though Tojo doesn’t recognise Saki; you’ll probably work out the basic circumstances long before the film reveals them, but it does add a couple of unexpectedly nasty twists of the knife.

The Okinawan setting is interesting, given tension between US forces there and the locals, dating back to a 1995 incident when three servicemen raped a 12-year old girl. Hence, the scene where Yuki demolishes two leering US soldiers has an additional level of resonance for local viewers, and the tolerance of the Americans to a brutal thug on their territory become somewhat more explicable. Yonekura is impressive in her role, and Muroga wisely doesn’t bother to introduce any love interest; the film is barely an hour long, so there just wouldn’t be room. The inevitability of the final Suki-Tojo faceoff is perhaps only exceeded by its ludicrousness – the heroine expands the definition of “unarmed” to include other limbs too. However, for an obviously low-budget work, it’s busily energetic, and rarely slides much below entertaining.

Dir: Atsushi Muroga
Star: Ryoko Yonekura, Shingo Tsurumi, Takeshi Yamato, Takashi Ukaji

Silk & Steel (Police Branch 82 – Rebirth)

  By

★★
“Take a look at the cover, and work it out yourself.”

Another title in the ongoing Metropolitan Police Branch series, has much the same ingredients as the other entries: cheesecake and mildly competent action. I think this is the second entry, but as the three films have three different pairs of actresses playing policewomen heroines Mika and Rin (Hara + Iijima in this case), it’s clear continuity is less the purpose of the exercise than the aforementioned C + MCA.

Most of the gratuitous nonsense is got out of the way early, with the pair going undercover as dancers at a strip-club – hey, what are the odds against that? Though it’s notable that one of the actresses is notably reluctant to disrobe; I would tell you which one, but, really, I could hardly tell them apart and, in any case, it’s an informational nugget of absolutely no importance. After this, the film largely forgets the nudity, heading off in a subplot where Rin (or is it Mika?) gets kidnapped and brainwashed by an evil, noodle-slurping villain, and Mika (or is it Rin?) has to rescue her, which involves acting as bait and going through the whole procedure.

If you’re thinking this sounds like an excuse for some BDSM scenarios…you’d be right, though it’s relatively restrained – pun not intended! – in this area. Or perhaps it just seems that way, in comparison to Blood Gnome? There are a couple of acceptable catfights between Mika and Rin before the finale which, being totally honest, I can’t remember as being either good or bad. Actually, this is true for the film as a whole: a week after seeing it, very little remains in my memory. Either I’m getting old, or this was as forgettable as it seems.

Dir: Masahide Kuwabara
Stars: Kumiko Hara, Miyuki Iijima, Hajime Tsukomo, Edo Yamaguchi

2LDK

  By

★★★★
“Sharing an apartment with the wrong person can be murder…”

This inspired film came about as the result of a bet at the Berlin Film Festival between Tsutsumi and Azumi director Ryuhei Kitamura (who is also doing the next Godzilla movie): make a film about a duel to the death, with just one setting, two characters, and seven days shooting. Kitamura made Aragami about two samurai in a temple; Tsutsumi, however, came up with this, about two warring flatmates (the title is Japanese shorthand for an apartment with 2 bedrooms, a living-room, a dining-room and a kitchen – luxurious by the cramped standards of their cities). Specifically, two actresses who, over the course of an evening, discover they are not only the final contenders for the same part, they also want the same man…

The first half is an edgy comedy about the perils of sharing accommodation: one girl (Koike) is a country girl, new to the profession, but is the sort who puts her name on her food in the fridge, right down to individual eggs; the other (Nonami) is a seasoned pro, with few moral scruples, least of all about possessions. You just know it’s going to go horribly bad, and the girls’ true thoughts are conveyed by voiceovers, as they maintain a thin veneer of politeness, at least for the first 40 minutes. Then the gloves finally come off, and the pair brawl throughout the apartment, using every weapon at their disposal – samurai swords, bleach, straw mats, you name it. Though I do have to wonder, why the hell is there a chainsaw among all the elegant furnishings?

It does probably count as mean-spirited, but this is outweighed by surprising wit, and credit is due for being a very rare example of a film where you never see a man (you hear them on the phone, or in photos, that’s all). Tsutsumi does tend to push the camera in too close for the violence, when a more detached approach would perhaps be both better, and less confusing. At barely 70 minutes, it’s almost a throwaway, yet still remains largely entertaining, and is certainly unique.

Dir: Yukihiko Tsutsumi
Star: Maho Nonami, Eiko Koike

Armitage III: Dual Matrix

  By

★★★
“Oppressed robots = clumsy social metaphors, despite some very cool fights.”

It’d probably be best to watch the original film, Poly Matrix, immediately before this, as otherwise, you’ll be kinda hitting the ground running. After those events, Ross Syllabus and “Third” [a model of android which can reproduce] Armitage have set up home with their daughter, who doesn’t know her mother is anything by human; meanwhile Ross operates under an assumed name as a security guard. However, an incident turns him into an unwilling spokesman for robot rights once again, and when he is sent to Earth as a Martian delegate, his daughter Yoko is kidnapped by a faction seeking to reverse his vote. It’s time for Armitage to put aside her chores and kick butt.

If I’m flaky on details, it’s because chapters 10+11 on the DVD were faulty and refused to play. But I don’t think it made much difference. This improves slightly over the original, since it doesn’t get bogged down in android angst, and the action scenes are lengthy and largely entertaining, particularly a finale in which Armitage takes on two relentless, giggling android killers (whose teamwork reminded me of Bambi + Thumper from Diamonds are Forever!). However, despite flashes of brilliance, the coherence of the story, and occasionally the animation, leaves a lot to be desired; too often, you’re left going “Eh?”, in the dark about what’s happening, and why.

For example, the climax takes place on a space elevator, a concept familiar in SF – but there’s no-one at all around. No security, customers, or staff. And Yoko’s kidnapping seems due to sloppy parenting as much as anything. Similarly to the first, there’s little original thought here, though in its defense, the recent release of I, Robot may make this seem less novel than it was on its 2002 release. In the English dub, Armitage is this time voiced by Juliette Lewis, but we stuck to the Japanese track, so can’t comment on her animation debut.

Dir: Katsuhito Akiyama
Star (voice): Ryôka Yuzuki, Hikaru Hanada, Kazuhiro Yamaji, Yuka Imai

Exorsister

  By

★★
“Not so much ass-kicking, as ass-licking…”

exorsisterDo not, under any circumstances, confuse with the similarly-titled episode of The Simpsons where Lisa gets possessed by the spirit of Madonna. Because this is basically a live-action version of infamous tentacle-porn series, Legend of the Overfiend. Just what the world needs, you’re probably thinking, but compared to most of the genre, Overfiend had an epic sprawl to go along its obscene imagination, and with modern FX, there’s no reason it couldn’t be done. [Shouldn’t, perhaps…] They could make the heroine as cool as the one here: a motorbike-riding, cigarillo-smoking huntress with a wide-brimmed hat and a switchblade crucifix, taking on demons whose means of entry to Earth involves schoolgirls and sex.

Unfortunately, this fails on two counts. Firstly, the minor, largely forgivable matter of budget; instead of tentacles, for example, we get what appear to be vacuum-cleaner hoses on strings. If you can’t afford to stage interdimensional battles…don’t. Secondly, the lengthy sequences of hardcore (even with the pixillation of genitals required in Japan), for this is, first and foremost, a porn flick, make no mistake about that; I should perhaps mention, the schoolgirls are all clearly in their 20’s. This is simply dull, bringing the film to a grinding halt for about half the running-time, which is a shame; there’s enough imagination to suggest the idea has potential.

I believe four episodes were made. The second is supposed to be the best, and it’s in our unwatched pile, though I think part one has already tried Chris’s patience sufficiently for this week! Nakano also went on to make Sumo Vixens, starring Kei (Weather Woman) Mizutani, which (unlike the Exorsister series) has received an official American release, and would appear to be exactly what it sounds like.

Dir: Takao Nakano
Star: Karin Tsuji, Kaoru Nishida, Kazuki Taniguchi

Cat’s Eye

  By

★★★½
“Some truly great sequences lift this otherwise average manga adaptation.”

Despite an overall rating that is only mildly above average, when this is good, it is fabulous, and that’s why it merits recommendation. The highlight is probably a delirious first ten minutes, in which our three heroines steal a painting, and are pursued by the relentless and dogged Detective Hoshio (Harada), who doesn’t realise the cafe where he eats is run by the thieves he’s after. [If this sounds familiar, High-Heeled Punishers used a very similar idea in an S&M setting] This opening is lovely high-camp, played (as it should be) totally straight, with a beautiful sense of progression – both pursued and pursuers use wonderfully evolving gadgets.

Indeed, all the action is great. Unfortunately, instead of sticking to this simple concept, the major thrust has the trio seeking their father, an artist kidnapped 20 years ago, which brings them against the Chinese mafia and their assassin, Black Flag, played by Sho Kosugi’s son, Kane. This plot is badly-written, and drags the movie down like an anchor. Apparently, beyond basics, it also bears little resemblance to the 18-volume manga and 73-episode anime series which ran between 1981 and 1984, though I’m unfamiliar with them or the previous live-action version, a TV special aired in 1988.

Most fans seemed to hate this; as a neutral, I wasn’t so upset, though neither characters nor acting were exactly memorable – in particular, I found it hard to tell the heroines apart, especially when clad in their PVC cat-suits (complete with little pointy ears!). However, as disposable fluff, the time passed quickly enough, even if I would have loved more heists, and less flaky familial fiddling.

Dir: Kaizo Hiyashi
Star: Yuki Ichida, Izumi Inamori, Morika Fujiwara, Kenta Harada