The Mute Samurai: Episode 6

OSHI SAMURAI -- KIICHI HOGAN (MUTE SAMURAI -- DEMON HOGAN)

CHI KAZE TOGE (A WHIRLWIND OF BLOOD) ***1/2

Tomisaburo Wakayama (Kiichi Hogan), Hama Yuko (O-Ran), Yamauchi Akira (Shiba Gunbei), Nakada Yoshiko (O-Mitsu/Mitsuryu), Tatsuo Endo (Councillor Sakata Gyobu)

Directed by Ozu Hitoshi

Demon Hogan has a fateful encounter with Shiba Gunbei, a samurai bent on avenging a wrong against a British swordsman named Blood. Mirroring his own plight against Gonzalez, the two become friends. Losing his duel against the British fencing specialist, Hogan aids in restoring the name of Gunbei's Itakura Clan, and eliminating two duplicitous usurpers engaged in slavery and illegal trade with Blood.

The pet project of Gosha Hideo and Wakayama Tomisaburo continues with quality storytelling in this, the sixth episode of THE MUTE SAMURAI (1973-1974). It fumbles a few times with some sloppiness, but this being small screen samurais on a budget, not everything is perfect. It's one of the busier episodes containing enough material for a feature film. For the most part, all the elements are balanced out well under the direction of Ozu Hitoshi.

There's a nice collage of scenes that show us what a day in the life of a silent samurai bounty killer is like. It's never boring as the opening minutes attest. Beginning with the pre-credits sequence, Hogan uses a gun to dispatch a handful of ambushers. This six shooter makes regular appearances as the series progresses, and this is the first time we see Hogan using one. Collecting bounties has its own price, and the Demon has a number of folks after him. However, Hogan hasn't lived for as long as he has based solely on his sword skills.

Despite his trail of vengeance, Demon Hogan hasn't lost touch with his humanity, either. As violent as this series is (episode five saw director Wakayama in full-bore Misumi mode), the central characters emotional side never diminishes. We see more of that here. It's especially notable in the way he treats a female character from a previous episode.

Chokui Kinya's script reintroduces a particularly nasty character from episode three, O-Ran, the female leader of a band of butchers that terrorized local villagers experiencing a drought. Director Ozu is no Misumi, and the O-Ran character is now in with a much milder gang of robbers. Upon running across Hogan again, she suddenly decides to change her ways; giving back the money she stole, and explaining she only committed crimes to pay her sisters debts. She's definitely the polar opposite of the way she's depicted in that previous episode; yet O-Ran indeed proves her mettle to Hogan, and seemingly falls in love with him in the process! At first this angle appears to be a subplot, but ends up intersecting, then detouring the path this episode takes at the outset.

 
Shiba Gunbei (Yamauchi Akira of GODZILLA VS. HEDORAH, BABY CART IN THE LAND OF DEMONS, BULLET TRAIN) is an interesting character. Both men are kindred spirits in that they share so much in common in regards to their predicaments. Gunbei reminds Hogan not only of himself, but of his late father. Hogan is even mistaken for Gunbei early in the show; which is how the two stories connect. The difference between the two men is that Gunbei isn't the swordsman that Hogan is. Also, when Gunbei is fatally wounded by Blood, he doesn't impose his failed mission on Hogan; the bounty hunter decides to finish it because of the debts of blood they share.

Unfortunately, the Anglo's working on this show aren't very convincing when they're required to perform action. In the sword duel between Gunbei and Blood, the camera is tight on the two men with rapid edits (vainly) attempting to cover up for the Anglo performers lack of menace in the choreography. This is compensated during the finale when Hogan does a Django on Blood's hands before he ever has time to draw his rapier. The actor playing him is supposed to be British, but when he speaks, he has an American accent.

For whatever reason, the makers of this episode dressed up a Japanese extra as Blood's black servant. There weren't many black actors working in Japan at this time. Willie Dorsey played the Spanish villain Espinoza's servant in episode two, so likely it might of been viewed as odd to see the same actor playing the same role in a different capacity. Still, seeing an obvious Japanese man with black paint and an Afro is about as odd as you can get.

'Whirlwind of Blood' does close out with a bang as Demon Hogan lays waste to clan usurper Councillor Sakata (played by prolific villain actor Tatsuo Endo), his men, and the British fencer Blood. The choreography is strong and Wakayama looks very powerful in his variety of maneuvers. The makers employ some uniquely creative camera angles that make this episode stand out. Aside from a few weaknesses, this is a strong entry in this well written series.

TO BE CONTINUED IN EPISODE 7: A SILENT PARTING OF THE WAYS!!!

You can buy the series HERE

The Mute Samurai Episode 5

 

OSHI SAMURAI KIICHI HOGAN (THE MUTE SAMURAI)

Episode 5: THE FATEFUL ENCOUNTER (RUTEN NO MEGURI AI) ****

Tomisaburo Wakayama (Kiichi Hogan), Kayo Matsuo (Kikuno)

Directed by Tomisaburo Wakayama

Having previously been informed Gonzales is no longer in Japan, Hogan rides to Shimoda to sail to Spain. On his way there, he's compelled to rescue a group of twelve women and children being held hostage atop a mountain by a motley crew of young, angry samurai who call themselves the Fujinto Group. Demanding a ransom of 5,000 ryo ($750,000US) within a days time, the mad swordsmen show no mercy in killing any, or all of their captives. Kiichi Hogan tries desperately to climb the steep precipice to save as many of the hostages as possible.

Star and producer of this series, Tomisaburo Wakayama steps behind the camera to direct himself in the best episode next to Misumi's entry. The actor totally knocks it out of the park, expertly conveying the grim essence of THE MUTE SAMURAI. Every emotional faculty is squeezed dry in the allotted 47 minutes. From the opening scene of a child being shot in the head (the first of many), to the final tear-filled moment, 'The Fateful Encounter' grabs you by the throat and doesn't let go. 

There's so much going on in this episode, it's a miracle Wakayama was able to wring the amount of exposition and emotion out of all the principals as he does. He does a remarkable job in what seems to be his first, and last turn as a director. If true, it's a shame as he shows himself to be just as masterful guiding actors as he is guiding his sword onscreen. 

Firstly, the subject matter will possibly put some viewers off. A number of children are gunned down at point blank range, or pushed off a mountain only to die on the rocks below. The disgusting architect of this savagery is the heartless, emotionless Morishita Ikuma. Leading what he calls the Fujinto Group, Ikuma and his band are essentially an angry mob of anarchists hellbent on toppling the government and eradicating what he sees as corruption. Apparently, executing women and children is his way of starting what amounts to a senseless revolution.

This sort of storyline mirrored much of the turmoil going on around the world at the time. The 1970s was a time of social unrest that had breached seemingly every corner of the globe. Bombings, kidnappings and murders were commonplace. This sort of modern day barbarism is reflective of the chaos that took place during the tumultuous Tokugawa era THE MUTE SAMURAI is set in.

The scriptwriters (there are two this time) go all out with the operatic nuances piling the dramatic moments so high and thick, it would be parody if the material weren't so vicious. Among these is the inevitable reunion between former lovers Hogan and Kukino. On top of that, it's quickly learned that the vile Morishita Ikuma is Kukino's brother! Kiichi's real name, Kennosuke, is also unveiled to us.

Wakayama's title dark hero has been portrayed as seemingly invincible. That all changes here. For the first time, Kiichi Hogan is put in some serious mortal danger. Overcome with sentiment for the endangered hostages, the bounty hunters haste gets him a bullet in the chest. As Hogan lies on the mountainside digging out the bullet, the magistrate's men are gunned down as they, too, try to climb what is ostensibly the Japanese equivalent of Hamburger Hill. 

Reportedly, Wakayama put himself in very real danger while shooting this episode. It's obvious he's performing some dangerous stunts here, particularly during the climbing shots on this treacherous mountain. It's also in this entry that we really get a feel for Hogan as a human being. He loves children. His voiceover at the beginning alerts us to this; and it becomes glaringly apparent later on as he desperately tries to save just one of the kids being executed. There are no feel-good moments in this episode at all. Even the meeting between Hogan and Kikuno is not a happy occasion.

Hogan's ambivalence towards his former fiancee is striking. We've seen flashbacks of her in every episode till now, so this reunion is unexpectedly bittersweet to say the least. He makes eye contact with Kikuno, but nothing else. He doesn't even free her from her bonds! Presumably, his determination to find Gonzales at all costs has taken precedence over anything else. But then, his name means 'demon', so most likely there's no room in his heart for the love of a woman.

Isao Tomita's music matches the barren mountain regions the bulk of the show takes place on. Bordering on progressive tones, the synth cues hint at a slight rock sound that would eventually dominate later Japanese shows and movies eventually morphing into pop-rock ballad beats by the 1980s. Tomita's music is amazing, and continues to fit this series like a glove.

This is a brilliant episode. It's unusually violent, and overwhelmingly depressing. It perfectly captures the look and feel of its original source -- THE GREAT SILENCE (1968) -- and famed director Hideo Gosha's original story has flawlessly transposed that films despair to a samurai setting. Spaniards re-enter the storyline with episode six, but Gonzales continues to prove elusive. The dismal, melancholic ambiance remains out in the open.

You can purchase volume 3 HERE. It contains episodes five and six.

To be continued in episode 6: A WHIRLWIND OF BLOOD!!!

The Mute Samurai Episode 4

 

OSHI SAMURAI KIICHI HOGAN (THE MUTE SAMURAI)

Episode 4: A BRIDGE TO THE DARK WORLD ***

Tomisaburo Wakayama (Kiichi Hogan), Ebara Shinjiro (Odagiri Jokichi/Muira Shinjiro), Mori Kikue (Lady Boss), Eiji Go (Senpachi)

Directed by Kimiyoshi Masuda

Kiichi Hogan wanders into a new town and takes down a wanted poster for Muira Shinjiro. While having a drink, a woman named Yuki informs the bounty hunter that Shinjiro killed her brother and she wants revenge. Allegedly hiding out in the town of Sakai -- a small island community accessible via a small bridge. Populated by ruffians and fugitives lorded over by an elderly woman, Hogan searches for his quarry; but for reasons associated with finding Gonzales as opposed to collecting a bounty. Upon discovering Shinjiro's identity, Hogan learns of a conspiracy tying the man to the death of Yuki's brother and the Shimazu Clan. 

Yasuda returns for his second directorial assignment of this series, and it has a bit more going on than his first go round. So far, 'A Bridge to the Dark World' is the most intricately plotted episode up to this point. There are a few different strands bandied about in the script, and the only one of great importance is the furthering of Wakayama's character. A bit more emotion shines through; and even a great deal more erupts in the next episode. However, it starts to become apparent that Hogan cares more about getting information on Gonzales than the actual bounties for those connected to him in some way.

Another strand covered here is one that has been consistent since episode one -- the permeation of criminality among the poor and the meek. There seems to always be at least one person who is forced, or falls into crime simply out of the need to survive. Drug smuggling is the constant, as is a sense of anti-western sentiment in this series. That applies here, as does an exploration of "mistaken identity". The thin line between the good guys and the bad guys remains a noticeable trend in THE MUTE SAMURAI.

The Honor Among Thieves mantra embraced by the Yakuza is prevalent here as well; and in one surprise moment, it supersedes familial ties when one of the thugs betrays his own. 

This entry has little action till the end, but it's quite a good finale capped off with a duel between Hogan and the real villain of the piece. Wakayama is very powerful here. At the beginning, he kills a man with a single kick; later slings one poor sap clear across a room; and puts his knife throwing skills to good use. The finale against a gang of samurai who lay siege to a shed where the main protagonists are trapped is a highlight.

Eiji Go (see above) has a supporting role as one of the island thugs. He keeps the brutality toned down, though; in comparison to his works for Toei. Eiji Go played some true scumbags, and had the look for it. He features in movies like ZERO WOMAN: RED HANDCUFFS (1974), and films with Sonny Chiba such as fan favorite THE EXECUTIONER (1974) and its sequel from the same year just to name a few.

The camera placement and some photographic shots elevate moments in the show, yet again. This fourth episode begins -- as the others before it did -- with Kiichi either hunting, or being hunted by enemies. The opening for this one once more has an apocalyptic feel. Presumably this was the intention of both Katsu and (by this time, producer) Wakayama to get that sort of atmosphere across considering the gloomy nature of their series.

THE MUTE SAMURAI really picks up some serious steam in the next episode that will shock some, and possibly be a deal breaker for a few viewers for its violence alone. This stark, downbeat series is just starting to find its footing, and it only gets better from here.

You can purchase volume 2 HERE. It contains episodes three and four.

To be continued in episode 5: THE FATEFUL ENCOUNTER!!!

The Mute Samurai Episode 3

 

OSHI SAMURAI KIICHI HOGAN

Episode 3: KAON NO KAIDO (THE DANGEROUS HIGHWAY) ****

Tomisaburo Wakayama (Kiichi Hogan), Hama Yuko (O-ran), Tsuyama Toshiko (Shino), Wada Koji (Inokichi), Kato Yoshi (Village Master)

Directed by Kenji Misumi

Hogan is trans-porting a wanted criminal when he's informed that Gonzales was seen at the Missho-Ji Temple within the past year. In a nearby village, a drought has kept the wells dry and the locals nearly broke and desperate for fresh water. A group of bloodthirsty killers have over-run the nearby Missho-Ji Temple -- the only place for miles that has a liquid surplus. There they control the sacred wells, and keep the water for themselves. A swordsman is begged, and paid to travel there to retrieve the use of the wells back to the villagers. Easily defeated, the heartless swordsman joins the gang instead. The thugs, led by the ferocious female O-ran, terrorize and murder the townsfolk, and kidnap the women. Hogan is then engendered to enter the fray and help the destitute farmers.

One of samurai cinemas greatest directors displays his notable flair, and penchant for solemnity in this overly savage episode. The Italian western influence is in abundance here with the absolute ugliest looking bunch of barbarians this side of a Leone-Corbucci movie. The villains are truly despicable, and the make-up given the actors playing them truly make them look the part.

The samurai they initially hire to help them is a scumbag right from the start. First, their money offer is too small; then he insults, and forces a man from his house while demanding his wife entertain him for the night! Of course, this situation leads to a bad end. To make matters worse, this ignoble, contemptible rapist takes the money and sides with the vile thugs holding all the water. By the time Hogan enters the picture, the peasant villagers want no part of outsiders. While Hogan intends to help anyways, his true purpose is to gain more information as to the whereabouts of that wily Spaniard, Gonzales.

Covered in a wig and sweat, Riki Harada has a small role as a captured criminal being transported by Hogan during the opening sequence. We don't learn much about him, but apparently he's a gang boss as Hogan is ambushed by a band of killers that are quickly put down by his blade. Among his credits include the Shaw Brothers production, HEROES OF THE EAST (1978).

The fight choreo mix things up a bit. Swords are drawn, but Wakayama also indulges in some hand-to-hand. At one point, he gouges a man's eyes out and is seen brandishing metal forearm plates similar to those Chiba wore in his bonebreaking classic, THE STREET FIGHTER (1974).

The actors and drama aside, the photography and editing are some of the best so far. The viewer can almost feel the sweltering heat emanating from the screen. The opening sequence captures a barren, burned landscape that Kiichi crosses undaunted to his destination. The probing camera lingers on the cracked earth and crumbling architecture of languishing structures left to rot in the pounding rays of the sun. THE MUTE SAMURAI is a series notable for its sense of hopelessness, and Misumi's episode is a sterling example of this.

Isao Tomita's music has been of high quality since episode one, and it continues here. It's an unusual score, but recalls those of the BABY CART series. At times mixing experimental with traditional Japanese soundscapes, a thick element of doom is embedded within Tomita's compositions.

With nearly the entire episode reveling in the decadent brutality of the villains (led by a woman, no less!), the shows numerous grotesqueries overpower the viewer, rescuing their sensibilities with a coda that inspires a bit of Judeo-Christian mysticism. By comparison, DUNE from 1984 has a virtually identical ending. Kiichi Hogan is the messiah this oppressed village has hoped for; and once the evil is eradicated, not only do the townsfolk get their water supply back, but rain inexplicably pours down, soaking the once dry earth. It's a great capper to a show not prone to happy endings, yet the last moments do not fully escape a flicker of pessimism.

This episode can't be recommended highly enough. It totally represents the atmosphere this series strives for while promoting an apocalyptic vista in an area where water is prized over everything else. In approximately 47 minutes, Kenji Misumi creates a cruel world dominated by heathens and miscreants; and one near mythical savior who brings life back to a hamlet of benevolent farmers.

Volume 2 containing episodes three and four can be purchased HERE.

To be continued in episode 4: A BRIDGE TO THE DARK WORLD!!!