Gonin No Shokin Kasegi (1969) review

 

GONIN NO SHOKIN KASEGI 1969 aka BOUNTY HUNTER 2: THE FORT OF DEATH

Wakayama Tomisaburo (Shikoro Ichibei), Mayama Tomoko (Kagero), Oki Minoru (Mochizuki Yataro), Kitamura Eizo (Onizuka Hayato), Tokudaiji Shin (Bessho), Ibuki Goro (Otohei, ninja leader), Tsuchida Sanae (Miyuki), Ishiyama Ritsu (Shinpachi), Amatsu Bin (Jisaburo), Ushio Kenji (Asami Juzo), Arashi Kanjuro (Tazaemon), Nakatani Ichiro (Mondo), Koike Asao (Ozeki Sadonokami)

Directed by Kudo Eiichi

The Short Version: High octane sequel to the visually, and expositionally impressive SHOKIN KASEGI (1969) finds our bold samurai spy saving a fortified stronghold of farmers from a brutal government oppressor and his band of ninja assassins. It's a much bigger production this second go round in nearly every regard. The goriest, and most action packed of the trilogy, there's less emphasis on spy intrigue and more on slashing swords and blazing bullets in what is essentially THE SEVEN SAMURAI (1954) minus two. 

After a plan to force the farmers of Enoki Village to partake in the rebuilding of Edo Castle crumbles, the government lays siege to the peasant hamlet. Upon taking away their food, heavily taxing them, and murdering those who refuse to pay, the villagers lead an uprising by building a fort around their homestead from which to defend themselves. Fearing the government will eventually wipe them out, a young man seeks the help of the famous bounty hunter, Shikoro Ichibei and his small band of specialists. 

This superior sequel to the fitfully entertaining samurai-spy movie SHOKIN KASEGI (1969) starts off somewhere in the desert. Shikoro is transporting a criminal across the barren mountain regions. He's attacked by a group of enemies and quickly riddles their bodies with bullets rapidly fired from his pistol. So begins THE FORT OF DEATH, the grimy, if more ambitious entry in Wakayama's BOUNTY HUNTER trilogy. Think THE SEVEN SAMURAI (1954) without the extensive characterization, minus two title swordsmen, and more action and you have an idea as to what THE FORT OF DEATH is. In this second go-round, the Euroater flavor takes precedence from a visual standpoint. The music (by Tsushima Toshiaki) is more distinctly Japanese, and not quite as memorable as Yagi Masao's from the first movie, but the western feel is palpable in this films imagery.

The Bondian trappings are almost non-existent with the scales tipped in the favor of sword and gun action, and lots of it. The use of a group of ninjas supplants the spy conventions that were so prevalent in the first feature. It's this section with the ninjas that provides THE FORT OF DEATH with its most viscerally exciting set piece. Otohei is the leader of this faction of Shinobi. He's a man of few words and is missing an eye. Sent in to steal away the Gatling gun Shiroko brought with him, they do get away with it, but Otohei and his men don't get far. Shiroko -- who is already having a bad night -- duels with the ninjas in his underwear! After dealing with an extremely horny woman, our half-naked hero is forced to fight a few unscrupulous ronin moments before ninjas attempt to kill him. It's a tense battle inside a bamboo grove that ends in gruesome fashion. 

Ueno Ryuzo returns to contribute the fight choreography, although the sword battles are outnumbered by the guns this time. The large scale action is likewise very well executed. The fort is attacked multiple times, but the last fifteen minutes is a breathlessly intense segment that ends on a bitter note. Seeing Wakayama firing off a Gatling gun with a sword at the ready is surreal. He'd later repeat the gun and sword motif in his classic THE MUTE SAMURAI series from 1974.

Wakayama Tomisaburo is even more charismatic this time out, although there's been some noticeable tampering done with his character. Takada Koji's screenplay (encoring from SHOKIN KASEGI, but taking sole credit) writes him as more emotional than before. He seems far more concerned about those around him than simply making money. He's not the only one, either. A few other actors in the picture wax patriotic at times. The movie is not a political one, but there's a slight subtext there regarding government oppression of a populace. Wakayama delivers a poignant speech during the closing moments about the uselessness of a governing body if its sole purpose is to march over the lives of those who keep them in power. 

The actors penchant for comedy is in evidence here, but his brazenness that made certain situations humorous is exempt from this sequel. Instead, the humor is derived from an individual interacting with Shikoro, and his attempt to resolve the chaos before he's affected by it. The bulk of these moments revolve around the topic of sex, and Shikoro just doesn't have time for it in THE FORT OF DEATH. 

The women are just crazy about Shikoro in this series; and some of them are literally losing their mind to have sex with him. In fact, sex plays a big part in the societal makeup as depicted in this movie. In Shikoro's first scene he treats a man in his infirmary with gonorrhea who has waited an awfully long time to get treatment. This is an hilarious sequence, by the way. Moments later a woman comes in claiming to have an ailment, but Shikoro sees through her scheme of covert horniness. Later on at the fort, Shikoro is nearly raped by a woman with an unbridled libido. Towards the end, a woman who has lost her mind plays rough in an attempt to get the bounty hunter's clothes off!  Oddly enough, Shikoro shows no interest in the flesh here unlike his libidinous aura of the first and third entries. His focus is on helping the Enoki villagers.

Shikoro's lover from the first movie returns, but the actress who played her the first time around, Yumiko Nogawa, does not. Playing Kagero in her place it's the exotic beauty of Mayama Tomoko. She played Akane, Shikoro's other lover in the previous movie.

Speaking of sex and Kagero, there may have been something cut from the finished picture involving her. After a failed  attempt to steal Shikoro's Gatling gun, his Iga ninja lover says to Shikoro he "shows more affection for the weapon". Doubtless there will be some who will read into this something that isn't there, but Kagero's frustration to get some attention may have been further explored in the movie prior to its release. There are production stills showing a half naked Kagero and shirtless Yotaro together like they'd just finished having sex (see insert). This lends a later scene a bit more gravitas. Towards the finale, Shikoro decides he will act as a decoy to lure away Mondo's men so that the village headman can escape to Edo for help. Yotaro speaks up and insists he go instead. It's as if he feels shame for moving in on his boss's woman. This is just speculation per the still photo and the absence of the scene in the film. 

Wakayama enjoys a respite of theater as he sings and dances for a quick wedding ceremony moments before the renegade official and his army attacks with his cannons. Early in his career, Wakayama was a kabuki performer, and you get to see some of that here. He also sings the opening theme, 'Song of the Bounty Hunter'. He would do this again singing the somber main theme for THE MUTE SAMURAI.

Directed by the same man who helmed the original 13 ASSASSINS (1963), Kudo Eiichi shows a masterful touch in capturing a gloomy atmosphere. The darkly playful tone that balanced SHOKIN KASEGI is missing, save for the comical numbers mentioned above. The narrative itself, and ending is so dark, the comedic bits in GONIN NO SHOKIN KASEGI feel somewhat forced, but don't hinder the film so much as add a quirkiness to it that began at the start of the trilogy anyway. As downbeat as the movie is, it's not quite as bleak as the third and final film, SHOKIN KUBI: ISSHUN HACHI-NIN GIRI (1972).

Aside from expert direction by Eiichi, Suzuki Jubei's cinematography gets additional mileage out of the expansive scope offered by Koji's script. From indoor settings to wide open spaces, Suzuki's camera captures the right mood. This is glaringly apparent during the opening moments with Shikoro in the desert windstorm backed by an almost red sky. Later shots are drenched in fog further enhancing the dank atmosphere Eiichi's movie wallows in.

Fans of Japanese exploitation will spot Makiguchi Yuji listed in the credits as the assistant director. He was an AD on a number of trashy movies in the 1970s and directed one of the most notorious, ghastly exploitation films ever made in the form of SHOGUN'S SADISM from 1976.

With a multitude of characters, a large scale storyline, and a visually appealing landscape, GONIN NO SHOKIN KASEGI (1969) surpasses its predecessor in a number of ways. It lacks some things that made that first outing so special, but it also improves on some others. Fans of the star and his more well known international cult classics will find much to enjoy in this series, and this movie in particular.

You can buy this DVD and the box set HERE and HERE.

Shokin Kasegi (1969) review

 

SHOKIN KASEGI 1969 aka BOUNTY HUNTER: KILLER'S MISSION

Tomisaburo Wakayama (Shikoro Ichibei), Yumiko Nogawa (Kagero), Bin Amatsu (Okiteyama Nikaido), Chiezo Kataoka (Ijuin Ukyo), Goro Mutsumi (Yotoji), Koji Tsuruta (Shogun Ieshige), Yusuf Osman (Captain Segal), Junya Usami (Makino Bungo), Tomoko Mayama (Akane)

Directed by Ozawa Shigehiro

The Short Version: Serious fans of Toho's LONE WOLF & CUB series will be intrigued by this samurai spy tale about a clan attempting to oust the Shogunate with foreign weapons procured in a secret alliance with Dutch militants. A feared bounty hunter proficient in martial arts, secret weapons and women is sent to uncover the plot. Wakayama endeavors some low-key comedy in between subterfuge and sword fights. The highlight is a superb Zatoichi impression by Wakayama that's so good, it will have you double-taking if it's him or his brother, Shintaro Katsu. SHOKIN KASEGI is the first in a trilogy of varied tales of its Bondian style bounty hunter, Shikoro Ichibei.

The time is 1751 during the Tokugawa Shogunate. Believing the Satsuma Clan is secretly planning to overthrow the government with the help of foreign aid, Shogun Ieshige sends a cunning secret agent sword master named Shikoro Ichibei to investigate. Meanwhile, the advisers to the Shogun, the Roju Council, send their own spy to find out what the Satsuma are up to.

Toei hyped this lively, sassy samurai saga as a mixture of James Bond style spies and Italian western motifs. It must have been successful since it was sequelized twice -- one saw release in the same year; and a third, and final installment followed in 1972. Like many samurai pictures, there's a touch of historical significance in the script within its Tokugawa Era setting. Aside from some appealing ideas, it's basically a standard Jidaigeki tale, but told with a sense of wit as sharp as Shikoro's many blades. Takada Koji and Igami Masaru's droll screenplay is rife with memorable moments. Among these is an extended section of self-referential humor that's arguably one of the most welcome, and hilarious instances of parody ever filmed (more on that later). Thankfully, they wrote a charisma saturated main character with which to carry this movie.

Wakayama is incredible as the wily, brazen, and burly sword slinging samurai spy. He's absolutely magnetic onscreen. His spy swordsman character is just as slippery and resourceful as James Bond, but replaces the British agents swagger with brutish mannerisms. Both men share the same level of confidence -- imbuing both with an air of invincibility. Shikoro is a learned character, too. It's not expanded on here (the sequels go further with it), but he's also a doctor of medicine who has trained himself to have immunities against certain poisons. This comes in handy early in KILLER'S MISSION. 

Arguably the finest sequence in this movie is when Wakayama pretends to be a blind masseur from Osaka. His mannerisms, body language and even his line delivery poke fun at his younger brothers famous Zatoichi character. If you're familiar with Katsu's renowned series of films about the sightless samurai named Zatoichi, you'll get a huge kick out of this portion of the film. Wakayama does a fantastic impersonation perfectly mocking his brothers most famous role. He gets just the right pitch in his voice; so much so, you'd swear Katsu dubbed over the lines. If you only know Wakayama Tomisaburo by his more famous Ogami Itto role in the SIX LONE WOLF AND CUB films (1972-1974), you're in for a treat here.

The spy craze is a bigger influence on SHOKIN KASEGI than the Euroaters, although the first sequel, GONIN NO SHOKIN KASEGI (1969) is a veritable western in samurai tresses. The most obvious western moment is a mainstay of countless Italian six-gun scenarios. In it, we see Nikaido using one of the unique Dutch scope rifles to pick off captives while giving them a chance to run for their alleged freedom. Yagi Masao's fabulously energetic score features some familiar Euro western strains, too. Regarding the score, it's so catchy, you're likely to be humming it to yourself once the film is over.

The spy nuances are more prominent with Shikoro's admittedly rough methods of intrigue, and a utility belt full of weapons. Outside of his blind masseur disguise, Shikoro has no problem marching unabashedly into the eye of the storm freely touting who he is, and what he's there for. This makes for some interesting introductions with often humorous results. Our man Shikoro has an armory of assorted weapons, too. Most of them are shown during the opening credits sequence, and used throughout the movie. Among them are a varied arsenal of swords, guns, crossbows, spring-loaded knives and darts hidden on his person, or cased within a large leather belt he wears around his waist. Aside from his trusty sword, the scabbard that sheathes it doubles as a telescope.

His main partner in this movie, Kagero, is also a spy who has a hidden weapon of her own -- a comb that hides a deadly poison dart gun. She's captured at one point, and suffers some terrible tortures (see insert), but somehow survives the ordeal. She's one of two love interests enjoyed by Shikoro -- another trope of the James Bond series. The star of several Japanese erotic films, Yumiko Nogawa (above and below) also worked with Wakayama's brother Katsu in his ZATOICHI AND THE FUGITIVES (1968), one of the bloodier films in that series. Taiwanese born Judy Ongg played the Kagero role on the subsequent BOUNTY HUNTER television series in 1975. She appeared a few times in Wakayama's violent THE MUTE SAMURAI series as well.

The two brothers (Wakayama and Katsu) were wild cards offscreen, often against type with their more famous roles, and fancied themselves ladies men. For SHOKIN KASEGI, the aforementioned Bondian element of women falling all over the hero applies here too -- even though Shikoro is somewhat forceful, or uses a trick to bed down the ladies. Still, they both fall for him in what is his expert sexual prowess. This is played almost for parody in the first sequel when women are literally throwing themselves at him. In the third movie, Shikoro's mastery of the sexual arts is exploited once again.

The actions scenes are what you'd expect from Wakayama. They're fast and exciting, and have a bit of empty handed punches, kicks and throws mixed in. A Kobudo (traditional martial arts) coach (Nakajima Masayoshi) is listed in the credits. Ueno Ryuzo's choreography is dotted with moments of bloody eruptions such as an early decapitation, severed limbs and swords through necks. It's not in the same class as the fire hose level of blood spraying of the BABY CART films, but the red stuff is present. It increases in the next film, and makes the depressing second sequel all the more somber.

Bolstered by two big name elder statesmen of Jidaigeki, Chiezo Kataoka (see above) and a cameo from Tsuruta Koji, Toei had a hip and high profile chambara actioner on their slate. Of more importance to Kaiju fans, they'll recognize Goro Mutsumi in a supporting role as a sympathetic government spy. Playing two different, if identically dressed aliens in GODZILLA VS. MECHAGODZILLA (1974) and TERROR OF MECHAGODZILLA (1975), Goro was also in Toho's inferior STAR WARS clone, WAR IN SPACE (1977).

 

Director Ozawa will always be well known to Japanese cult film fans internationally for directing Sonny Chiba in the iconic THE STREET FIGHTER, and its two sequels among other credits. His direction of SHOKIN KASEGI (1969) starts this series off on a high-spirited note. A different director took the reigns of part two, but Ozawa returned to close the series in downbeat fashion in SHOKIN KUBI: ISSHUN HACHI-NIN GIRI (1972). The directors penchant for humor married with bloody violence foreshadows the extremes the later Chiba classic would indulge in. For samurai, and especially Wakayama fans, SHOKIN KASEGI (BOUNTY HUNTER: KILLER'S MISSION) is worth tracking down.

You can purchase this DVD and box set HERE and HERE.