Lone Wolf & Cub 6 - Blutiger Schnee

Honestly, I think that the Lone Wolf and Cub series is the greatest samurai series ever. EVER. Although some of the events are, ahem, not the most plausible things in the world, the journeys of Ogami Itto and Daigoro are fascinating to watch. Actually, the perfection of the direction and cinematography makes even a machine gunning baby cart seem perfectly normal. A great movie.

The sixth and last of the "Lone Wolf and Cub/Baby Cart" series of films shows how artistically well-done films can make even the most ludicrous ideas work. During Ogami Itto's journey to the final showdown with his arch-enemy Retsudo, leader of the evil Yagyu clan, we witness everything from incest bordering on necrophilia, zombie samurai who can burrow in the ground like worms, the usual assortment of mutilations, a battle on snow skis, and the most elaborate baby cart weaponry yet--including automatic armor plating! As usual, the images are beautifully composed, the action is splendidly choreographed, the plot ideas are wonderfully outrageous, and the funky music score is cool perfection. Any of this out of context would be silly; in context, it's almost sublime.

Though it still has the backing of Katsu and Toho, it's noteworthy that this sixth and final entry in the classic 'Lone wolf and cub' series saw the most significant personnel changes among them all. Kuroda Yoshiyuki directs in the series for the first time; composer Murai Kunihiko takes over from series regular Sakurai Eiken; above all, previous co-writer Nakamura Tsutomu now has the sole writing credit as manga creator Koike Kazuo has not returned to adapt the script. It's reasonable to ponder what such shifts might mean for the last film, 'White heaven in hell,' and one may be inclined to think we find out at least in part right at the start as the musical accompaniment for the opening credits sequence is straight out of 70s Hollywood exploitation fare. Then again, since its inception this saga has dallied with a mixture of the classic and earnest, somewhat recalling revered jidaigeki of past years, and the self-indulgent, violent spectacle that would in turn inform filmmakers like Miike Takashi and Quentin Tarantino. How would this late chapter ultimately hold up? How would it stack up next to its brethren? Happily, despite some gaucheness that may present - in fairness, not entirely different than what we've gotten before - this picture is definitely kith and kin with its predecessors, and at length it's as entertaining as we would hope.

I mean no disrespect to Murai when I say that his score might actually be the weakest link in this chain. It's not specifically bad per se, and it's not as if the franchise wasn't prone to extravagant tendencies heretofore. However, the flavors of Murai's most overt themes are unquestionably a step beyond even the most wild creative choices made elsewhere throughout these productions (like all the doodads outfitting Daigoro's cart), and there's a certain clash of tones. His contribution isn't the only extravagant tendency on hand, though, for the plot also trades to a substantial degree in mysticism and black magic that quite surpass the intimations of deep-seated spirituality that may have occasionally popped up before. I'm not familiar with Koike's manga so I don't know whether or not this is an element that was more visible in the rendition of another medium, and I'm not at all opposed to t he infusion of fantasy in my action-adventure - in fact, I greatly appreciate it - but the fact of the matter is that the inclusion here is decidedly well removed from the approach taken in the five preceding cinematic treatments. 'White heaven in hell' could have been a sixth film that realized the Tsuchigumo in a manner that sidestepped their sorcerous powers, or it might have been a standalone feature that completely embraced that fancifulness, but it is arguably less convincing as it aims to be both.

Still, maybe I'm overreaching in my criticism. I don't know if some odds and ends were the best path forward for this flick, but by and large it's just as terrific as its antecedents. Why, in at least one regard this may genuinely have a leg up on the others, for the Tsuchigumo represent a terrible threat to protagonist Itto and son Daigoro, and those around them, to an extent that the franchise hadn't achieved previously. Itto and Daigoro find themselves in dire straits facing down a unique, unparalleled enemy, and the stakes for the titular duo have truly never been higher. With that core established it may also be the case that the narrative is more tightly focused than it has been. Father and son remain central to the proceedings, and likewise Itto's troubles with the duplicitous Yagyu clan, yet the story has more or less been reduced to its most compact representation to accentuate the viciousness and danger of the Tsuchigumo, and the escalation of Itto's struggle against his foes. This applies to all components of the screenplay, really a tremendous credit to Nakamura, and even with its more questionable bits and pieces the result is highly engaging, absorbing, entertaining, and even thrilling. As viewers we love most of all those movies that we consider flawless, but it also says something special about a movie for its distinct strengths and value to be able to shine so luminously despite equally distinct faults.

In every other capacity 'White heaven in hell' is as reliably superb as its forebears. The filming locations are gorgeous, and the sets, costume design, hair, makeup, props, and weapons are flush with incredible detail. The effects (of course including blood and gore), stunts, choreography, and action sequences are excellent and invigorating, and the cast give perfectly solid performances across the board to bring the tableau to life. Outside of its most dubious phrases Murai's music is just as grabbing and rich as Sakurai's; among the returning crew, Makiura Chishi's cinematography and Taniguchi Toshio's editing are as sharp as ever. The same goes for Kuroda's direction. I think the immediate conflict here with the Tsuchigumo could have been drawn out more so as to accentuate Itto's toils, but still I admire that portion of the tale; the climax frankly echoes the wholly far-fetched gaudiness of the worst frivolities of Roger Moore's time in Eon Productions' James Bond franchise, but still I concede that the sequence is well done just as it is. Given Itto's driving purpose since the first installment of January 1972 I wonder if it wouldn't have been better to give this last installment a more conclusive ending, or at least an ending that wasn't so near to the tropes of a Saturday morning cartoon, but then there's also something to be said for leaving the last minutes open-ended in the eventuality that more may have been produced.

What it comes down to is that this title is a mixed bag, and possibly more so than any of the other 'Lone wolf and cub' films. For the excess that it carries at its worst, I wonder if I'm not being too kind in my assessment; for what it does well, I want to like it more than I do. Considering the significant high quality of the rest of the series it isn't necessarily saying much to suggest that 'White heaven in hell' is the lesser of the six; it might be more meaningful to say that it doesn't necessarily carry the same weight in its themes and storytelling, even where it succeeds the most. I really do like this, and I just wish that where it is less sure-footed, more care had been taken such that it would have met the same level as its fellows. Of all these pictures I'm positive that this is the one that least demands our viewership - especially unfortunate since I think the fifth, 'Baby cart in the land of demons,' may have been the very best of them all - but even at that, it's well done overall, and enjoyable. In this instance one may not need to go out of their way to see it, but if you've already made it to this point in the series, it behooves one to finish the set. Just as much to the point, while it's a step down, 'White heaven in hell' is still worth watching on its own merits, so just sit back, relax, and enjoy the show to come your way.

I was really looking forward to seeing WHITE HEAVEN IN HELL, the conclusion of the six-part LONE WOLF & CUB series of films charting the misadventures of Itto Ogami and his son Daigoro as they travel the violent landscapes of feudal Japan. Earlier films in the series – especially my favourite, the second one – have been excellent, so I was enthused to see how they finished the long-running storyline off. The bad news is that they don't; this was never intended to be the last film in the series, so things just close on a cliffhanger that was never followed up. I won't pretend that I'm not disappointed.

There's both good news and bad news for fans of this series. It's simple: WHITE HEAVEN IN HELL offers more of the same of what's come before. So there's plenty of villainous plotting, scenes of Daigoro being the lad we all know and love, and Ogami taking down numerous opponents without breaking much of a sweat. The villains are hissable, Ogami is effortlessly cool, and by now we all know what's going to happen come the end.

Yet the familiarity of this film's plot is also its downfall. I was starting to feel that things were getting a little stale in the last instalment, and that feeling is now overwhelming. The expert direction and effortless atmosphere of the earlier films is missing, and I couldn't help but feel that things were getting a little run-of-the-mill this time around. Certainly, nothing much happens we haven't seen before.

The writers try to mix things up a bit by introducing more outlandish elements to the script. I like crazy stuff in films, so I was pleased to see the presence of the undead here, and some elements of horror mixed into the narrative, but it's never fully capitalised upon. And the ending is a real let-down, an icy encounter between our feared hero and an army of skiing enemies; it's neither particularly gory nor exciting, instead coming across as rather silly. If you sit back and remember the triumphant, eye-popping ending of BABY CART AT THE RIVER STYX and compare it with what's on offer here, it's a real disappointment. And although they never did close that storyline, I'm kind of glad that things ended with this film. I can only feel they would have otherwise run this series into the ground eventually.

These movies were infamous for their incredibly brutal and bloody swordplay sequences, but equally impressive IMHO was the leading actor- Tomisaburo Wakayama a.k.a. "Lone Wolf" was surely the greatest martial arts star ever. The command and authority with which he wielded a sword (and other weapons) was just phenomenal. The blade truly was an extension of himself, and his use of it was the definition of lethal, with none of the unnecessary/show-off flourishes so desperately thrown about by today's wannabes. He had incredible presence and charisma- easily on a par with the likes of say Eastwood or Bronson- with eyes that reflected pure death, and the desolation in his soul. There were moments in the "Babycart" series where you'd swear he was the personification of his namesake, the Wolf. You never doubted for one second that he WAS shogun executioner, masterless samurai, assassin for hire. One look at him in action, and you could readily understand why his enemies trembled at the mention of his name, and ran from him in sheer terror. Alas, Lone Wolf is one with void now, but his legend will live on forever in these films.

Forget Toshiro Mifune. Forget Takakura Ken. Forget Sonny Chiba. Forget Bruce Lee, Jackie Chan, Jet Li, Donnie Yen, and any of those wire-reliant ballet dancers from Crouching Tiger Hidden Dragon. And CERTAINLY forget any American martial artists that you could care to name. Tomisaburo Wakayama was, is, and forever shall be, THE MAN!