Lobo Solitário - Paraíso Branco no Inferno

The series goes out with a bang, not a whimper, with its 6th and final film. It vies with film #2 (River Styx) for my favorite of the bunch, with its very cool subterranean warriors and those fantastic scenes out on the snowy hillside. The cinematography is excellent, and there are some great warriors, starting with a badass woman who juggles daggers and calmly kills three practice partners before heading out to face the Lone Wolf. The real star is the bastard son, however, who unearths three warriors who've been buried for 42 days after a death rite to be resurrected as "violent, immortal souls." They burrow underground and kill anyone the Lone Wolf comes in contact with, and I loved how he really seems in danger more than once, with real fear in his eyes, in contrast to his ordinary calm demeanor.

There are wonderfully framed fight sequences, including one out on a dock at night that then leads out into the reeds, with the Lone Wolf almost being sucked into the marsh. There's also an unfortunate (and unnecessary) scene of incest/rape, in there seemingly for shock value and to get some nudity into the film, but mercifully it's brief. It has a lean, uncomplicated story, one that works to the film's advantage, which leads to a memorable skiing sequence out in the snow, with the Lone Wolf pursued by a horde of attackers. At that point the film has a James Bond vibe, even playing a little bit of the 007 theme song. It's unfortunate that Tomisaburo Wakayama walked away from the franchise, upset that he wasn't given the role in the TV series that had started up, because it ends with an unresolved feeling, though it's not one that spoiled my enjoyment of the film.

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!

Episode six of the hematic chronicle of Ogami Itto (Tomisaburo Wakayama) and his son finds the twosome in the frigid north of Japan, where the snowy slopes provide a pristine white canvas for the drifting-killer's bright red splatter-art. As the story arc begins to wind down, Itto finally faces off against hordes of heinous Yagyu clansmen led by the one-eyed Lord Yagyu Retsudo (who by now has pretty much sacrificed his entire family in his quest to kill the 'Lone Wolf and Cub'). In addition to mundane threats of swords, spears and flying daggers, the portly but deadly anti-hero also faces the Tsuchigumo, a secretive clan of sorcerers who send their burrowing minions after him. The film is a return to over-the-top grisliness after the relatively sedate 'Land of Demons' (1973), with lots of hissing, scarlet geysers and at least one person sliced in half (but the real money-shot is an memorable, one-of-a-kind incestuous impalement (in more than one sense)). As usual for the series, the direction and cinematography is great although the music sounds more like the score for a '70s Motown cop-drama than an Edo-era chanbara. Wakayama continues to be great as the less-than-imposing but über-competent vagabond assassin and Akihiro Tomikawa is fun to watch as Diagoro, his toddler-son (and co-killer), who travels in the formidable 'babycart'. Unfortunately, production politics brought the series to a premature end, with the vile Retsudo running off to fight another day, which sadly never comes (at least in the cinema, the finale can be seen in the eponymous manga). Good, gruesome fun for fans of stoic swordsmen, jidaigeki, and splatter movies.

Fabulous conclusion to a fine series with less dubious samurai philosophy and more creative and marvellously choreographed fighting sequences. The stupendous snow scenes that open and close the film are jaw dropping and whilst watching could only imagine the filming difficulties. Subsequently I discover that these relatively short scenes took some six weeks to film with the youngster playing the cub crying at the pain of the cold and his 'Papa' near to collapse on several occasions. It is a remarkable episode in many respects and not least with regard to the cinematography which seems even finer here with some truly wonderful moments. i think I actually gasped when the opposing forces appeared on the brow of the snow clad mountain-side. The ending here differs from that in the manga partly because the film actually came before the story had been concluded - so keen apparently were the film makers to carry on with the series. Far from being a let down, as I feared it might be, this sixth and final film in the series is a fine way to conclude what, overall, is a most enjoyable and magical experience - with rather a lot of bloody violence.

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.