It can be argued that there is little that is laudable about Ogami Ittō. Much like Meiko Kaji’s Yuki Kashima, Ittō is an antihero. He wages war in blood and spurts of it flow from his enemies as though flowing from a hose. Wielding the dōtanuki, Ittō is skillful, lethal, and almost indestructible. He is able to slay large groups of warriors with his powerful sword. In point of fact, the enemies are of little consequence and take little effort to deal with. The biggest hindrance for characters of retribution such as these is, undeniably, within.
Yet as an exploitation picture, the internal struggles are marked with stylistic action sequences. There is considerable nudity and sexuality too, as the raw sensuality of a prostitute contrasts with the life-giving milk from a woman’s breast. Director Kenji Misumi is quick to make these comparisons, unfolding two shots early on in the film of Daigoro breastfeeding from two different women. Later, Ittō engages in love-making with a prostitute in order to save her life and the breasts are again a focal point. In many ways, Misumi’s way of using nudity is life-affirming.
Lone Wolf and Cub: Sword of Vengeance is an interesting film. The themes of honour, revenge, death, and life are unmistakably presented in the graphic violence and nudity of the picture. There is poignancy to Misumi’s piece, though, and we are drawn to the characters as the stories open up. Daigoro and Ittō are two demons travelling on the road to hell more than they are father and son. That is, perhaps, the great tragedy of this film.
Article comments