28.04.2015

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In a nutshell, the Yagyu were the Shogun’s appointed sword instructors and held considerable power and influence in the government. Here, the Yagyu are a sinister shadow empire, and when three scrolls go missing, victimized clans and desperate shinobi spring into action.
Brothers they may be, the two are in conflict most of the film, clashing over differences in motivation and their relations with women, but blood ends up thicker than paper. Facing-off with each over the course of the two films is the ever present Jubei Yagyu, played in the squnty-eyed mode by Jotaro Togami. These are Inagaki films, so one-on-one formal sword duels, often absent in the ninja genre, are mandatory – and they are superb, too. Tempted as the director is to fall into familiar territory like the above, these are still definitely ninja movies. Ninja here are spies of a lower caste than the samurai around them, but their exotic skills are portrayed in a positive light.
There’s some nice commando gear featured, too, but without the outright fetishization of the shadow tools the 60s craze leaned on so heavily. Each brother has his own signature shuriken, but they both use similar long swords with noticeably elongated handles.
The second film also features some superb pilgrim-basket-hat-on-pilgrim-basket-hat violence.
Regardless, Mifune’s Yagyu flicks are a must-see, as much a curiosity for Mifune or Inagaki fans as they are shinobifiles, and the broad sweeping adventure afoot will leave anyone entertained. So if you want to commemorate what would have been Toshiro Mifune’s 91st birthday, grab these films from Kurotokagi. AK, though, actually balances an intricate and emotional plot with the tourney device, taking the contest’s strengths and weaving them into the layered story.
RYUTARO OTOMO stars as Jubei Yagyu, whose presence is huge in both the tournament and the intrigue at large. Off topic a bit – if you want another budo tournament movie, the same Ryutaro Otomo stars in Festival of Swordsmen, which is absolutely fantastic. Get both titles here! The sharing of that content was not only the original inspiration for starting VN, but is the fuel that keep it going, and as more and more of you give me feedback, the rewards of the effort grow exponentially. HASHIZO OKAWA plays the title character, the bastard son of two ninja entangled in a multi-generational conflict. Last time we set things up for the Yagyu’s apocalyptic assault on a impregnable fortress. The basket hats are eventually shed for battle gear, and left behind by men who know full well they probably won't need them again. This is the kind of war movie that sets up a battle even the non-military erudite can look at and tell how completely fucked one side is. The Yagyu are charged with retrieving a stolen shipment of repeating rifles, an arsenal that would be an absolute political game changer. Dozens of Yagyu are sacrificed as kamikaze-like human bombs before the walls are penetrated, and equally brutal close quarters combat begins. Not exactly your feel-good action-comedy buddy pic here… Katame no Ninja is downright brutal in its human attrition. If you only see one Yagyu Bugeicho film, this should probably be it, if for nothing else than the rare military battle nature of it. Of course, all of them are recommendable (most with ninja, too), and the good news is, you can buy TEN different YB titles here! Next to the superb swordplay of Konoe and frequent guest star roles for his matinee idol son Hiroki Matsukata, a big part of the YB success formula had to be the presence of the black suited ninja.
The credit sequence, painted titles over rolling waves, has strobe-cuts of these weird illos of Jubei and the tools of the ninja.
Matsukata plays a conflicted shadow-skilled swordsman, duty bound to the same mission as Jubei, but also his sworn enemy.
This battle plan is little more than a suicide mission for the dozens of Yagyu ninja agents assembled, but duty calls.
Political intrigue, valuable hostages, and a cache of imported repeating rifles await in this nigh-impenetrable fortress! Can a respectable, accomplished beautiful woman from noble samurai family possibly say no to a hooded bedroom invader so clearly superior in his warrior fashion sense?
Said hood is Hashizo Okawa, the shinobi son trying to exact revenge on behalf of his tattooed ninja mom-done-wrong in the 1961 Toei film Akai Kageboshi. It all starts with our old pal Hattori Hanzo, played by Jushiro Konoe of Ninja Hunt and the Yagu Secret Scrolls series, who intercepts a ninja on a castle incursion.
Couple decades later, that same lady of the shadows is a bitter and obsessed ninja MILF who has trained her son, the offspring of that fateful encounter, in the family trade.
This goes along fine, as long as the winners are old semi-retired swordsmen or young hotties practicing Naginata, but when one of the victors is Jubei F’N Yagu, played by Ryutaro Otomo, it’s a whole different deal!
Red throws everything in his ninja repertoire at Jubei, just to see it all bounce harmlessly off his square jaw.
So yeah, Akai Kegeboshi is a pretty damn essential film, for those of you who haven’t seen it.
Otomo's Jubei dispenses with the otherwise signature (maybe cliche) eyepatch for a perhaps more intimidating wink of doom. Shadow is also no match one-on-one for the veteran Hanzo, it's everything he can do just to escape these encounters.


Welcome to VINTAGE NINJA -- dedicated to old ninja movies from Japan's 60's boom to the 80s American exploitation craze and beyond, with a ton of vintage toys, comics, and sharp pointy stuff thrown in for good measure. The story of the Yagyu clan’s struggle to keep their secrets under wraps is one of the most filmed in Japanese cinema history.
Varying from film to film, they are either a force of good secretly keeping the peace (like Jushiro Konoe’s long running series), or an evil network of clandestine agents enforcing their own bloody agendas (as in the Lone Wolf and Cub films). Regardless of how they are portrayed, the Yagyu are always willing to throw countless family members to their deaths in defense of their secrets, so the action is on.
Tasaburo accidentally gets involved in the scroll hunt, and sticks around for the affections of an intense princess played by Yoshiko Kuga. One of many secrets these shinobi carry is their unwillingness to harm each other regardless of orders. Bridging two different eras of distinctly styled shinobi cinema, they are more in the pre-Shinobi-no-Mono swashbuckling hero style, but with a healthy dose of the social commentary and familiar themes of trying to leave the shadow life more associated with the next decade. Mission gear varies between simple black to charcoal grey to lighter hues, depending on the situation at hand. Most of the ninja suits double as casual street wear, and there are some neat transition scenes.
Not unlike the women in The Samurai Trilogy, jilted for the greater love of swords, the otherwise strong female leads are pushed aside literally and metaphorically at any hint of combat.
His brother has women flinging themselves at him left and right, including the jaw-droppingly beautiful Mariko Okada, who steals the second film as a wild-haired street dancer as trapped by the ninja life as either of the brothers. In 1957 he was already a massive screen presence, but since then we’ve come to know him (especially in the West) as imperious and dominating. I don’t 100% get the sense that this man belongs crawling around in the rafters or eavesdropping from below the floorboards. The second is open-ended and ripe for serialization, and Inagaki was obviously trilogy-oriented.
Best of all, you get all sorts of interesting characters with different styles and weapons. Otomo plays the legendary figure with a simple shut eye rather than the iconic eyepatch, and he's a swordsman of superhuman stature. Click here to go back to those amazing photos and a more complete rundown of this terrific movie. Akai Kageboshi is a perfect bridge between those, with plenty of glamorous characters mixed with all sorts of great fights and daring ninja escapes. The other half of the key is contained in one of ten prized sword blades being awarded in a martial arts tournament. But Konoe and director Shoji Matsumura knew that similar elements repurposed in the fervor of the Shinobi-no-Mono craze would make for a sure fire homer, and were they right. Note that Jubei doesn't have the trademark tsuba eyepatch until the third film - the epic takes him through quite a few years. Regardless of the intrigue afoot or out-numbered sword fights Jubei found himself in, there was always a black-clad listener under the floor boards, or hooded cat burglar making off with a sacred parchment. It’s like the ninja Longest Day, complete with a castle siege and a body count like Gettysburg.
During their struggle, he realizes his prey is actually a woman, and the two are so turned-on by each other’s shinobi sex appeal, they have at it on the spot. Grey marketeers and fan-subbers have made it readily available, too, so there’s no excuses.
The film does a great job of portraying Yagyu as an omnipotent force of nature with a sword, and Shadow is in WAY over his head facing him. Records of their martial arts techniques, roster of operatives or accounts of past and current shenanigans are kept in a number of scrolls that can either ruin their noble efforts or expose their insidious conspiracies, so everyone from the highest officials to the lowest of ninja are after them. Our Mifune is more a shogun, a sensei, a noble even as a raggedy ronin, than he is a commoner on his heels, as in a film like Stray Dog perhaps. Mifune, however, may have been too busy with the SIX other movies he was in in 1958, including a little gem called The Hidden Fortress. 200+ posts, hundreds of pictures and thousands of readers later, I’m pretty damn happy with where everything stands. Her son must defeat each winner and steal their trophy sword - a plot structure guaranteeing a pile of awesome fights! Ninja were crucial to this series, and the eighth installment has perhaps the most ninja of any 60’s craze film. The ten swords, however, are the prizes in a martial arts tournament, so Red has to snatch the blades from the victors every night. You don’t need necessarily much more than the competition structure to make an engaging film. I’m no web wizard, but the site is pretty functional and  has a rather distinctive look.



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