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"An old shirt belonging to our son who is away; my wife washes it and hands it to me to wear."
Ballad of a Workman aka Ballad of a Worker was a loving ode to parents who sacrificed for their children to have better lives. Time jumps were often accompanied by stoic ballads and haikus. The film also showed the struggle many people faced as Japan rebuilt their economy after WWII.Our story starts in 1946 when Yoshio returns home from the war, welcomed by his wife and son who had feared he was dead. Torako had moved to the countryside as the bombings devastated Tokyo. The only job Yoshio can find is working on the roads. As the years pass and he is promoted, Torako is paid to do housekeeping for the workers’ center. They don’t earn much but make sure that their son Toshiyuki is educated. When Toshiyuki leaves for Kyoto to attend college, the little family is hit hard by the burden of their poverty.
This film showed the progress of the Nonaka family from 1946-1962. Yoshio had to slowly learn to deal with his miserable job in ways other than drinking. Torako was the rock of the family, the one person who held things together. She worked a demanding physical job in addition to her own household duties but never complained or drank herself to sleep. Takamine Hideko and Sada Keiji were a great duo for the roles of hard-working parents. Toshiyuki dealt with stressors in Kyoto that his less educated parents could scarcely imagine. Yamamoto Toyozo may have been less experienced yet he still managed to convey Toshiyuki’s stress of being his parents’ great hope and reason for living.
The drawbacks to the yearly time jumps with accompanying heavy-handed ballads was that I felt like I missed out on more of the day-to-day lives of the family. They often bounced from one crisis to the next. Despite the family’s troubles, the parents kept moving forward refusing to be dragged down by their privation. Their quiet dignity was moving, even when they hesitated to accompany Toshiyuki to his new school for fear of embarrassing him. The son’s growth and learning to accept them as they were was also quite heartwarming.
Ballad of a Workman could have done with less ballad and more tender moments between Yoshio and Torako. The film showed that the job of parenting is never done. Even after children grow up, there is always something to worry about and plan for. What could have been an overly melodramatic story ended up being a heartfelt slice of life about a family with a dream for their son to have a better life.
“Together we’ve walked through the years. In times of laughter and tears. Our hands are roughened but you and I. We shall walk, foraging ahead with smiles.”
15 June 2025
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"Don't ever bite your own tail again!"
Hard Boiled was John Woo’s death filled cops and gun-runners ode to action films. A completely over the top, unrealistic, thrill a minute bloody carnival ride.Officer Tequila Yuen is determined to bring down the Triads running guns that caused the death of his partner. A loose cannon who doesn’t play by the rules, he ignores his boss’ warning about staying off the case. It’s not long before he runs into Alan, an origami making Triad assassin. He deduces Alan’s secret and the two reluctantly work together to bring down the deranged Johnny Wong’s gang.
What I liked:
What’s not to like about a Chow Yun Fat and Tony Leung Chiu Wai pairing? The screen could barely hold their bromantic charisma. I could watch these two in about anything. Phillip Kwok (Lizard Venom) as Mad Dog was right up my kung fu movie loving heart. Lo Meng (Toad Venom) made a brief appearance before he like hundreds of others-died. Kwok was also the action choreographer. Stuntmen flew through windows and fell off buildings, and with all of the bullets hitting and grenades exploding they rolled and were flung about the sets continuously. Chow Yun Fat’s signature move of diving through or over something with both barrels blazing was used several times. Bruce Law was the guy often called for car stunts and there were cars and motorcycles flying, flipping, and exploding everywhere. The stakes were high with hundreds of civilians and a nursery full of new born babies to worry about. Will someone please think of the children!
What I didn’t care for:
It was almost like John Woo wondered how many senseless deaths he could get away with. The gruesome deaths of innocents fleeing a hospital were disturbing in particular and also all the friendly fire deaths. One friendly death was caused because Tequila couldn’t stop taunting Alan instead of guarding the person relying on him for survival! I knew some film nerd would count the casualties for me-thank you Collider!: The body count for Hard Boiled was 305. Honestly, after the first 100 deaths it became monotonous watching the bad guys mow people down with automatic weapons or with RPG fire. Some of the fire fight casualties were funny. I understand a bullet can go through two as easy as one, but not when the people are standing side by side! It's apparent that the carnage had gotten out of hand when the bad guy named Mad Dog complained about the overkill.
While many people enjoyed the reckless slaughter of the masses, it didn’t work for me. I would have rated this film much higher if Woo had showed a modicum of restraint instead of characters gleefully gunning down anyone moving. Despite having some cute babies in the film to lighten things up, Hard Boiled was the kind of relentless gun porn that might have the average viewer wanting to take the dream trip to Antarctica that was talked about in the film. A place where there was always light after living with so much darkness. *
20 March 2024
*(Scientific quibble-Antarctica has light for six months out of the year, it’s dark the other six)
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"It's like a bucket of sand poured over my head"
During Japan's economic boom period, Kurosawa Akira made a film about those who did not benefit from it, living on the fringes of society within or next to a large trash heap. Dodeskaden was his first film in color and he took full advantage of it with brightly painted backdrops and buildings. The colors did not translate into the drab, tragic lives of the people who lived there, as they continued moving in endless circles unable to escape their meager existence.The film begins and ends with teenage Rokuchan and his mother as they chant their Buddhist mantra. The mentally challenged teenage boy believes himself to be a streetcar operator and each day he goes out to his imaginary streetcar and runs his routes through the shanty town. As he "drives" along, he calls out "Dodeskaden", the sound a trolley makes. Out of all of the characters, his full imaginary life might actually be the happiest. Other characters are not so lucky, an overworked niece becomes a victim of rape, a man who saw something he shouldn't have walks around unspeaking with dead eyes, a father and son live in a car with the son begging for their food in town when they need it, and a man with a distinctive facial tic has to put up with a harridan for a wife. For comic measure two day worker drunks swap wives and the viciously gossipy Greek chorus of woman who gather around the water pump give their commentary throughout. A man who makes hairbrushes has a wife who has given him five children with a sixth on the way with none of them being his. And lastly there is the old village saint who tries to help where he can.
Kurosawa has vilified the upper classes and their consumerism in other films. In this one he shows the plight of society's outcasts. Much like The Lower Depths, he doesn't make the characters sympathetic for the most part, only the youngest and most vulnerable who suffer bitter fates. Most of the characters don't truly interact, only tied together by proximity.
While Kurosawa's skill shows through as well as the actors, I can't say I particularly liked this film. Justice hides her face. Redemption is but a dream. And hope is so far in the distance that most people live their lives in resignation to their lots. With the exception of dutiful Rokuchan's mother, women are portrayed as harpies and harlots, completely untrustworthy and for the most part interchangeable. The men are given much broader range from mentally ill to lazy to drunkards to industrious to kindly generous to wise old sage.
With all the drudgery and tragedy, a few moments of quiet and joy exist even when only in the imagination. There are beautiful surreal paintings of the house the father and son build together in their minds while starving in the car. Rokuchan's drawings of streetcars on every surface in their hut and his imaginary world are quite vivid. The wise sage tricks a suicidal man into wanting to live and stuns a burglar in his house with generosity. Those gentle moments are few and far between.
Despite Kurosawa's skill behind the camera and the general resilience of the people living on the outside of society, the flat, negative portrayal of women, and the relentless negativity dragged this film down for me. To quote one of the characters, "It's like a bucket of sand poured over my head."
2/22/23
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"Life is an unknown course"
Like the languid lapping of the waves against the shore near the quiet fishing village in this film, Director Ozu brings a gentle rhythm to the past meeting the present and directing the future currents for the people involved. Komajura and his troupe of traveling actors will find their lives changed as they navigate their circumstances and decisions in this remote place.Komajura is an aging actor with a less than successful acting troupe. He readily admits their Kabuki plays are not very good. Most of the players have only known the stage for most of their lives. In the sweltering heat of the day, they form a small parade in their costumes as they enter the village, handing out fliers. Some of the men seek out the prettiest women in town to invite to the play. Komajura seeks out an older woman and her 19-year-old son, Kiyoshi. Kiyoshi is actually Komajura's son, but only knows him as an uncle for Komajura doesn't want his son to have a poor actor for a father. Komajura's current mistress, Sumiko, becomes enraged when she finds out about his devotion to his secret family and hires one of the girls in the troupe, Kayo, to seduce the dutiful Kiyoshi setting into motion a wave of changes.
Though Floating Weeds has a romance with the young lovers, the main focus of the story is Komajura as the tides in his life change. He faces the loss of his troupe, his lover, and his son. He lashes out in fury in some of the most violent scenes I've seen in an Ozu film. He is forced to deal with his lack of control over his life circumstances and other people. Eventually, he comes to accept where he is in his life and what his relationships have come to be and that his loved ones will make their own decisions about their lives which he may not agree with. Many of the characters must decide who and where they want to be.
There are two scenes where Komajura becomes violent with the women who crossed him and his son. Though this male dominance may have been acceptable in 1959, it is jolting in this present time and incredibly offensive, making Komajura less sympathetic as he seeks to control the people around him through force. As with all Ozu films, the acting is normally quite restrained, making these outbursts all the more difficult to absorb.
The film itself is a beautifully staged and shot film. Ozu's scenic frames tell a story in and of themselves. They are contemplative, quiet, familiar, giving the characters and the audience room to think and breathe. Many of his frames would make incredible still lifes. His red tea kettle makes an appearance in the barber shop! In a powerful scene, Komajura and Sumiko have it out during a rainstorm. Each stands on the opposite side of the street, unwilling to budge, unwilling to move closer or get wet, unwilling to see the problem from the other's point of view. The words are vicious as the water pours down. Later, in a subtle bit of acting near the end in a train station, the same two actors drop their walls ever so slightly to let the other in as cigarettes are lit and forgiveness is given.
This film is a remake of his silent film, The Story in the Floating Weeds which I have yet to see as the film has no English subtitles. Floating weeds refers to itinerant actors. There were few weeds in this film, if I have any complaints, the movie did begin to feel long as some of the problems were dragged out and it felt as if some scenes could have been trimmed. Most of the acting was absorbing with the exception of the actor who played Kiyoshi. This young actor gave a rather wooden performance.
Ozu was a master of making family concerns and life decisions go from simple to complex to simply masterful. Though this film was not completely centered in a home, Komajura's family both biological and extended family with the troupe was explored. Ozu never ventures far from home and hearth, simply showing us different views of it. There is something comforting in his movies, we come to know the people and their struggles, their strengths and weaknesses, sometimes even see ourselves in them as they try to make the best of their lives. Komajura tells his old lover, "Life is an unknown course." The longer we live, the more these words resonate.
2/7/23
Edit—I have since watched and reviewed the original silent film.
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First come, first served or first killed, whichever comes first
A shy assassin assigned to guard a yakuza's teenage daughter finds himself in the middle of a revenge fueled war that takes place in a nearly empty school. Undercover as A Janitor, he ends up having to clean up more than empty juice boxes.Fukima Akira saw his father murdered when he was just a boy. His father's blood brother, Majima Yoshiki, took him in as a son and trained him to be an assassin. Majima's biological son, Honda, grew up to develop his own gang to oppose his father. Eventually, Akira finds out that Yoshiki had his father murdered so that he could take over the gang and honor dictated Akira now had to murder his father figure. Other leaders were involved, including Honda, because everyone wanted to take over Yoshiki's turf. Yui, the daughter, was needed to biometrically open the vaults thus creating the deadly situation at the school with only Akira between her and 9 assassins.
The film bordered on the absurd at times with a baby faced serial killer, two female high school assassins, a geriatric assassin, two bozo bro assassins and one that resembled a terminator. Some of the acting could be over the top. Honda, looked like an IT specialist, but what he specialized in was killing, especially his own men. I kept expecting to hear him say, "have you tried turning it off and turning it on?" This was a kill or be killed free for all, where the only ones who would be paid were the ones who completed the job first. First come, first serve. What the assassins learned the hard way was that the gentle spoken janitor had no intention of letting anyone collect a pay day.
A Janitor (the most commonly used title name) looked like it was cheaply made. The school shots were that blown out blue/gray and white that many Jdramas seem fond of. Scenes with Yui and her father having dinner, steak of course, murderous villains tend to like their rare beef, were tinted red.
Some of the scenes were gratuitous in nature, and fair warning, there were a few random high school kids murdered. At times the fighting seemed brutal and real at others times it could seem ludicrous. Suppressing fire is one thing, wasting bullets shooting at something you can't see when you have limited ammo is something else, something stupid. Speaking of stupid, if you have an amazing hiding place don't crawl out in front of the villains in plain sight.
The acting was all over the place. Fukushi Seiji did a fine job as the conflicted and loyal Akira. Imou Haruka asYui had the tough task of playing the high school girl getting dragged all over the place with little agency of her own. Most of the rest of the cast set their acting on crazy overkill.
Despite the limited acting and sets, the movie was entertaining at times. Like a Godzilla movie, the monster didn't show up until 40 minutes into the story, at which point the action began and it became more interesting. Ultimately, a cute assassin wasn't enough for me with the huge gaps in logic though. The film is part of the Baby Assassins world which I know nothing about. So if that franchise is something you enjoyed or you like yakuza assassins pummeling and shooting each other, this might be something to try. It is thankfully as short as much of the logic in the movie, clocking in under 90 minutes.
9/26/22
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I'll have the house salad, hold the radish please
Monster Hunt was a messy quilt made of a variety of genres hurriedly sewn into one piece. Though childish in nature, it had enough disturbing scenes, one should think carefully before letting small children watch it.The lack of clear and consistent narrative troubled me about the movie. A bad monster takes over the monster world and is hunting down the good monsters. When the pregnant ex-queen and her attendants escape, the hunt is on. Monsters are hunting monsters. Humans hunt monsters. It's rough being a squishy tentacled being in this movie.
Jing Bo Ran is Song Tian Yu, the de facto mayor of a backwater town, left in charge when his monster hunting father disappears. In a reversal of gender roles, Tian Yu is meek, a seamstress, and cook. His senile aggressive grandmother scarcely remembers who is and when she does is disappointed in what she sees. Along comes the pregnant hunted queen and her two attendants in human suits. Following them is Bai Bai He as Huo Xiao Lan, a low level monster hunter. When Tian Yu becomes pregnant, hilarity ensues. Eventually, the two humans are left with the baby monster king and have to decide what to do with the little bloodsucker all the while being chased by humans and monsters.
The movie is energetic, bordering on frenetic. Some of the martial arts fights, especially with CGI monsters are creative and captivating. Creatures break into song on occasion. A romance comes out of nowhere. Monsters eat humans and humans eat monsters, it's a dog eat dog world. There are bad monsters and bad humans. While I liked the moral complexity, too often it felt like someone throwing spaghetti at the wall and seeing what sticks. The baby monster, which I did not find adorable, seemed to be used to try to manipulate the audience emotionally into caring about it and it's human caretakers. I don't mind cutesy cartoon characters, but this one bordered on nauseatingly saccharine. And aside from him being the true heir, we're never really told much about the baby king's importance or place in the world. Like Chekhov's gun on the mantle, a rusty sword foreshadows the limping, docile hero will overtake the heroic female warrior protecting him. I cannot overstate how tired I am of this trope.
I enjoyed parts of this movie. Jing Bo Ran and Bai Bai He were affable and had a nice chemistry together. They were believable when dealing with green screen images something not all actors can do. Jiang Wu as a conflicted bounty hunter was fun to watch as he battled monster and human alike. I was particularly happy seeing Elaine Jin/Kam, Sandra Ng, and Tang Wei make appearances. The theme of seeing creatures and humans for who they are and not what they look like always appeals to me even when I had to sort through a lot of other themes in the movie to latch onto this one.
A brain burrowing bug and open air exotic meat markets may not be for everyone. The movie doesn't shy away from death and oddity.
For those who like lots of random action and a plethora of strange creatures, this will be right up their alley. As much as I enjoy CGI children's movies, this one felt too much like a fever dream hopped up on sugar for me. I left it staggering from the sweetness and weirdness overload.
8/6/22
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The Korean peninsula hangs in the balance when a volcano on the Chinese border threatens to blow everything sky high! Luckily, for both Koreas, Ha Jung Woo and Lee Byung Hun are on the job!Ashfall is an entertaining disaster and spy thriller flick that doesn't try to take itself too seriously. It has all the characters one would expect in a catastrophic volcano movie. Ha Jung Woo plays The Hero who is supposed to be retiring from his EOD squad (Explosive Ordnance Disposal), instead he's leading a group into North Korea to steal a nuclear bomb to stop the volcano from making rubble out of Korea. Along the way, he has to pick up a North Korean agent/double agent/triple agent?, the always cagey Lee Byung Hun, as The Anti-Hero, who has been jailed in a NK prison. Easy peasy, right? Back home giving them support is, Ma Dong Seok, going against type as The Scientist Who Warned Them All and Jeon Hye Jin as the Politico Who Gets It. Bae Suzy also throws in with the scientist as The Hero's Resourceful Pregnant Wife.
Ashfall actually feels more like a spy thriller film with a cranky volcano in the background. Our plucky band has to deal with betrayals and comes under fire from various political powers that don't want them getting their hands on a nuclear bomb for ANY reason and disturbing the power balances regardless of the fact that both North and South Korea are about to be wiped off the map.
The action is non-stop, almost from the first frame and never lets up whether it's fire from the sky or fire fights. As with most disaster movies, you have to let go of reality and just enjoy the ride as nearly everything that happens is implausible.
The heart of the movie is the bromance that develops between The Hero and The Anti-Hero. Lee Byung Hun's character development and the friendship he grudgingly develops with Ha Jung Woo's character brings out the humanity this movie needed as everyone is moving at breakneck speed.
If you are expecting a rational approach to a cataclysmic tragedy in the making, not only for the Korean Peninsula but having an effect worldwide with scientists and world leaders joining hands and acting altruistically and quickly, you're going to be disappointed. If you are expecting vehicles, people, and the starring volcano to obey the rules of nature, you might want to skip this. This is an entertaining, if at times ridiculous, thriller disaster movie set on high drive with a little bit of heart to make it not instantly forgettable.
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The story begins with a man who had lost his wife revisiting places she loved with her ashes. Throughout the movie as he met people, he told them about different parts of their relationship in sweeping flashback. There was nothing extraordinary about this devoted couple, but it was their devotion to each other through the years that made it meaningful.
Both characters, originally from Beijing, met in New Zealand and worked to find their way in their new country. They assimilated fairly easily, making good friends and starting their own business. However, Luo Yun, the wife, quietly struggled with their idyllic life in a remote town where they ran a small restaurant. Sui Dong Feng, the husband, was the practical sort who found the best in whatever situation he was in. Yang Cai Yu and Huang Xuan had a gentle chemistry that made something magical out of their characters' ordinary existence.
New Zealand should have been listed as a character as there were many shots of its gorgeous scenery, whether green bucolic fields, panoramic mountains, the Southern Lights or oceanic whale watching shots.
The OST was also saccharinely emotional, but fit the mood perfectly. The cinematography bestowed lush, warm shots, nestling us into the embrace of Yun and Dong Feng's life. I could almost feel the director pushing me toward tears, something I usually fight off. Instead of rolling my eyes, I found myself reaching for a tissue at several key moments. If the story was predictable, it also felt sincere in the lavish telling of this couple's love story.
Though dealing with the death of a loved one, Only Cloud Knows avoided melodrama and became a celebration of life and love instead.
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The story is really nothing new, though it does try to show the difficulties Hong Kong's police face with pressure from varying groups. It also asks the question, what does it take to push a good cop over the edge? I was able to call out the major plot points and turning points without reading the synopsis in that it strays very little from stories done before. What Raging Fire has going for it is over the top, frenetic action sequences. Whether with fists, knives, guns, or cars, the action choreography is graphic and breath-taking.
Raging Fire's other strength is its two stars. Donnie Yen as Bong, the tough, honest cop gives a captivating performance as a man struggling to survive in a system that does not reward integrity and sacrifice. Nicholas Tse's Ngo chewed up the scenery and his opponents in a mesmerizing performance of a wronged cop out for revenge. One of the strongest scenes is a quiet, tense conversation between the two men who used to be friends, taut with anger as they play cat and mouse, not knowing for sure who the predator is. Yen and Tse have amazing chemistry.
The rest of the cast, including Qin Lan, who plays Bong's wife, have very little time or moments to stand out. The good cop team and the bad cop team characters are not very memorable.
Raging Fire's explosive action sequences propelled by its two stars' energy tumbles headlong to the climax everyone will know is coming, providing enough entertainment to make this a movie worth watching. Hold on for the ride because the action is non-stop.
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Ti Yuen is thrown into the depths of the jail on trumped up charges. His cellmate appears to be a deranged wild man. Every month, Ting Dien is dragged out to the magistrate and viciously tortured. All he needs to do in order to be freed is to tell Ling Tui Si what the Deadly Secret is. Ti Yuen’s sifu is hoping that Ting will break down and tell Ti the big secret if he stays there long enough. Ti can’t figure out why Ting doesn’t break out with his superior kung fu skills and why he cares about the flowers on the window sill they can just see through the bars on their window.
This film had potential but a few puzzling issues dragged it down. The Deadly Secret was both a kung fu secret and the location of the lost treasure of Emperor Liang Wu. Now in order for either of those things to be helpful the person who passed the information to Ting Dien must have done the Vulcan MindMeld on him because the transfer of information was nigh on instantaneous. Everyone assumed that the dying man must have told Ting the info despite Ting being a stranger. Jumping to conclusions was a major pastime for the people of Jingzhou. Soon poor Ting was being hunted by every greedy highborn and lowlife around. The only person not after The Secret was the magistrate’s beautiful daughter, Ling Seung Wa. The two lovers were eventually betrayed by her father whose only desire was for the treasure and he was willing to sacrifice his daughter if that would bring him closer to The Secret. Also, numerous people failed to grasp that actually killing Ting would make it impossible for him to relay The Secret.
Another problem I had with the film was that much of it was filmed in the dark or low lighting. It was hard to follow the action while straining to see. The one fight filmed in daylight ended up being hilarious as a corpse was used in a giant game of “keep away.” The final fight seemed pointless. Chan Dik Hak and Hsu Hsia’s choreography was far from inspired.
Jason Pai and Shih Szu made for a sweet couple when they were shown together. Ng Yuen Jun wasn’t terribly compelling as the naïve Ti and this movie needed all the acting ammo they could wring out with the weak script. There was a story worth exploring buried under a pile of soiled hay and wild hairdos. Greed was shown as the great equalizer between the poor and the rich, for the greedy there was never enough, no life was worth more, and the price was never too high. I bumped my score up just for the karmic payback of the finale. A Deadly Secret wasn’t terrible but it could be deadly dull in places. As always, rated on a curve.
10 March 2026
Trigger warning: A rather gruesome torture scene early in the film. Attempted suicide.
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"We're family"
The title Swordswomen Three was false advertising as there were rarely 3 women on the screen at the same time. Director Shen Chiang preferred to focus on the male characters. Lo Lieh and Essie Lin Chia carried this film on their backs.Ambitious Chu Tien Hsing repeatedly challenges the master of the Xiude Martial Arts Academy to a duel. Chu is upset that the school is named #1 after winning a contest held every decade. The son, Hsu Chin Wu, finally agrees to fight Chu and then defeats him. Chu decides if he can’t win with his sword skills, he’ll steal the famous Mighty Steel Sword from his fiancée’s family.
First things first. If you are going to title a film, Swordswomen Three, then the swordswomen should be featured. Shen Yi as Ruo Lan was engaged to Chu and spent most of her time fretting what to do. Sister Hsiao Lien (Pan Ying Zi) had almost nothing to do. Neither was the sharpest knife in the drawer. Pan’s character was sidelined with an injury for much of the film which wasn’t a bad thing because she was a drip. Later, wishy washy Ruo Lan was injured and mostly off screen. The eldest sister, Ju Mei, was fierce and intelligent. Essie did a great job with the role she was given. Sadly, she was undercover wearing a hood for part of the film (or her stunt double). If the other heroes had listened to her the evil Chu would have been defeated earlier.
Shen Chiang’s direction and writing were sorely lacking, with too many scenes feeling redundant and also changing pertinent info about the sisters’ connection to the Xiude Academy midway. He also had the sisters make some of the dumbest and most illogical decisions to try and push the story along or gum it up.
Another dull knife was Chang Yi’s Hsu Chin Wu. Watching him play this dull good guy was like watching paint dry, grass grow, or any other tedious task you could think of. After Ju Mei survived all sorts of tortures with her wits and fighting skills, she actually asked Hsu to come up with a plan to defeat Chu. Seriously? She was the sharpest sword. I would have had qualms about asking Hsu for directions to the best restaurant nearby. Essie’s only equal in this film was Lo Lieh’s Chu. Chu acknowledged he wasn’t the best fighter, but with the Mighty Steel Sword he felt he would be invincible. One side could cut through anything. The other side was magnetic and could disarm opponents. Enticing and able to pour on the sexy charm when needed, I could see why Ruo Lan was conflicted. However, the villain shouldn’t be the most, if not only, captivating character on screen. Lo, like Essie had to do some heavy lifting to elevate their characters above the script. And the good guys shouldn’t be utterly inept, with the exclusion of Ju Mei. And mild spoiler alert, it was not Ju Mei or the three sisters who were given the final assault on Chu, it was of course, Hsu.
Most of the fight choreography was competent as it should have been with Tang Chia and my personal fave, Lau Kar Leung, as the martial arts directors. Although there was a hilarious moment in a scene where older actor Lee Wan Chung had an oopsie with the wire work. The final fight in a bamboo forest was bloody and violent as expected, yet disappointing without the SWORDSWOMEN THREE taking part in it. I would love to have had a movie with Lo Lieh and Essie Lin Chia locking swords together in a one of these old films. They both had a spark that came through the screen. Unfortunately, they were surrounded by wet blankets (have I used up all my boring idioms?) that dragged the film down. Not the worst film, but disappointing all the same. Rated on a curve.
6 March 2026
Trigger warning: One of the other interesting characters was Master Mei, the hooded thief and assassin. She blinded a maid with daggers upon seeing her face. Ick. Several impalements.
Musical Note: The James Bond riff was used several times.
Life Lesson Note: Beware of any boss who says, “We’re all family here.” They are the likeliest to overwork you and stab you in the back. In this film, that was literally.
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"Why are you trying to kill me?"
Legend of the Bat teamed up Ti Lung, director Chor Yuen, and Gu Long’s source material once again. Typical of these films, there was a huge cast list, betrayals, and hidden identities galore. The fights took place on the ancient version of yachts, dungeons, and of course, a villain’s lair fit for a drama queen.Famous swordsmen Chu Liu Hsiang and Yi Tien Hung come across a massacre of heroes on their trip. One thing leads to another and Chu is headed to Bat Island to help out a couple who tried to murder him. Yi ends up on the boat to Bat Island for his own professional reasons. They are joined by others who have their own incentives for going to a place where anything is for sale. On their journey, they face death repeatedly with some not escaping the Grim Reaper’s scythe.
Legend of the Bat was a sequel to Clans of Intrigue. If there is one thing to be sure of in these loosely related films, the cast will be bloated and the bodies will stack high. You know to brace yourself for numerous characters when the actors' names pop up on the screen as everyone is introduced. Characters revealed their courage and integrity, while others revealed their nefarious motives. There were actually a couple of touching moments of personal sacrifice, even if the reasons stretched the boundaries of believability. Like a good soap opera, several characters came back from the dead.
Ti Lung was back as the fan carrying hero. Ling Yun yet again donned his big hat and moral ambiguity. Yueh Hua and Ching Li played a devoted married couple. Ching Miao took on two completely different characters who were unrelated hoping the audience wouldn’t notice. This time Yuen Wah had a fairly significant role as a loyal bodyguard which I was happy to see. Many of the same actors and stuntmen from previous films were in this film as well though as different characters.
Tang Chia and Huang Pei Chih designed fast, creative fight scenes for the time. Whether on floating houses, yachts, or in the villain’s lair, the swords flashed and the blood flowed. The heroes had to make their way through caves filled with deadly traps with only each other to rely on…and their trusty secret weapons.
Legend of the Bat was wonderfully convoluted with betrayals, family secrets, revenge, unusual characters, and elaborate traps. Billionaires would envy the floating palaces where murder and mayhem took place, minus the murder and mayhem, I guess. Who knows what happens on those yachts. In the previous film in this collection, there were daddy issues. This time around grown-ass children had mommy issues. Instead of murder and crime, couldn’t these people go in together and ask for a discount on group therapy? As always, rated on a curve.
5 March 2026
Mammal note: No bats in the film
Trigger warnings: A rather long scene of four nude “dead” women. Suicide and a person suicided.
Tiny spoilerish comment: The lightbulb gimmick near the end was hilarious!
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"We're heading to Ghostly Village, not hell!"
Perils of the Sentimental Swordsman was not actually a sequel to the previous two Sentimental Swordsmen despite Chor Yuen and Ti Lung teaming up for it again. Similar to the last film there was a huge cast and numerous flyby guest appearances.General Chu Liu Hsiang attempts to murder the 8th Prince and escapes to the Ghostly Village with the help of an old man who had just murdered much of his extended family. The mist hidden village run by Old Hawk is filled with criminals who would be hunted down and executed if they ever left. Chu befriends an inveterate gambler who is terrified of ghosts. In the village there are people who hold grudges against Chu and others testing his loyalty. It was hard to invest in any of the characters as they swooped in and either swooped back out or were carried feet first out. Ti Lung’s sentimental swordsman wasn’t that sentimental. Fortunately, he was not nearly as gloomy as the other two films. Lo Lieh gave the film a boost of humor with his strip dice gambling and gravitas when it was called for. Aside from vets Ku Feng and Yang Chi Ching, the rest of the main cast was underwhelming.
The sword and wild weapon fights were solid for the most part. It was funny watching the guys in gold costumes in the back looking like they were line dancing by themselves to give the big fights depth. Interspersed with fast action there was also kung fu dancing almost bordering on kung fu posing. The wire work and trampolines while primitive carved out creative moments. The fights might not be memorable, but Yuen Wah, Yuen Bun, and Huang Pei Chih acquitted themselves well as the martial arts choreographers.
The Perils of the Sentimental Swordsman kept the action and double-crosses coming along with hidden identities---even a “who’s your daddy moment?”! I didn’t enjoy it as much as the last two but it was still entertaining in that convoluted manner that only old kung fu flicks can offer. As always, rated on a curve.
4 March 2026
Trigger warnings: Violence though considering the genre, nothing too gorey.
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"If men are human, then women are, too!"
The last place I was expecting to find such a delightfully feminist film was a 1949 Mizoguchi film titled Flame of My Love. Set during the late 1800s as the Liberal Party sought to expand human rights, our heroine Hirayama Eiko fought for women to be included in those equal rights. The patriarchy doesn’t fold that easy, even with “progressive” males supposedly working for those rights.Hirayama Eiko is sad to see her boyfriend, Hayase Ryuzo, leave for Tokyo to more fully immerse himself in the Liberal Party. Eiko desperately wants to join him but he dissuades her. The maid she grew up with, Chiyo, is also leaving for Tokyo, having sold herself to help her family financially. After fighting with her father and her school being closed down, Eiko packs her bags and lands on Hayase’s doorstep, something he is not too happy about. Fortunately, his boss, Omoi Kentaro, finds her a place to live and a job at their newspaper. Betrayal, good times, hard times, and more betrayals await Eiko as she fights the good fight for women’s rights.
(I won’t be going into the historical setting much because all I know of this time period and the people involved are what I gleaned from a cursory glance at Wikipedia. Several characters represented real people from the Meiji government and Liberal Party though their names were changed.)
Tanaka Kinuyo seemed a little long in the tooth at 40 to be playing Eiko, but if there’s one thing I’ve learned it’s to either mentally age or de-age actresses. Eiko was a female character to be proud of. She worked tirelessly and fearlessly for the party’s cause and for women. Along the way she learned that subjugation and exploitation ran deeper than she’d thought. She also discovered that women were brainwashed from birth to accept their secondary role and to believe that they absolutely needed a man in their life. Attempting to change the status quo would be daunting. She, however, had the heroic Omoi on her side and by her side. Together they would set the world aright. ***(spoilery comment below)
Eiko was one of the strongest, most committed female characters from this time period that I’ve seen. She didn’t let men completely limit her, despite society’s cage around women. And for sure she didn’t let anyone tell her that she or other women were less than, regardless of economic class. No one could convince her that her self worth was tied to being a wife and mother. She refused to capitulate no matter the dire circumstances. I seriously loved this character. She may not have been able to conquer the world, but she worked to improve the lives and minds of women around her. While women have made great strides in the last nearly 80 years, there are always those people who want to revert to the “good old days” and strip women of the rights and progress we’ve made. While I can never forgive Mizoguchi for betraying Tanaka in real life, I can grudgingly respect this film he created.
“It will be a hard journey and we may not reach our goal. But if no one makes the first step, women will never know freedom!”
23 February 2026
Trigger Warnings: Rape and attempted rape-several times. The film didn’t shy away from women’s vulnerability at work, in prison, in private situations with men they should have been able to trust, or being “filial” by selling themselves into prostitution. Infidelity: “Whether I have one woman or two doesn’t change anything.” That’s what you think buddy. Does it work both ways?
Spoilery comment below:
***Omoi was all about women’s equal rights and using Eiko’s gifts. That is, until he Stepford Wifed her in a moment of utter betrayal. To her credit, Eiko refused to be cowed or gaslighted. Good woman. If everyone isn’t free and equal, no one is. You preach, girl!
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"We are connected. I'll be seeing you in hell!"
Sword of the Beast was one of Gosha Hideo’s earliest directorial efforts. While it could feel clunky at times, there was enough action, betrayal, revenge, and double-dealings to fuel a film twice as long.Yuuki Gennosuke is on the run after he killed his clan’s counselor. Hot on his trail are the man’s daughter, her fiancé, and a gaggle of samurai. A petty criminal he helps joins him as they head toward the mountain where gold has been found. The only trouble? Aside from the posse on his trail, panning for gold is a crime punishable by execution. Along with the shogunate’s patrols, there are bandits and also a samurai guarding a pile of gold like a dragon. Gennosuke has his hands full, sometimes literally, as nearly every woman throws herself at him.
“I’m a cornered and wounded beast. I can’t afford to live by my conscience.” The funny thing is, aside from the initial murder, Gennosuke was the conscience of the film. Set during the twilight of the samurai era, Beast highlighted the corruption running rampant through the clans, and how poorly some of the samurai were treated. Gennosuke had hoped to see reforms implemented in his clan that would have provided men like himself with a path toward promotion and a livable wage. He and the other low-level samurai discovered that their superiors demanded unquestioning loyalty and honor from them, while those in charge had zero qualms about lying, betrayal, and being utterly duplicitous. Low ranking men and women were expendable, especially if it meant promotion or gold for the more nobly born.
The sword fighting was average for 1965 with poor Gennusuke being outnumbered most of the time. The hunting party told him to die like a samurai, but he told his friend in the deadly group that they weren’t planning a death befitting a samurai---they were planning butchery. Much of the film was shot in a beautiful mountainous and forested region, a stunning backdrop for betrayal and revenge. Gosha knew how to get the most out of each frame. The story flowed well for the most part, but felt underbaked at times. I will never understand the male movie fantasy of women meeting a man and instantly start trying to take their clothes off. Because that's just what women do. Really should have been a clue Gennosuke was being set up whenever it happened.
Sword of the Beast was fun and Hira Mikijiro did a fine job as the least beastly of the characters. I enjoyed Gosha’s first film, Three Outlaw Samurai more, but this film kept my attention with each new person Gennosuke saved or threatened. Numerous characters discovered the hard way that the wealthy get that way and stay that way by not sharing the wealth. If you enjoy these old samurai films, this is certainly one worth trying.
14 February 2026
Trigger warnings: Sexual assault and attempted sexual assault. Nothing overtly graphic, just disturbing.
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