Lone Wolf and Cub: Baby Cart in Peril

Based on the manga series by Kazuo Koike and Goseki Kojima, Lone Wolf and Cub: Baby Cart in Peril is the fourth film of the six-part film series that follows the father-son duo as they continue their journey through Japan on their way to Hell as the former is hired to kill a tattooed female assassin while they’re in pursuit by a clan lord and his son. Directed by Buichi Saito and screenplay by Kazuo Koike, the film explores the father-son duo as they continue on their path towards Hell as the chance for vengeance would emerge as the titular characters of Ogami Itto and Daigoro are reprised by Tomisaburo Wakayama and Akihiro Tomikawa. Also starring Yoichi Hayashi, Michi Azuma, Asao Koike, Hiroshi Tanaka, and Tatsuo Endo. Lone Wolf and Cub: Baby Cart in Peril is a ravishing yet intensely gritty film from Buichi Saito.

The film revolves around the father-and-son duo who are hired by widows of samurai warriors to kill a tattooed female assassin as while they would encounter a clan lord’s son as they would all be involved in a game of political manipulation. It’s a film that explores the father/son duo who trek through Japan as they would briefly diverge due to the son’s interest towards a group of circus performers as it lead to strange journeys for the both as they would encounter mysterious foes including Yagyu Gunbei (Yoichi Hayashi) who is the son of Ogami’s nemesis Retsudo (Tatsuo Endo) as it relates to an incident that left Gunbei disgraced and banished as well as Retsudo making plans to destroy Ogami’s life. Kazuo Koike’s script does emphasize a lot on flashbacks and narration as it play into Ogami’s journey with his son Daigoro as the assassin they target in Oyuki (Michi Azuma) who has been killing men as well as shocking them with her tattoo of a child grasping of her left breast. Ogami would learn more about who Oyuki is as it all play into not just what happened to her but also a world of corruption within the world of politics.

Buichi Saito’s direction is stylish in not just the presentation and its approach to over-the-top violence and emphasis on drama. Shot on various locations in Japan, Saito’s direction does emphasize on a lot of the visual tropes that was prevalent in the previous films while adding some unique visuals of his own that include some of the flashback sequences. Notably in the showdown between Ogami and Gunbei where a taboo act by the latter would cause trouble where Saito’s camera definitely showcases a clear and direct shot of what Gunbei’s sword did as it was accidental. Saito’s compositions in the wide and medium shots don’t just play into the locations but also in some of the moments that occur such as Gunbei’s conversation with his father as it features this wide shot to show how far Gunbei has descended in his father’s eyes. Saito also include elements of surrealism as it play into Oyuki and her own journey as it relates to her own descent and the path that she’s taken.

With the aid of fight choreographer Eiichi Kusumoto, Saito’s approach to the action is more grounded with some aerial fighting during a scene where ninjas in disguise try to attack Ogami only to fail. Saito also play into moments that are simple with its usage of close-ups and medium shots such as the scene of Ogami meeting a clan leader in Jindayu Gomune (So Yamamura) who is from a lowly clan of outsider as he would reveal some information about Oyuki as well as what Ogami is tasked with. The film’s climax relates to not just this showdown between him and Retsudo but also an army as a long-standing conflict and a chance for vengeance would emerge. The images of decapitated body parts and blood-sprays help add to the climax as well as the journey that Ogami and Daigoro has to go through in their quest for justice. Overall, Saito crafts a visceral yet exhilarating film about a father-son assassin duo who are tasked to kill a tattooed female assassin only to realize it is all part of a large political scheme.

Cinematographer Kazuo Miyagawa does brilliant work with the film’s cinematography with its usage of natural and lush colors as well as some low-key lighting by Genken Nakaoka for a few scenes in the interior scenes that include the meeting between Retsudo and Gunbei. Editor Toshio Taniguchi does excellent work with the editing with its stylish usage of montage cutting, rhythmic cuts, and dissolves that help play into the film’s energetic tone as well as in some of the film’s suspenseful and dramatic moments. Production designer Shigenori Shimoishizaka does amazing work with the look of the homes of some of the clan leaders as well as a temple where a group of ninjas try to attack Ogami. The makeup work of Hideo Yamuto and Toshio Tanakais fantastic for the look of some of the characters including the circus performers that Daigoro is fascinated by while Seiji Mori’s tattoo design is a major highlight of the film as it help play into the terror that Oyuki brings with her tattoos.

The special stunt effects by Daizen Shishido is terrific for the some of the flights of the ninjas and surreal elements that occur in some of the fight scenes. The sound work of Tsuchitaro Hayashi, with sound effects by Toru Kurashima, is superb for the atmosphere that is created as well as in the sound effects that help play into the suspense, action, and surrealistic moments of the film. The film’s music by Hideaki Sakurai is incredible for its mixture of jazz, funk, and traditional Japanese string/percussion music as it help play into the action as well some of the film’s drama and suspenseful moments.

The film’s wonderful cast feature some notable small roles from Hiroshi Tanaka as Oyuki’s old instructor Juzaemon Kashiwagi who uses powers to hypnotize her, Asao Koike as a powerful chamberlain in Tokugawa Yoshinao whom Retsudo is doing political schemes with, So Yamamura as the clan leader Gomune Jindaiyu who runs a clan of outcasts, and Tatsuo Endo as Yagyu Retsudo as a devious clan leader who disgraced Ogami as he is eager to rise up the ranks while eventually having a showdown with Ogami in the film’s climax. Yoichi Hayashi is excellent as Retsudo’s son Gunbei as a disgraced warrior whose accidental action cost him everything as he would later encounter Ogami in an attempt for redemption as well as a chance to come to terms with what happened to him. 

Michi Azuma is brilliant as Oyuki as the tattooed assassin who kills those in her path as well as enemies as she becomes a target for Ogami as she copes with the path she’s chosen as well as hope for redemption. Finally, there’s the duo of Akihiro Tomikawa and Tomisaburo Wakayama in phenomenal performances in their respective roles as Daigoro and Ogami Itto as they both provide that air of restraint in their terror as the former remains low-key while being observant of what is going while the latter remains this chilling presence as someone who can kill with great skill while remains haunted by what he lost as is intent on this path he and his son are going into.

Lone Wolf and Cub: Baby Cart in Peril is a sensational film from Buichi Saito that features great performances from Tomisaburo Wakayama and Akihiro Tomikawa. Along with its ensemble cast, dazzling visuals, a ripping music soundtrack, and a chilling story of revenge and loss. The film is definitely an evocative samurai film that plays into a man being tasked to kill someone only to realize the scope of corruption that is emerging around him. In the end, Lone Wolf and Cub: Baby Cart in Peril is a spectacular film from Buichi Saito.

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