Courtesans & Criminals: The Underworld of Hideo Gosha – Film Movement (Blu-ray)

Theatrical Release Dates: Japan, 1982 (Onimasa), Japan, 1987 (Tokyo Bordello)
Director: Hideo Gosha (Both Films)
Cast: Tatsuya Nakadai, Masako Natsume, Shima Iwashita, Nobuko Sendô, Tetsurō Tamba, Tatsuo Umemiya, Kōji Yakusho (Onimasa), Yûko Natori, Rino Katase, Jinpachi Nezu, Sayoko Ninomiya, Mariko Fuji, Mikio Narita, Naoto Takenaka, Sô Yamamura (Tokyo Bordello)

Release Date: December 4th, 2025
Approximate Running Times: 146 Minutes 47 Seconds (Onimasa), 133 Minutes 59 Seconds (Tokyo Bordello)
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Both Films)
Rating: NR
Sound: LPCM Mono Japanese (Both Films)
Subtitles: English (Both Films)
Region Coding: Region A
Retail Price: $44.98

Onimasa: "Matsue is the adoptive daughter of the Kiryuin House, a small yakuza clan in Shikoku. Onimasa, their leader, is the last heir to a family of samurai. He is hard in business but respected by the poor because of his fairness. Matsue lives in the middle of this society, between gang wars and rivalries among the chief's mistresses. But when Onimasa takes a chivalrous attitude and finds himself on the side of train workers on strike, it annoys the Great Godfather of the island. The story starts in 1918, ending with the nearing of the Second World War." - synopsis provided by the distributor

Tokyo Bordello: "A ruined businessman was forced to sell his daughter, Hisano, to a brothel in Yoshiwara, the largest red-light district in Tokyo. After several months of training, she tries to flee Yoshiwara when the time has come for her to take her first customer." - synopsis provided by the distributor

Video: 5/5 (Onimasa), 4.5/5 (Tokyo Bordello)

Here’s the information provided about Onimasa's transfer, “4K restoration from the original 35mm negative.”

Onimasa comes on a 50 GB dual layer Blu-ray.

Disc Size: 34.7 GB

Feature: 31.9 GB

Here’s the information provided about Tokyo Bordello's transfer, “HD restoration from the original 35mm negative.”

Tokyo Bordello comes on a 50 GB dual layer Blu-ray.

Disc Size: 33.8 GB

Feature: 30.9 GB

Both films look excellent; flesh tones look healthy, colors look correct, and image clarity, contrast, black levels, and compression are solid, and there are no issues with digital noise reduction. Both discs are mislabeled and contain the film that is opposite of what is indicated on the packaging.

Audio: 5/5 (Both Films)

Each film comes with one audio option, a LPCM mono mix in Japanese with removable English subtitles. Both films' audio tracks sound excellent; dialogue always comes through clearly, everything sounds balanced, and ambient sounds are well-represented.

Extras:

Extras for Onimasa include a video essay by TokyoScope author Patrick Macias (12 minutes 34 seconds, LPCM stereo English, no subtitles) and an audio commentary with Japanese cinema scholar Jasper Sharp.

Extras for Tokyo Bordello include a video essay by Patrick Macias (12 minutes 43 seconds, LPCM stereo English, no subtitles) and an audio commentary with Jasper Sharp.

Other extras include a spot gloss slipcover (limited to 2,000 units) and a 16-page booklet with cast & crew information for both films, information about the transfers, and an essay titled Escaping the Flames written by Hayley Scanlon.

Summary:

Hideo Gosha directed Onimasa and Tokyo Bordello. He is most known for directing samurai films; notable films include Goyokin, The Wolves, and Hunter in the Dark.

Onimasa: Onimasa, the last heir of a samurai family and the leader of the Kiryuin clan, finds himself in a power struggle with his rivals when he takes the side of train workers on strike.

Onimasa was a pivotal film for Hideo Gosha and Toei, the company that produced it. While both were known for their male-driven jitsuroku eiga, a film like Onimasa would make the dramatic shift to putting the focus on the female characters. Onimasa is also significant for Hideo Gosha in another way; it was his first of three adaptations of a Tomiko Miyao novel; the other two films are Yôkirô and Oar.

Despite the significant role of women in the story, Onimasa, the protagonist, embodies the essence of masculinity. He’s a fearless character who gains respect because of his fairness and only uses intimidation when there are no other options. That said, he’s surrounded by three women of note: his wife, Uta, whose impulse is in her decision-making; his adoptive daughter, Matsue, who respects all that Onimasa has done for her; and his biological daughter with a mistress, Hanako.

All around, the cast are excellent in the roles, especially Tatsuya Nakadai (The Human Condition), whose portrayal of Onimasa serves as this film’s anchor. His performance embodies all the qualities typically associated with a yakuza boss, yet it also reveals a sense of humanity that adds greater depth to his character than is often found in similar roles. The most notable performance is Shima Iwashita's (The Demon) portrayal of Uta, a character that greatly diverged away from the type of roles she had played up to that point. That said, she delivers a remarkable performance that would forever reshape her career and the type of roles casting directors would offer her.

Cast in the role of Matsue is Masako Natsume, and she delivers a performance that perfectly captures her character's desire to please her adoptive parents while trying to forge a life outside of the family clan. It should be noted that Nobuko Sendô (Childhood Days) portrays Matsue as a young girl, and she delivers an equally compelling performance. Familiar faces round out the rest of the cast: Tetsurō Tamba (Three Outlaw Samurai), Tatsuo Umemiya (Graveyard of Honor), and Kōji Yakusho (Cure).

While not as prevalent as in other yakuza films from this era, moments when action and carnage appear in Onimasa are skillfully crafted and highly impactful. The main action set piece is saved for a bloody finale where Onimasa confronts a rival who's been the source of his trouble head-on, and the most brutal moment when it comes to carnage is a dogfighting sequence. The narrative is flawlessly constructed, and it does an exemplary job conveying characters' highs and lows. At almost 2 ½ hours in length, things move rather quickly, and there is never an issue with building momentum. Ultimately, Onimasa is an extraordinary film whose characters drive the story and whose fates stay with you long after its final image has faded offscreen.

Tokyo Bordello: A businessman who's incurred an insurmountable debt sells his daughter to a brothel in Tokyo's infamous red-light district.

Tokyo Bordello is based on a novel written by Shinichi Saitô that revolves around characters living in Yoshiwara, a red-light district established in 1617 that came to an end in 1958 when Japan outlawed prostitution. Although Tokyo Bordello uses Yoshiwara as the backdrop for its unfolding story, it is not a historical account except for one aspect: its finale, in which Yoshiwara suffers extensive damage from a fire.

Set in the 1910s, Tokyo Bordello is a period-set melodrama with exemplary production design. Its opening setup does a phenomenal job introducing the main players by giving them an ample amount of time to flesh out their individual stories. When it comes to pacing, things move at a leisurely pace that, fortunately, never affects any momentum.

Considering the subject matter, Tokyo Bordello is rather tame; it does not focus as much on the sex aspect of prostitution; instead, it shifts the focus to the other aspects of its characters' lives. The women in the Tokyo bordello endure difficult lives, and the film does not shy away from portraying the mental toll inflicted on them. Notably, the most erotic moment occurs during a lesbian sequence in which the protagonist is seduced by another prostitute, ultimately leading to a strong bond between them.

The cast are all excellent in the roles, in particular, Yûko Natori’s (Crest of Betrayal) portrayal of Hisano, a woman who came from an affluent background and was sold into prostitution. She perfectly transforms from a naive, frightened young woman into someone who’s confident and finds pleasure in the work she does. Another performance of note is Rino Katase (Yakuza Ladies) in the role of Kikugawa, a woman who escapes Yoshiwara after being married only to return when another woman steals her husband.

Although the visuals let the characters take center stage, there are a handful of striking moments, notably the finale, where flames engulf Yoshiwara. Another striking moment is a scene where a prostitute who’s lost her mind lies on the ground next to a goldfish flipping outside of its bowl. No matter what genre he worked in, Hideo Gosha's instincts as a filmmaker always elevated whatever film he worked on. Ultimately, Tokyo Bordello is an engrossing melodrama set in Yoshiwara that quickly grabs your attention and stays with you.

Courtesans & Criminals: The Underworld of Hideo Gosha is an excellent release from Film Movement that gives both films solid audio/video presentations and insightful extras. Highly recommended.

Written by Michael Den Boer

Three Outlaw Samurai – The Criterion Collection (Blu-ray)

Theatrical Release Date: Japan, 1964
Director: Hideo Gosha
Writers: Keiichi Abe, Eizaburo Shiba, Hideo Gosha
Cast: Tetsuro Tamba, Isamu Nagato, Mikijirō Hira, Miyuki Kuwano, Yoshiko Kayama, Toshie Kimura, Yōko Mihara

Release Date: February 14th, 2012
Approximate Running Time: 93 Minutes 57 Seconds
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVCC
Rating: NR
Sound: LPCM Mono Japanese
Subtitles: English
Region Coding: Region A
Retail Price: $29.95

"A wandering, seen-it-all ronin (Tetsuro Tamba) becomes entangled in the dangerous business of two other samurai (Isamu Nagato and Mikijiro Hira), hired to execute a band of peasants who have kidnapped the daughter of a corrupt magistrate." - synopsis provided by the distributor

Video: 4.5/5

Here’s the information provided about the transfer, "This new high-definition digital transfer was created on a Spirit Datacine from a 35 mm print struck from the original negative. Thousands of instances of dirt, debris, scratches, splices, warps, jitter, and flicker were manually removed using MTT’s DRS and Pixel Farms PFClean, while Image Systems’ DVNR was used for small dirt, grain, and noise reduction.” 

Three Outlaw Samurai comes on a 50 GBdual layer Blu-ray.

Disc Size: 26.5 GB

Feature: 25.6 GB

The source looks excellent; flesh tones look healthy, colors look correct, black levels are strong, image clarity and compression are solid, and there are no issues with digital noise reduction.

Audio: 4.25/5

This release comes with one audio option, a LPCM mono mix in Japanese with removable English subtitles. The audio is in great shape. Dialog comes through clearly, and everything sounds balanced and robust when it should.

Extras:

Extras for this release include a theatrical trailer (2 minutes 28 seconds, Dolby Digital mono Japanese with removable English subtitles) and a 16-page booklet with cast & crew information, an essay titled The Disloyal Bunch written by Bilge Ebiri, and information about the transfer.

Summary:

Three Outlaw Samurai was the directorial debut of Hideo Gosha, a filmmaker best known for directing samurai films. His notable films include Goyokin, The Wolves, Violent Streets, and Hunter in the Dark. Two years after its release, Three Outlaw Samurai would be remanded in Hong Kong as The Magnificent Trio.

Three samurai join farmers in the fight against a ruthless magistrate.

For his first film, Hideo Gosha would explore revenge, redemption, guilt, betrayal, and loyalty, themes he would often return to throughout his career. Three Outlaws Samurai does a phenomenal job drawing you in to the story that's unfolding. There are several alliances forged and broken along the way, leading to a bloody, carnage-filled finale where three samurai join forces against an evil magistrate and his assassins.

Even at this early stage of his career, Hideo Gosha showcases his ability to create tense moments. The most prominent of these are the scenes that take place at an isolated mill where a magistrate’s daughter is being held prisoner by three peasant farmers and a samurai named Sakon Shiba. Despite being greatly outnumbered, Sakon Shiba’s exceptional sword skills and leadership help them fend off numerous attacks. The most memorable moment is a scene where Sakon Shiba accepts punishment for all those involved, and he is mercilessly whipped 100 times.

All around, the cast are excellent, especially the three leads: Tetsuro Tamba (You Only Live Twice), Isamu Nagato (Bloodstained Clad Honor), and Mikijirō Hira (The Face of Another). Tetsuro Tamba portrays Sakon Shiba, a wandering samurai who becomes entangled in a clash between peasant farmers and their oppressor. Isamu Nagato portrays a vagabond samurai, and Mikijirō Hira portrays a layabout samurai for hire. One notable strength of the performances is the depth given to the female characters; they are not merely background figures.

From a production standpoint, there is no area where Three Outlaw Samurai does not excel. The premise is superbly realized, and a well-executed move briskly builds to its finale. The fight scenes are exceptional, showcasing well-crafted moments of tension where characters effectively utilize their surroundings while confronting overwhelming challenges. Ultimately, Three Outlaw Samurai skillfully blends exposition with action, offering a wealth of social commentary that sets it apart from typical genre offerings.

The Criterion Collection gives Three Outlaw Samurai a solid audio/video presentation; highly recommended.

Written by Michael Den Boer

Gate of Flesh – 88 Films (Blu-ray)

Theatrical Release Date: Japan, 1988
Director: Hideo Gosha
Writer: Kazuo Kasahara
Cast: Rino Katase, Yûko Natori, Tsunehiko Watase, Miyuki Kanô, Jinpachi Nezu, Kazuyo Matsui, Senri Yamazaki, Shinsuke Ashida, Seizô Fukumoto, Mach Fumiake, Masataka Naruse, Masaru Shiga, Akira Shioji, Jeremy Blaustein

Release Date: June 23rd, 2025 (UK), June 24th, 2025 (USA)
Approximate Running Time: 118 Minutes 58 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVCC
Rating: 18 (UK), NR (USA)
Sound: LPCM Mono Japanese
Subtitles: English
Region Coding: Region A,B
Retail Price: £16.99 (UK), $34.95 (USA)

"In the shell-shocked, rubble-strewn wasteland of postwar Tokyo during the Allied Occupation, a group of prostitutes band to together to form a makeshift guild with the aim of pooling their resources to build a dancehall called Paradise. As their independent existence becomes threatened by the hawkish parade of gangsters, black marketeers and would-be pimps all looking for a cut from their flesh-peddling, the discovery of an unexploded bomb in the cavernous burned-out building where they ply their trade throws their dreams into further jeopardy." - synopsis provided by the distributor

Video: 4.5/5

Here’s the information provided about the transfer, "Blu-ray presentation in 1.85:1 Aspect Ratio".

Gate of Flesh comes on a 50 GB dual layer Blu-ray.

Disc Size: 43.3 GB

Feature: 32.7 GB

The source looks excellent, flesh tones look healthy, colors look correct, image clarity, black levels, and compression are solid, and the image retains an organic look.

Audio: 4.5/5

This release comes with one audio option, a LPCM mono mix in Japanese with removable English subtitles. The audio is in excellent shape; dialog always comes through clearly, everything sounds balanced, ambient sounds are well-represented, and the score sounds appropriately robust. 

Extras:

Extras for this release include a stills gallery with music from the film playing in the background (posters/stills), a theatrical teaser (52 seconds, Dolby Digital mono Japanese with removable English subtitles), a theatrical trailer (1 minute 53 seconds, Dolby Digital mono Japanese with removable English subtitles), an introduction by Earl Jackson titled Peddling Flesh, he discuss the various film adaptations of Gate of Flesh (22 minutes 9 seconds, Dolby Digital stereo English, no subtitles), an interview with Toei tattoo artist Seiji Mouri titled Flesh & Blood (11 minutes 33 seconds, Dolby Digital stereo Japanese with removable English subtitles), an audio commentary with Amber T. And Jasper Sharp, reversible cover art, removable OBI strip leaving packaging free of certificates and markings and a 24-page booklet with cast & crew information, an essay titled Reimagining Gate of Flesh written by Irene González-López, and an essay titled The Pan-theon of the Pan-pan: Gate of Flesh / Carmen 1945 (!988) written by Robin Gatto.

Summary:

Gate of Flesh was directed by Hideo Gosha, a filmmaker best known for directing samurai films. His notable films include Goyokin, The Wolves, Violent Streets, and Hunter in the Dark. Hideo Gosha’s Gate of Flesh is the fifth adaptation of Taijiro Tamura’s novel of the same name. In 1948, directors Masahiro Makino and Masafusa Ozaki each directed their own adaptations: Seijun Suzuki in 1964 and Shōgorō Nishimura in 1977.

Post World War II, in occupied Japan, a group of women makes a living by squatting in a bombed-out building, which they want to renovate into a dance hall using the money they have saved.

“When a woman gets old, she’s taken out of circulation like counterfeit currency.” These words spoken by a male character perfectly summarize the plight that the group of women working as prostitutes are experiencing. It is a life that they have not chosen; faced with few options to earn a living, they resort to the only thing, the only currency they possess: their bodies.

From its opening moments, the narrative does a phenomenal job of drawing you in. It is these initial moments that we are introduced to the group of women who the narrative revolves around. Though each of them has a distinct personality, they all share a common goal, which reinforces their bond. That said, it is clear early who these women are and what motivates them.

All around the entire cast are outstanding, especially Rino Katase (Yakuza Wives), who portrays Sen Asada, the leader of the women who live in the bombed-out building. She delivers a remarkable performance that captures her character's strong will and fearlessness. Other performances of note are Tsunehiko Watase (Wandering Ginza Butterfly), who portrays Shintaro Ibuki, an injured former soldier that Sen and her friends help nurse back to health, and Yûko Natori, who portrays Sumiko Kitazawa a rival of Sen’s.

The two most powerful moments come via flashbacks, both of which are shot in striking black and white. In the first of these, we see the event that forever changed Sen and put her on the path she’s currently on. This moment is also tied to the present; a man from her past and from her present are the same person. In the other of these flashbacks, we see a traumatic event where Sumiko is gang-raped by a group of soldiers, and while this unfolds, there is a burst of red when someone is shot. Another moment of note is a scene where Shintaro brings a bull to the blown-out building, kills it, and feeds Sen and her friends.

Gate of Flesh is a character-driven film, and it is filled with a cast of colorful characters. Besides Sen and her friends, there is a rival group of prostitutes and a crime boss who wants the building they live in. Though there are many forces coming at Sen and her friends, it is someone from within, a woman named Machiko, who ultimately betrays them. Another area where Gate of Flesh excels is its exemplary production design; it does a superb job recreating post-World War II occupied Japan. No matter which adaptation of Gate of Flesh, they all have their strengths. Ultimately, Hideo Gosha’s Gate of Flesh is a solid adaptation that remains true to its source.

Gate of Flesh gets an exceptional release from 88 Films that comes with a solid audio/video presentation and insightful extras, highly recommended.

Written by Michael Den Boer

Yakuza Wives – 88 Films (Blu-ray)

Theatrical Release Date: Japan, 1986
Director: Hideo Gosha
Writer: Kôji Takada
Cast: Shima Iwashita, Rino Katase, Akiko Kana, Riki Takeuchi, Kôjiro Shimizu, Shôko Ieda, Yasuko Naito, Junko Enjô, Seizô Fukumoto, Mikio Narita, Kei Satô

Release Date: April 21st, 2025 (UK), April 22nd, 2025 (USA)
Approximate Running Time: 119 Minutes 46 Seconds
Aspect Ratio: 1.85:1 Widescreen / 1080 Progressive / MPEG-4 AVCC
Rating: 18 (UK), NR (USA)
Sound: LPCM Mono Japanese
Subtitles: English
Region Coding: Region A,B
Retail Price: £16.99 (UK), $34.95 (USA)

"Shima Iwashita puts in a commanding performance as Tamaki, who takes over the reins of the Domoto clan while her husband is spending time in jail. Family relations are strained past breaking point when her younger sister Makoto embarks on a relationship with a member of a rival gang." - synopsis provided by the distributor

Video: 4.25/5

Here’s the information provided about the transfer, "Blu-ray presentation in 1.85:1 Aspect Ratio".

Yakuza Wives comes on a 50 GB dual layer Blu-ray.

Disc Size: 45.9 GB

Feature: 32.6 GB

The source looks great; flesh tones are healthy, colors look correct, black levels are strong, image clarity and compression are solid, and there are no issues with digital noise reduction.

Audio: 4.5/5

This release comes with one audio option, a LPCM mono mix in Japanese with removable English subtitles. The audio is in excellent shape; dialog always comes through clearly, everything sounds balanced, ambient sounds are well-represented, and the score sounds appropriately robust. 

Extras:

Extras for this release include a stills gallery with music from the film playing in the background (stills/poster), two theatrical trailers (3 minutes 45 seconds, Dolby Digital mono Japanese with removable English subtitles), an introduction by Mark Schilling (15 minutes 47 seconds, Dolby Digital stereo English, no subtitles), an interview with Tattoo Artist Seiji Mouri (24 minutes 57 seconds, Dolby Digital stereo Japanese with removable English subtitles), reversible cover art, removable OBI strip leaving packaging free of certificates and markings and a 20-page booklet with cast & crew information, and an essay titled Rebirth of a Genre written by Nathan Stuart.

Summary:

Yakuza Wives was directed by Hideo Gosha, a filmmaker best known for directing samurai films. His notable films include Goyokin, The Wolves, Violent Streets, and Hunter in the Dark.

A power struggle ensues when those who are unhappy with the boss’ chosen successor break away and form a rival clan.

The Yakuza film often relegates women characters to roles that are unvirtuous or devious, portraying them as rarely matching the strength of their male counterparts. Even when they don’t fall into those categories, they are typically wives or girlfriends who serve as secondary characters and simply blend in. Though Japanese cinema features many examples of strong female characters who stand on equal footing with their male counterparts, a film like Yakuza Wives was among the first Yakuza films to provide women characters with traits typically reserved for their male counterparts.

Loyalty is a theme that dominates Yakuza cinema; characters are bound by a code, and breaking it never leads to anything good. Though loyalty had been predominantly viewed through the lens of male characters, Yakuza Wives offers a different view that shows the women in these men's lives have a fierce loyalty that rivals their male counterparts.

The narrative revolves around Tamaki, the wife of a yakuza who is currently serving time in prison. She is a strong-willed character who sets an example for the other women, and she commands respect from the men who serve her through strength and fear. While her husband is in jail, the boss of the Domoto clan passes away and names her husband as his successor. Unhappy with this decision, some of the men break away and form their own rival clan, which leads to a war between the two clans.

The other key female character is Makato, the younger, naive sister of Tamaki. Though she initially lives a life separate from the one her sister has immersed herself in, over time she becomes jaded and gains confidence. She becomes involved with a yakuza named Kiyoshi Sugita, who initially takes her by force. After an initial hesitancy about him, she falls madly in love with him, which causes a rift between her and her sister.

All around, the performances are outstanding, especially Shima Iwashita’s (Harakiri) portrayal of Tamaki. She delivers a commanding performance that perfectly captures her character's confidence and fearlessness. The other performance of note is Rino Katase’s portrayal of Makato. She would work with Hideo Gosha three more times: Tokyo Bordello, Carmen 1945, and Heat Wave. Notable cast members include Riki Takeuchi (Deadly Outlaw: Rekka), Masanori Sera, who portrays Kiyoshi, a man driven by his impulses, and Mikio Narita (Graveyard of Honor), who portrays Akimasa, who sees himself as the rightful heir to the Domoto clan, and he finds himself in a power struggle with Tamaki.

From a production standpoint, there is no area where Yakuza Wives does not excel. In the first hour the narrative is all about building its characters, and violence is minimal. Though violence escalates in the latter half of the narrative it is still well below what one expects from a Yakuza film. There are three striking moments: the scene where Kiyoshi rapes Makato, a scene where Makato finally stands up to Tamaki, and a jarring climax that blends eroticism and carnage. Ultimately, Yakuza Wives is another exemplary film from Hideo Gosha, making it a must-see for fans of Yakuza cinema.

Yakuza Wives gets a solid release from 88 Films that comes with a strong audio/video presentation and insightful extras, highly recommended.

Written by Michael Den Boer

Samurai Wolf & Samurai Wolf II – Film Movement (Blu-ray)

Theatrical Release Dates: Japan, 1966 (Samurai Wolf), Japan, 1967 (Samurai Wolf II)
Director: Hideo Gosha (Both Films)
Cast: Isao Natsuyagi, Ryôhei Uchida, Junko Miyazono, Tatsuo Endô, Junkichi Orimoto, Yoshirô Aoki, Takashi Tabata, Kyôichi Satô, Misako Tominaga (Samurai Wolf), Isao Natsuyagi, Ichirô Nakatani, Bin Amatsu, Yûko Kusunoki, Chiyo Aoi, Rumiko Fuji, Junkichi Orimoto, Yoshirô Aoki, Kyôichi Satô, Kenji Ushio, Seizô Fukumoto, Kô Nishimura (Samurai Wolf II)

Release Date: June 25th, 2024
Approximate Running Times: 73 Minutes 47 Seconds (Samurai Wolf), 71 Minutes 51 Seconds (Samurai Wolf II)
Aspect Ratio: 2.35:1 Widescreen / 1080 Progressive / MPEG-4 AVC (Both Films)
Rating: NR
Sound: LPCM Mono Japanese (Both Films)
Subtitles: English (Both Films)
Region Coding: Region A
Retail Price: $44.98

Samurai Wolf: "Isao Natsuyagi stars as Kiba, a charismatic ronin who wanders into a small town and ends up ensnared in a local conflict that's more than meets the eye. After dispatching a pair of highway criminals seen robbing a courier wagon, Kiba agrees to assist a beautiful blind woman who runs the local shipping company." - synopsis provided by the distributor

Samurai Wolf II: "Charismatic ronin Kiba (Isao Natsuyagi) returns, once again entangled in a complex web of intrigue, involving a crooked goldmine owner, a cynical swordsman, and an arrogant dojo master." - synopsis provided by the distributor

Video: 4/5 (Both Films)

Here’s the information provided about this release's transfers, "2K restorations from the original film elements".

Samurai Wolf and Samurai Wolf II comes on a 50 GB dual layer Blu-ray.

Disc Size: 38.1 GB

Feature: 15.9 GB (Samurai Wolf), 16.8 GB (Samurai Wolf II)

The source for both films is in excellent shape. Image clarity is solid, black levels are strong, and compression is very good.

Audio: 4/5 (Both Films)

Each film comes with one audio option, a LPCM mono mix in Japanese with removable English subtitles. Both audio tracks sound clean, clear, and balanced. Range-wise Both audio tracks sound very good.

Extras:

Extras for this release include a newly created trailer for Samurai Wolf (1 minute 31 seconds, Dolby Digital mono Japanese with non-removable English subtitles), Samurai Wolf II (1 minute 24 seconds, Dolby Digital mono Japanese with non-removable English subtitles), a newly created trailer for Violent Streets (1 minute 31 seconds, Dolby Digital mono Japanese with non-removable English subtitles), a featurette with Hideo Gosha’s daughter Tomoe Gosha titled Outlaw Director: Hideo Gosha (15 minutes 38 seconds, LPCM stereo Japanese with removable English subtitles), an audio commentary with Chris Poggiali for Samurai Wolf, a spot gloss slipcover (limited to 2,000 units), and a 20-page booklet with cast & crew information, an essay titled Hideo Gosha’s Samurai Wolf 1 & 2 written Robin Gatto.

Summary:

Hideo Gosha directed Samurai Wolf and Samurai Wolf II. He is most known for directing samurai films; notable films include Goyokin, The Wolves, and Hunter in the Dark.

Samurai Wolf: A ronin becomes involved in a conflict between officials at a waystation and a corrupt feudal lord who wants control of the territory.

Though not as prolific as most of his contemporaries, Hideo Gosha’s filmography is consistently strong. By the time that he made Samurai Wolf and its sequel, Hideo Gosha firmly established himself as one of the prominent filmmakers making Chanbara films. It is not surprising that Samurai Wolf and its sequel have a Spaghetti Western vibe, since it was a Chanbara film, Yojimbo, that inspired A Fistful of Dollars, the film that ignited the Spaghetti Western genre.

Samurai Wolf has a phenomenal opening where three swordsmen, one who has a monkey on their shoulder, ambush two men carrying cargo for the waystation. This moment does a superb job setting the tone for the events that follow. Though there is a mystery to Kiba in the initial setup, it quickly becomes clear that he is someone you don’t want to mess with.

As great as all of the performances are, they all pale in comparison to Isao Natsuyagi (Female Prisoner #701: Scorpion), who masterfully portrays Kiba. What sets Kiba apart from other ronin is that he has a code of honor. It is clear what kind of man Kiba is from the moment he is introduced; he repays an old woman who fed him. Another performance of note is Junko Miyazono (Quick-draw Okatsu), who portrays a blind woman who owns the waystation.

Don’t let Samurai Wolf's duration deceive you; so much happens in its brief 74-minute duration. The narrative does an excellent job building and sustaining momentum. There is an ample amount of carnage and stylized kills, which uses sound to great effect. Another strength is arresting compositions and camera movements, which help heighten the mood. Ultimately, Samurai Wolf is a solid example of a Chanbara that fans of this genre should thoroughly enjoy.

Samurai Wolf II: A ronin finds himself in the middle of a conflict between a crooked goldmine owner, a cynical swordsman, and an arrogant dojo master.

Though all of the players except Kiba have changed this time around, what unfolds is essentially a retooled version of Samurai Wolf. Wherever Kiba goes, trouble always finds him, and when he saves a prisoner from assassins, he puts himself in the crosshairs. That said, he is never the instigator, and only when provoked does his sword draw blood.

Isao Natsuyagi (Village of Doom) returns in the role of a ronin named Kiba. He delivers an outstanding performance that further fleshes out Kiba. Another performance of note is Yûko Kusunoki (House of Terrors), who portrays Oren the Thistle, a femme fatale-like character.

One area where Samurai Wolf II differs from its predecessor is how it devotes more time to Kiba’s backstory. Through a series of flashbacks it is revealed that Kiba’s father was also a ronin and that he was murdered. That said, besides Kiba, more time is devoted to building up characters.

The narrative moves quickly, and a lot happens in just 72 minutes. Once again, Hideo Gosha’s visuals are outside of the norm when compared to other Chanbara films. There is an abundance of carnage, and all of the action set pieces are excellent. Standout sequences are an ambush in the pouring rain and a bloodbath finale where one fighter uses his opponent's daughter as a shield. Ultimately, Samurai Wolf II is a rare example of a sequel that is on par with its predecessor.

Samurai Wolf and Samurai Wolf II get first-rate releases from Film Movement; both films are given strong audio/video presentations and a trio of informative extras, highly recommended.

Written by Michael Den Boer