What's that, you say? Four entries in a franchise released within a single calendar year, and they don't rely on grandiose world-building that requires one to watch a few dozen more hours of movies and TV to keep up? There's an engaging way to push product and there's a tiresome way, and I admire Katsu and Toho for squeezing out four 'Lone wolf and cub' flicks between the beginning of January and the end of December in 1972 that are each as enjoyable and engrossing individually as they are when considered together. 'Baby cart in peril' is even more upfront than its antecedents, immediately launching us into the plot with the opening scene that also guarantees us the violence, blood and gore, and nudity that define the exploitative spectacle for which the series is known. Lest one think this installment is a pure romp, however, it is also unquestionably defined by the capable craftsmanship and visual style that have characterized more prestigious jidaigeki classics. This film is most certainly cut from the same cloth as 'Sword of vengeance,' 'Baby cart at the River Styx,' and 'Baby cart to Hades,' and though the question remains of the exact tack 'Baby cart in peril' will adopt, we are quite assured of the same high-quality entertainment we've come to expect.
Some personnel behind the scenes have moved around, most notably as three-time director Misumi Kenji has gone on to pursue other projects and Saito Buichi takes his place. Even so this picture is just as terrifically well made as those before it, boasting truly fantastic, wonderfully detailed sets, costume design, and hair and makeup. The proliferate blood and gore, otherwise effects, stunts, choreography, and action sequences are all superb, enticing, and invigorating, and it is again true that even at its most extravagant this claims a welcome measure of artistry in how it is put together. That is a credit to new cinematographer Miyagawa Kazuo as much as to new director Saito and returning editor Taniguchi Toshio, and all other contributors, and sort of in a like manner, scribe Koike Kazuo also lends to that bent. Even as the storytelling and overall tone feel more forthright, with swift pacing and self-indulgently elaborate props, weapons, and scenes, there are nice shades of subtlety that peek through here and there, and the writing and execution feel more rich and dynamic. This feature is a bit of a hodgepdge, truthfully, further including flashbacks, somewhat non-linear plot development, and what feels like a more disparate and looser sense of cohesiveness, yet the skill and intelligence of all involved keep the proceedings grounded, and the result is once again upstanding and marvelously entertaining.
Whether we point to new director Saito or the creativity of returning participants, it comes across to some extent that 'Baby cart in peril' was trying something a tad different in its look and feel. What that does mean, if nothing else, is that the fourth title of the series feels fresh again, more vibrant and actively absorbing than the somewhat formulaic immediate forebear. The viewing experience walks a fine line between the careful nuance and refinement of esteemed filmmakers like Kobayashi Masaki or Kurosawa Akira and the wild sensationalism that would in turn influence countless others including Miike Takashi and Quentin Tarantino, and in its own away achieves a special kind of balance. All who helped to bring this to fruition - not least Koike, definitely returning composer Sakurai Eiken with his flavorful music, and even supporting cast member Azuma Michie in her prominent role - just as nimbly walk that line to outstanding success. And still, for all that this single movie says and does, touching upon a wide variety of moods and ideas, it stays smartly anchored not just on account of its general excellence, but also for the themes that are rather central to this entry. The story is again a blend of exploring the core father-son relationship, the bitterness between protagonist Itto and the Yagyu clan that has masterminded the conspiracy against him, and the mission and adventure specific to this portion of the saga. The story also concretely examines cycles of violence, be they out of revenge, for honor, owing to obligation or contract, or following from any other reason. And in so doing it keeps us invested no matter what else is going on.
In keeping with the most far-fetched facets of 'Lone wolf and cub' as a series, the design of Daigoro's cart continues to evolve into a creation that would feel right at home in Eon Productions' James Bond franchise. It should perhaps also be said that the climax revisits the utmost outlandishness of that of the previous feature, for better and for worse. Nevertheless, even here 'Baby cart in peril' is flush with little sparks of brilliance, even in something as simple as how how filming locations are employed. So while we may reasonably scrutinize some elements, the fact invariably remains that this is just what we would want out of the series, and it is just as stupendously compelling and fun as it continues to build up Itto as something of a figure of myth and legend. Eighty-one minutes fly by all too quickly, confirming yet again just how sharp and electrifying the saga is regardless of how we dissect it. Semantics and nitpicking aside, what it comes down to is that this fourth title is a blast, and there's just not really any going wrong with 'Lone wolf and cub.' If one is this far into the ongoing episodic tale then one is fully committed, but one way or another 'Baby cart in peril' is a great time and I'm pleased to give it my high recommendation.
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