Episode six of the hematic chronicle of Ogami Itto (Tomisaburo Wakayama) and his son finds the twosome in the frigid north of Japan, where the snowy slopes provide a pristine white canvas for the drifting-killer's bright red splatter-art. As the story arc begins to wind down, Itto finally faces off against hordes of heinous Yagyu clansmen led by the one-eyed Lord Yagyu Retsudo (who by now has pretty much sacrificed his entire family in his quest to kill the 'Lone Wolf and Cub'). In addition to mundane threats of swords, spears and flying daggers, the portly but deadly anti-hero also faces the Tsuchigumo, a secretive clan of sorcerers who send their burrowing minions after him. The film is a return to over-the-top grisliness after the relatively sedate 'Land of Demons' (1973), with lots of hissing, scarlet geysers and at least one person sliced in half (but the real money-shot is an memorable, one-of-a-kind incestuous impalement (in more than one sense)). As usual for the series, the direction and cinematography is great although the music sounds more like the score for a '70s Motown cop-drama than an Edo-era chanbara. Wakayama continues to be great as the less-than-imposing but über-competent vagabond assassin and Akihiro Tomikawa is fun to watch as Diagoro, his toddler-son (and co-killer), who travels in the formidable 'babycart'. Unfortunately, production politics brought the series to a premature end, with the vile Retsudo running off to fight another day, which sadly never comes (at least in the cinema, the finale can be seen in the eponymous manga). Good, gruesome fun for fans of stoic swordsmen, jidaigeki, and splatter movies.
24 Reviews
Nice finale
gbill-748778 June 2021
The series goes out with a bang, not a whimper, with its 6th and final film. It vies with film #2 (River Styx) for my favorite of the bunch, with its very cool subterranean warriors and those fantastic scenes out on the snowy hillside. The cinematography is excellent, and there are some great warriors, starting with a badass woman who juggles daggers and calmly kills three practice partners before heading out to face the Lone Wolf. The real star is the bastard son, however, who unearths three warriors who've been buried for 42 days after a death rite to be resurrected as "violent, immortal souls." They burrow underground and kill anyone the Lone Wolf comes in contact with, and I loved how he really seems in danger more than once, with real fear in his eyes, in contrast to his ordinary calm demeanor.
There are wonderfully framed fight sequences, including one out on a dock at night that then leads out into the reeds, with the Lone Wolf almost being sucked into the marsh. There's also an unfortunate (and unnecessary) scene of incest/rape, in there seemingly for shock value and to get some nudity into the film, but mercifully it's brief. It has a lean, uncomplicated story, one that works to the film's advantage, which leads to a memorable skiing sequence out in the snow, with the Lone Wolf pursued by a horde of attackers. At that point the film has a James Bond vibe, even playing a little bit of the 007 theme song. It's unfortunate that Tomisaburo Wakayama walked away from the franchise, upset that he wasn't given the role in the TV series that had started up, because it ends with an unresolved feeling, though it's not one that spoiled my enjoyment of the film.
There are wonderfully framed fight sequences, including one out on a dock at night that then leads out into the reeds, with the Lone Wolf almost being sucked into the marsh. There's also an unfortunate (and unnecessary) scene of incest/rape, in there seemingly for shock value and to get some nudity into the film, but mercifully it's brief. It has a lean, uncomplicated story, one that works to the film's advantage, which leads to a memorable skiing sequence out in the snow, with the Lone Wolf pursued by a horde of attackers. At that point the film has a James Bond vibe, even playing a little bit of the 007 theme song. It's unfortunate that Tomisaburo Wakayama walked away from the franchise, upset that he wasn't given the role in the TV series that had started up, because it ends with an unresolved feeling, though it's not one that spoiled my enjoyment of the film.
fine way to conclude what, overall, is a most enjoyable and magical experience - with rather a lot of bloody violence
christopher-underwood8 May 2020
Fabulous conclusion to a fine series with less dubious samurai philosophy and more creative and marvellously choreographed fighting sequences. The stupendous snow scenes that open and close the film are jaw dropping and whilst watching could only imagine the filming difficulties. Subsequently I discover that these relatively short scenes took some six weeks to film with the youngster playing the cub crying at the pain of the cold and his 'Papa' near to collapse on several occasions. It is a remarkable episode in many respects and not least with regard to the cinematography which seems even finer here with some truly wonderful moments. i think I actually gasped when the opposing forces appeared on the brow of the snow clad mountain-side. The ending here differs from that in the manga partly because the film actually came before the story had been concluded - so keen apparently were the film makers to carry on with the series. Far from being a let down, as I feared it might be, this sixth and final film in the series is a fine way to conclude what, overall, is a most enjoyable and magical experience - with rather a lot of bloody violence.
A zany capper to a great series
kev-2216 November 1998
The sixth and last of the "Lone Wolf and Cub/Baby Cart" series of films shows how artistically well-done films can make even the most ludicrous ideas work. During Ogami Itto's journey to the final showdown with his arch-enemy Retsudo, leader of the evil Yagyu clan, we witness everything from incest bordering on necrophilia, zombie samurai who can burrow in the ground like worms, the usual assortment of mutilations, a battle on snow skis, and the most elaborate baby cart weaponry yet--including automatic armor plating! As usual, the images are beautifully composed, the action is splendidly choreographed, the plot ideas are wonderfully outrageous, and the funky music score is cool perfection. Any of this out of context would be silly; in context, it's almost sublime.
last in series
SnoopyStyle22 September 2020
The Yagyu clan continues to be a disgrace due to Ogami Itto's actions. The Shogun threatens an open attack. Lord Retsudo tries to appease him by sending last heir, his daughter Kaori who kills by juggling daggers.
This starts with a 70's music rift with a guitar wah wah and also closes with it which is more fitting for Shaft. It's the sixth and last theatrical movie of the series. Kaori should be the second to last attack. She gets built up so much that she can't be killed off so early. As for the others, I don't like them lining up like that. At best, it's for show but it offers nothing in the way of a fight. While the skiing is funny, it does limit the action unless Lone Wolf is also on skis. It would be interesting to have him ski being pursued by the clan. It's getting to be a never ending story when Retsudo digs up a heir and it descends into incest rape. He's scraping the bottom of the barrel.
This starts with a 70's music rift with a guitar wah wah and also closes with it which is more fitting for Shaft. It's the sixth and last theatrical movie of the series. Kaori should be the second to last attack. She gets built up so much that she can't be killed off so early. As for the others, I don't like them lining up like that. At best, it's for show but it offers nothing in the way of a fight. While the skiing is funny, it does limit the action unless Lone Wolf is also on skis. It would be interesting to have him ski being pursued by the clan. It's getting to be a never ending story when Retsudo digs up a heir and it descends into incest rape. He's scraping the bottom of the barrel.
Is this the end (?)
kosmasp29 October 2020
The sixth entry in the Lone Wolf and Cub saga ... and the last one. Since it has been a while I don't think they'll ever do another one ... although I guess you could go animated. Would be fitting since these are based on an Anime. And the blood and nudity might be a testament to that too. You can tell this is quite over the top, to say the least.
This adds a finale with snow ... just fantastic. I would not call these exceptional tension filled (you kind of know your main character will not perish ... at least until the end of the movie), but they are fun, if you are not too politically correct or easily offended. If you are, stay away from these ... The ending of the series (at least movie wise, never read the animes) is quite ... well let's say it is quite open. If you think this not satisfying ... well I would totally understand it ...
This adds a finale with snow ... just fantastic. I would not call these exceptional tension filled (you kind of know your main character will not perish ... at least until the end of the movie), but they are fun, if you are not too politically correct or easily offended. If you are, stay away from these ... The ending of the series (at least movie wise, never read the animes) is quite ... well let's say it is quite open. If you think this not satisfying ... well I would totally understand it ...
It's a tremendous disappointment that they never polished this off, but perhaps it's best to leave on a high note
eminkl18 April 2020
The final chapter in Ogami Itt?'s quest for vengeance against the scheming clan that murdered his wife, ousted him from honorable life and tirelessly hounded him at every turn. After a brief pause for contemplation in the preceding chapter, the franchise's tendency toward wanton violence has returned in a big way. Itt? single-handedly dispatches close to 150 armed men, high in the cinematic record-books, with dozens of assists from his young son via their gimmicked baby cart. Though many are mere foot soldiers, a surprisingly large number are named, developed, wholly unique characters. That's been a trademark of the series: establish a wild cast of colorful, weird supporting players/rivals and then take turns dispensing with them in swift, decisive swordfights. One would think this might lead to fatigue, both in the audience and the creative room, but the well never seems to run dry and those abrupt, almost anticlimactic duels give the films a distinct, intense physical identity. A new director and a fresh setting also delivers a newer, more refined look and feel to this film. It's the best-shot entry in the series, no doubt, but also one of the most compelling stories. Where the Lone Wolf has thus far operated with relative impunity, negotiating with his blade, this last set of foes turn the tables by ruthlessly executing each innocent native he encounters. The guilt weighs heavily, especially when an entire hotel's staff and guests are hung out to dry, and that forces him to make some difficult decisions. Occasionally it carries things a bit too far - the mystical enemies who effectively swim through dirt are a major reach - but despite those eccentricities I consider this the best of the six films. The only thing it's missing is any sort of conclusion: we reach the very brink of a final duel and the foil merely disappears over the horizon, licking the wounds of his army and vowing to fight another day. It's a tremendous disappointment that they never polished this off, but perhaps it's best to leave on a high note.
Certainly the prettiest of the Lone Wolf and cub films....and a bit like Lone Wolf meets James Bond!
planktonrules27 January 2011
Warning: Spoilers
When this film began, it soon became apparent that it had a much greater cinematic quality than the previous films. The cinematography is quite artistic and I loved how they framed the shots. It also had a much grander--more wide-open sort of look to it--with, oddly, a scene of Itto and his young son skiing!!!! Then, as the film unfolds, the music is also very nice--again, with a lovely artistic flair. Truly this is the best looking of the Lone Wolf films.
The scene switches to the head of the evil Yagyu clan (Retsudo) ). Apparently now it is only he and his daughter who are left--Ogami Itto has killed the rest. And so the clan chief is told that this 'problem' is going to be taken out of his hands and handled officially. The Yagyu boss begs to have one final chance and the scene then switches to a very impressive and sick scene--showing this killing machine daughter (Kaori) practicing her knife techniques. The old man coaches her as very methodically she kills three men--burying blades deed into their skulls. This is no ordinary lady!! Sadly, however, her showdown with Itto is over very quickly and it felt very anticlimactic.
Immediately following Kaori's failure, the boss-man himself responds. He goes to visit Hyoei--his previously never mentioned illegitimate son. Now here's where it gets really weird...in the next scene he is officiating some sort of zombie resurrection scene. It seems three warriors were buried alive for 42 days and now they are undead killing machines. Wow...and I thought Itto's anachronistic machine guns in the stroller were weird! Things now really heat up for Itto, as everywhere he goes, anyone who helps him in any way is brutally killed by Hyoei and his Tsuchigumo Tribesmen. They are definitely much more formidable than his half-sister and it sure looks as if Itto will die at Hyoei's hand...and soon. However, Hyoei fails when he he is goaded by Itto to fight him as a samurai...and when Hyoei tries to rape his sister (ewwww--why is there ALWAYS rape in the Lone Wolf films and with his sister yet!) to continue his family line, Retsudo kills him and his sister in the act. He then tries to assume command of the Tsuchigumo--who refuse and wish to destroy Itto on their own--using their magical and mysterious ways.
By now, Itto and his son have high into the snowy mountains--a hint of this was seen at the beginning of the film. Here, the Tsuchigumo are at a disadvantage--they cannot use their bizarre tunneling technique (this is a REALLY weird skill when you see it in action). But they are zombie-like magical beings and so things once again look very bad for Itto the killing machine. Fortunately, Q from the James Bond movies must have invented his baby stroller, as it helps him in this jam---which leads to a snow ski fight somewhat reminiscent of a Bond snow scene. Heck, it even has Bond-like music! However, when Retsudo turns up with his own tricked out Q-inspired baby carriage-like machine, all attempts at realism are out the window...it's truly Bond Time in the 19th century--or should I say "Wild, Wild West" time?!!! I would have to say that this is DEFINITELY the most ridiculous Lone Wolf movie and, at the same time, the most exciting to watch. It's almost non-stop insane action and wild and weird villains. It's something you just have to see.
By the way, this is the last Lone Wolf film--even though "Shogun Assassin" was released in 1980. This 1980 film is actually a film chopped from the earlier films and arranged into a 'new movie'. So, if you've seen the original films there's no reason to see this later film.
The scene switches to the head of the evil Yagyu clan (Retsudo) ). Apparently now it is only he and his daughter who are left--Ogami Itto has killed the rest. And so the clan chief is told that this 'problem' is going to be taken out of his hands and handled officially. The Yagyu boss begs to have one final chance and the scene then switches to a very impressive and sick scene--showing this killing machine daughter (Kaori) practicing her knife techniques. The old man coaches her as very methodically she kills three men--burying blades deed into their skulls. This is no ordinary lady!! Sadly, however, her showdown with Itto is over very quickly and it felt very anticlimactic.
Immediately following Kaori's failure, the boss-man himself responds. He goes to visit Hyoei--his previously never mentioned illegitimate son. Now here's where it gets really weird...in the next scene he is officiating some sort of zombie resurrection scene. It seems three warriors were buried alive for 42 days and now they are undead killing machines. Wow...and I thought Itto's anachronistic machine guns in the stroller were weird! Things now really heat up for Itto, as everywhere he goes, anyone who helps him in any way is brutally killed by Hyoei and his Tsuchigumo Tribesmen. They are definitely much more formidable than his half-sister and it sure looks as if Itto will die at Hyoei's hand...and soon. However, Hyoei fails when he he is goaded by Itto to fight him as a samurai...and when Hyoei tries to rape his sister (ewwww--why is there ALWAYS rape in the Lone Wolf films and with his sister yet!) to continue his family line, Retsudo kills him and his sister in the act. He then tries to assume command of the Tsuchigumo--who refuse and wish to destroy Itto on their own--using their magical and mysterious ways.
By now, Itto and his son have high into the snowy mountains--a hint of this was seen at the beginning of the film. Here, the Tsuchigumo are at a disadvantage--they cannot use their bizarre tunneling technique (this is a REALLY weird skill when you see it in action). But they are zombie-like magical beings and so things once again look very bad for Itto the killing machine. Fortunately, Q from the James Bond movies must have invented his baby stroller, as it helps him in this jam---which leads to a snow ski fight somewhat reminiscent of a Bond snow scene. Heck, it even has Bond-like music! However, when Retsudo turns up with his own tricked out Q-inspired baby carriage-like machine, all attempts at realism are out the window...it's truly Bond Time in the 19th century--or should I say "Wild, Wild West" time?!!! I would have to say that this is DEFINITELY the most ridiculous Lone Wolf movie and, at the same time, the most exciting to watch. It's almost non-stop insane action and wild and weird villains. It's something you just have to see.
By the way, this is the last Lone Wolf film--even though "Shogun Assassin" was released in 1980. This 1980 film is actually a film chopped from the earlier films and arranged into a 'new movie'. So, if you've seen the original films there's no reason to see this later film.
Luckily the series ends with a blast.
Boba_Fett113818 May 2010
In all honesty and objectivity I need to say that this is probably the least movie out of the entire series. Having said that, it's still a great movie, that is highly entertaining. Which should tell you something about the rest of the series, saying that this one is the worst.
It's the sixth and final movie out of the Kozure Ôkami movie series, that were released between 1972 and 1974. Has much changed within the series over the years? Not really. All of the movies are pretty much the same in terms of its style and approach of the stories and characters. Only "Kozure Ôkami: Oya no kokoro ko no kokoro" is slightly different and more western like because it had a different director at the helm than the other movies. This movie also got director by a different director but yet it pretty much remains in the same style as the Kenji Misumi directed movies.
All you can say that perhaps is different is that this movie tends to be a bit darker in parts than its predecessors. Not necessarily in style in story but purely visually. It's also a bit less smooth and throughout entertaining than the other movies. Luckily the final fight truly compensates a lot.
I can say the end fight in this movie is my favorite one out of the entire series. In that regard this movie really does not disappoint and it's a worthy last outing for Ogami Itto and his infant son Daigoro, that really isn't that much in this movie, probably due to the fact that he was getting a bit too old and big by now for his role.
Ogami Itto shows some new tricks again in this movie and the baby cart is more heavily armed than ever before. I don't think this is the movie out of the series with the highest body counts but it's still really up there though. The action is simply awesome and very creative as well. Of course it's being very over-the-top all and the fountains of blood are all well present again in this movie. You have to like and appreciate this style of Japanese movie-making, that is more manga like than anything else really, in order to fully appreciate this movie series. When you do, this is like one of the most entertaining and also best movie series to watch out there.
8/10
http://bobafett1138.blogspot.com/
It's the sixth and final movie out of the Kozure Ôkami movie series, that were released between 1972 and 1974. Has much changed within the series over the years? Not really. All of the movies are pretty much the same in terms of its style and approach of the stories and characters. Only "Kozure Ôkami: Oya no kokoro ko no kokoro" is slightly different and more western like because it had a different director at the helm than the other movies. This movie also got director by a different director but yet it pretty much remains in the same style as the Kenji Misumi directed movies.
All you can say that perhaps is different is that this movie tends to be a bit darker in parts than its predecessors. Not necessarily in style in story but purely visually. It's also a bit less smooth and throughout entertaining than the other movies. Luckily the final fight truly compensates a lot.
I can say the end fight in this movie is my favorite one out of the entire series. In that regard this movie really does not disappoint and it's a worthy last outing for Ogami Itto and his infant son Daigoro, that really isn't that much in this movie, probably due to the fact that he was getting a bit too old and big by now for his role.
Ogami Itto shows some new tricks again in this movie and the baby cart is more heavily armed than ever before. I don't think this is the movie out of the series with the highest body counts but it's still really up there though. The action is simply awesome and very creative as well. Of course it's being very over-the-top all and the fountains of blood are all well present again in this movie. You have to like and appreciate this style of Japanese movie-making, that is more manga like than anything else really, in order to fully appreciate this movie series. When you do, this is like one of the most entertaining and also best movie series to watch out there.
8/10
http://bobafett1138.blogspot.com/
Disappointing conclusion to the series
Leofwine_draca10 August 2012
I was really looking forward to seeing WHITE HEAVEN IN HELL, the conclusion of the six-part LONE WOLF & CUB series of films charting the misadventures of Itto Ogami and his son Daigoro as they travel the violent landscapes of feudal Japan. Earlier films in the series – especially my favourite, the second one – have been excellent, so I was enthused to see how they finished the long-running storyline off. The bad news is that they don't; this was never intended to be the last film in the series, so things just close on a cliffhanger that was never followed up. I won't pretend that I'm not disappointed.
There's both good news and bad news for fans of this series. It's simple: WHITE HEAVEN IN HELL offers more of the same of what's come before. So there's plenty of villainous plotting, scenes of Daigoro being the lad we all know and love, and Ogami taking down numerous opponents without breaking much of a sweat. The villains are hissable, Ogami is effortlessly cool, and by now we all know what's going to happen come the end.
Yet the familiarity of this film's plot is also its downfall. I was starting to feel that things were getting a little stale in the last instalment, and that feeling is now overwhelming. The expert direction and effortless atmosphere of the earlier films is missing, and I couldn't help but feel that things were getting a little run-of-the-mill this time around. Certainly, nothing much happens we haven't seen before.
The writers try to mix things up a bit by introducing more outlandish elements to the script. I like crazy stuff in films, so I was pleased to see the presence of the undead here, and some elements of horror mixed into the narrative, but it's never fully capitalised upon. And the ending is a real let-down, an icy encounter between our feared hero and an army of skiing enemies; it's neither particularly gory nor exciting, instead coming across as rather silly. If you sit back and remember the triumphant, eye-popping ending of BABY CART AT THE RIVER STYX and compare it with what's on offer here, it's a real disappointment. And although they never did close that storyline, I'm kind of glad that things ended with this film. I can only feel they would have otherwise run this series into the ground eventually.
There's both good news and bad news for fans of this series. It's simple: WHITE HEAVEN IN HELL offers more of the same of what's come before. So there's plenty of villainous plotting, scenes of Daigoro being the lad we all know and love, and Ogami taking down numerous opponents without breaking much of a sweat. The villains are hissable, Ogami is effortlessly cool, and by now we all know what's going to happen come the end.
Yet the familiarity of this film's plot is also its downfall. I was starting to feel that things were getting a little stale in the last instalment, and that feeling is now overwhelming. The expert direction and effortless atmosphere of the earlier films is missing, and I couldn't help but feel that things were getting a little run-of-the-mill this time around. Certainly, nothing much happens we haven't seen before.
The writers try to mix things up a bit by introducing more outlandish elements to the script. I like crazy stuff in films, so I was pleased to see the presence of the undead here, and some elements of horror mixed into the narrative, but it's never fully capitalised upon. And the ending is a real let-down, an icy encounter between our feared hero and an army of skiing enemies; it's neither particularly gory nor exciting, instead coming across as rather silly. If you sit back and remember the triumphant, eye-popping ending of BABY CART AT THE RIVER STYX and compare it with what's on offer here, it's a real disappointment. And although they never did close that storyline, I'm kind of glad that things ended with this film. I can only feel they would have otherwise run this series into the ground eventually.
The end of quite possibly, the best samurai saga ever.
crossworlds@hotmail.com19 December 2002
The Lone Wolf and Cub or "Babycart" series of movies are a joy to watch. There's never a dull moment during Ogami and Diagoro's travels across the land they call "hell".
White Heaven in Hell is the last installment to a great series. Ogami must face what's left of the Yagyu Clan including Lord Retsudo. Ogami must kill them all to avenge Azami's (Ogami's wife) death.
This movie displays some great choreography (as always) Tomisaburo Wakayama is that good with the sword I sometimes tend to believe the guy is a real "masterless samurai". Although some of the fight scenes are a little confusing (the fight with the girl and the throwing daggers) on a whole this movie displays jaw-dropping sword fights...including an amusing final showdown battle in the snow.
And as usual, the movie displays some weird techniques of eradicating others...including daggers through the head, and even a rocket launcher! This may sound weird, but that's Babycart for you. But it works...in a weird kind of way,
In my opinion, Tomisaburo Wakayama is certainly up there with the likes of Toshiro Mifune...if better.
The end of what's possibly the best samurai saga ever.
8/10
White Heaven in Hell is the last installment to a great series. Ogami must face what's left of the Yagyu Clan including Lord Retsudo. Ogami must kill them all to avenge Azami's (Ogami's wife) death.
This movie displays some great choreography (as always) Tomisaburo Wakayama is that good with the sword I sometimes tend to believe the guy is a real "masterless samurai". Although some of the fight scenes are a little confusing (the fight with the girl and the throwing daggers) on a whole this movie displays jaw-dropping sword fights...including an amusing final showdown battle in the snow.
And as usual, the movie displays some weird techniques of eradicating others...including daggers through the head, and even a rocket launcher! This may sound weird, but that's Babycart for you. But it works...in a weird kind of way,
In my opinion, Tomisaburo Wakayama is certainly up there with the likes of Toshiro Mifune...if better.
The end of what's possibly the best samurai saga ever.
8/10
The Beautifully Blood-Drenched Finale To The Brilliant Cycle
Witchfinder-General-66617 May 2008
Warning: Spoilers
"Kozure Ôkami: Jigoku e ikuzo! Daigoro" aka. "Lone Wolf And Cub: White Heaven In Hell" of 1974 is the sixth and (sadly) final installment to the brilliant Ôkami-cycle starring the great Tomisaburo Wakayama as Ogami Itto, my personal choice for the greatest (anti-)hero character in the history of moving images. While the finale is, not my favorite in the cycle (actually, it is my least favorite of the six), it is nonetheless a brilliant movie that no fan of Chambara or Japanese film in general could possibly afford to miss. The entire "Kozure Okami" cycle ranks high on my personal all-time favorite list and even my least favorite parts, the third and this one, get the highest possible rating of 10 out of 10 from me. This last Ôkami film is essential to Japanese cinema fans for a variety of reasons: First off, the entire cycle is essential to Chambara fans, and all true cineastes in general. This last part is also unique in a very particular way: Believe it or not, "White Heaven In Hell" is THE film with the highest on screen-body-count caused by a single person in motion picture history. The Ôkami films are all (very stylishly) ultra-violent and blood-soaked and from the third Ôkami film onward, the films always had ultra-bloody battles in the end, in which Ogami Itto single-handedly (or, more precisely, with help of his son Daigoro) wipes out entire armies of enemies. This last part is the most extreme in this regard, as Ogami Itto kills 104 people in the final showdown alone.
The Ôkami films are brilliant in all regards, be it the immensely stylish bloodshed, the brilliant characters, the impressive cinematography or beautiful Japanese settings. My arguably favorite aspect, however, is probably the father-son relationship between Ogami Itto and his son Daigoro (Akihiro Tomikawa). Working as an assassin, Ogami Itto, former Kaishakunin (highest executioner) of the Shogunate, travels through feudal Japan with his infant son Daigoro, in order to clear his name and avenge his wife's death. Throughout the cycle, Daigoro, who is a baby in the first film, grows, and his upbringing and the father-son relationship are unique and strangely heart-warming. Daigoro, who often engages actively in his father's fights, hardly sits in his baby cart any more in the later films, but he still uses the ingeniously modified cart in battle. Shortly spoken: Ogami Itto is the greatest (anti-)hero character ever, and Daigoro is the most brilliant sidekick-character in cinematic history. American Director Robert Houston made an absolutely unnecessary dubbed re-cut of the first two Ôkami films under the title "Shogun Assassin". I didn't see the re-cut, and probably never will as the Japanese language is an essential factor. Also, the re-cut is narrated by Daigoro, which is idiotic, as it is one of Daigoro's most distinguishing character traits that he hardly talks. The original Ôkami-films are entirely brilliant, the entire cycle ranks among my favorite films of all-time, and each part has its particular magic. Even the slightly lesser parts (the third one and this finale) are masterpieces that any lover of Chambara in particular, or Japanese cinema, Exploitation, Martial-Arts, or just movies in general should love. My only regret with the "Ôkami" cycle is that they didn't make more sequels. My advice: If you don't know them yet, get all six "Lone Wolf And Cub" films, and watch them NOW!
The Ôkami films are brilliant in all regards, be it the immensely stylish bloodshed, the brilliant characters, the impressive cinematography or beautiful Japanese settings. My arguably favorite aspect, however, is probably the father-son relationship between Ogami Itto and his son Daigoro (Akihiro Tomikawa). Working as an assassin, Ogami Itto, former Kaishakunin (highest executioner) of the Shogunate, travels through feudal Japan with his infant son Daigoro, in order to clear his name and avenge his wife's death. Throughout the cycle, Daigoro, who is a baby in the first film, grows, and his upbringing and the father-son relationship are unique and strangely heart-warming. Daigoro, who often engages actively in his father's fights, hardly sits in his baby cart any more in the later films, but he still uses the ingeniously modified cart in battle. Shortly spoken: Ogami Itto is the greatest (anti-)hero character ever, and Daigoro is the most brilliant sidekick-character in cinematic history. American Director Robert Houston made an absolutely unnecessary dubbed re-cut of the first two Ôkami films under the title "Shogun Assassin". I didn't see the re-cut, and probably never will as the Japanese language is an essential factor. Also, the re-cut is narrated by Daigoro, which is idiotic, as it is one of Daigoro's most distinguishing character traits that he hardly talks. The original Ôkami-films are entirely brilliant, the entire cycle ranks among my favorite films of all-time, and each part has its particular magic. Even the slightly lesser parts (the third one and this finale) are masterpieces that any lover of Chambara in particular, or Japanese cinema, Exploitation, Martial-Arts, or just movies in general should love. My only regret with the "Ôkami" cycle is that they didn't make more sequels. My advice: If you don't know them yet, get all six "Lone Wolf And Cub" films, and watch them NOW!
Final episode of the Lone Wolf...I miss a sequel.
rcp024 September 2003
Warning: Spoilers
The last of the Lone Wolf films, it tries to tie up some loose ends by killing more of the Yagyu family, but Ogami's adventures could continue after this movie: Retsudo, his arch-enemy, still lives and I wish they made at least a seventh film to finish him off. Even after all this killing, men are still willing to attack Ogami, even though he must have killed hundreds, if not thousands of Samurai by now. One clan even sends a sort of zombies after him, and it takes some wit to finally destroy them. In the end there comes another great standoff between him and the remaining forces of the Yagyu-clan, a visual feast of sword-fighting on a snow-covered mountain. Great action all in all, even if the story isn't as elaborate as in some other Lone Wolf films.
6th And Final Installment In The Legendary BABY CART Series
EVOL6669 February 2006
Warning: Spoilers
This is the last episode of the BABY CART series, which centers around a father-and-son assassin duo who are out to destroy the Yagyu clan who betrayed them in the first installment of the series.
This one has more of the usual inventive battles, including a fight with zombie-type ninjas, and a great end battle on skis through snow-covered mountains.
This one didn't quite end the way I thought, and left itself open for another installment that never came. Regardless, this is yet another solid entry in this excellent series, and a fitting end to a legendary set of films. The cinematography, acting, sets and settings, and swordplay choreography are all up to par with the other films - which means even compared to contemporary films - these were lightyears ahead of their time. I highly recommend the whole series for anyone who's into martial arts or pinky-violence films. 8.5/10
This one has more of the usual inventive battles, including a fight with zombie-type ninjas, and a great end battle on skis through snow-covered mountains.
This one didn't quite end the way I thought, and left itself open for another installment that never came. Regardless, this is yet another solid entry in this excellent series, and a fitting end to a legendary set of films. The cinematography, acting, sets and settings, and swordplay choreography are all up to par with the other films - which means even compared to contemporary films - these were lightyears ahead of their time. I highly recommend the whole series for anyone who's into martial arts or pinky-violence films. 8.5/10
Kozure ôkami Samurai without a master or lord.
ChristianPujola13 October 2015
Warning: Spoilers
The Kozure Okami series, tells how a samurai, is suddenly by a combination of circumstances become a Ronin (masterless Samurai or Mr.) gives elect his son's death or road deaths) this series tells the adventures of a Ronin with her son and the desire to survive a world where martial arts and living in deception, where if you're not well trained celebrate your death is certain. Dramatic series, a very nice picture and an atmosphere reminiscent of the old spaghetti western. October 1 for all who made possible a series of such magnitude, and for whom we know some traditional Japanese martial arts, a true reflection of techniques and movements of Budo,
Lone Wolf and Sled
poikkeus5 January 2010
This final episode of the six Lone Wolf and Cub series is a mixed bag, though continually entertaining, with the expected quota of sword fights, ninja attacks, and all-out battles - here captured in the the rival Yagyu faction's attempt to push the Lone Wolf to despair the body count that follows him.
The extravagant violence that follows isn't so much realistic (with its blood that looks like paint, and shoestring foley work) as it is a Downhill Racer with samurai swords, the Baby Cart equipped with machine guns, cannons, and an assembly of spears. The most appealing aspect of this series (and this movie) derives from its bleak depiction of a world of honorable bad guys and just plain bad guys. Death, here, is an ugly business.
The final sequence, which pits our hero against swordsmen wearing skis, is kind of campy, but that's all part of the mystique of this series. Some people love it; others may find it a bit formulaic.
The extravagant violence that follows isn't so much realistic (with its blood that looks like paint, and shoestring foley work) as it is a Downhill Racer with samurai swords, the Baby Cart equipped with machine guns, cannons, and an assembly of spears. The most appealing aspect of this series (and this movie) derives from its bleak depiction of a world of honorable bad guys and just plain bad guys. Death, here, is an ugly business.
The final sequence, which pits our hero against swordsmen wearing skis, is kind of campy, but that's all part of the mystique of this series. Some people love it; others may find it a bit formulaic.
Tomisaburo Wakayama is simply without equal.
SaracenReborn28 November 2001
These movies were infamous for their incredibly brutal and bloody swordplay sequences, but equally impressive IMHO was the leading actor- Tomisaburo Wakayama a.k.a. "Lone Wolf" was surely the greatest martial arts star ever. The command and authority with which he wielded a sword (and other weapons) was just phenomenal. The blade truly was an extension of himself, and his use of it was the definition of lethal, with none of the unnecessary/show-off flourishes so desperately thrown about by today's wannabes. He had incredible presence and charisma- easily on a par with the likes of say Eastwood or Bronson- with eyes that reflected pure death, and the desolation in his soul. There were moments in the "Babycart" series where you'd swear he was the personification of his namesake, the Wolf. You never doubted for one second that he WAS shogun executioner, masterless samurai, assassin for hire. One look at him in action, and you could readily understand why his enemies trembled at the mention of his name, and ran from him in sheer terror. Alas, Lone Wolf is one with void now, but his legend will live on forever in these films.
Forget Toshiro Mifune. Forget Takakura Ken. Forget Sonny Chiba. Forget Bruce Lee, Jackie Chan, Jet Li, Donnie Yen, and any of those wire-reliant ballet dancers from Crouching Tiger Hidden Dragon. And CERTAINLY forget any American martial artists that you could care to name. Tomisaburo Wakayama was, is, and forever shall be, THE MAN!
Forget Toshiro Mifune. Forget Takakura Ken. Forget Sonny Chiba. Forget Bruce Lee, Jackie Chan, Jet Li, Donnie Yen, and any of those wire-reliant ballet dancers from Crouching Tiger Hidden Dragon. And CERTAINLY forget any American martial artists that you could care to name. Tomisaburo Wakayama was, is, and forever shall be, THE MAN!
An Abrupt Farewell, Leaving Characters at Their Best but Stories Incomplete
drqshadow-reviews1 May 2017
The final chapter in Ogami Ittō's quest for vengeance against the scheming clan that murdered his wife, ousted him from honorable life and tirelessly hounded him at every turn. After a brief pause for contemplation in the preceding chapter, the franchise's tendency toward wanton violence has returned in a big way. Ittō single-handedly dispatches close to 150 armed men, high in the cinematic record-books, with dozens of assists from his young son via their gimmicked baby cart. Though many are mere foot soldiers, a surprisingly large number are named, developed, wholly unique characters. That's been a trademark of the series: establish a wild cast of colorful, weird supporting players/rivals and then take turns dispensing with them in swift, decisive swordfights. One would think this might lead to fatigue, both in the audience and the creative room, but the well never seems to run dry and those abrupt, almost anticlimactic duels give the films a distinct, intense physical identity. A new director and a fresh setting also delivers a newer, more refined look and feel to this film. It's the best-shot entry in the series, no doubt, but also one of the most compelling stories. Where the Lone Wolf has thus far operated with relative impunity, negotiating with his blade, this last set of foes turn the tables by ruthlessly executing each innocent native he encounters. The guilt weighs heavily, especially when an entire hotel's staff and guests are hung out to dry, and that forces him to make some difficult decisions. Occasionally it carries things a bit too far - the mystical enemies who effectively swim through dirt are a major reach - but despite those eccentricities I consider this the best of the six films. The only thing it's missing is any sort of conclusion: we reach the very brink of a final duel and the foil merely disappears over the horizon, licking the wounds of his army and vowing to fight another day. It's a tremendous disappointment that they never polished this off, but perhaps it's best to leave on a high note.
This series ends with a bang
Woodyanders28 December 2017
Warning: Spoilers
The vengeful Retsudo (a deliciously venomous portrayal by Minoru Oki) assigns his lethal only remaining daughter Kaori (lovely Junko Hitomi) to kill Ogami (the redoubtable Tomisaburo Wakayama) and his son Daigoro (adorable Akihiro Tomikawa). When Kaori fails to accomplish her mission, three deceased warriors are resurrected to take care of both Ogami and Daigoro once and for all.
Director Yoshiyuki Kuroda and writer Tsutoma Nakamura totally go for broke with this enjoyably outrageous final entry in the series: This time we've got an astronomical triple digit body count, oodles of hysterically gory blood-spraying violence, a grim take-no-prisoners tone (innocent folks who help out Ogami and son all meet brutal untimely fates), striking widescreen cinematography, a cool supernatural bent, several neat gimmicks (the baby cart is equipped with a gatling gun!), a funky-grooving score that sounds like it belongs more in a 70's blaxploitation flick, and, best of all, a wild pull-out-all-the-stops epic climatic battle sequence set on a snow swept mountain in which Ogami takes out over a hundred opponents. A satisfying berserk closer to this on the money series.
Director Yoshiyuki Kuroda and writer Tsutoma Nakamura totally go for broke with this enjoyably outrageous final entry in the series: This time we've got an astronomical triple digit body count, oodles of hysterically gory blood-spraying violence, a grim take-no-prisoners tone (innocent folks who help out Ogami and son all meet brutal untimely fates), striking widescreen cinematography, a cool supernatural bent, several neat gimmicks (the baby cart is equipped with a gatling gun!), a funky-grooving score that sounds like it belongs more in a 70's blaxploitation flick, and, best of all, a wild pull-out-all-the-stops epic climatic battle sequence set on a snow swept mountain in which Ogami takes out over a hundred opponents. A satisfying berserk closer to this on the money series.
How Dare You Kill The People I Sent To Kill You?
boblipton23 April 2020
As those of you who have seen any of the six movies in the series know, Tomisaburô Wakayama is the Lone Wolf, former head-cutter-offer for the Shogunate, done out of the job by Minoru Ôki. one-eyed chief of the evil Yagyu clan. Now he and his son, Akihiro Tomikawa, wander around Japan with the youngster in a baby carriage, assassins for hire. Each movie has four or five attempts by the Yagyu to kill Wakayama and son, and each is usually capped by a big battle at the end, where Wakayama faces hundreds of minions; being minions, they are highly skilled and very deadly, and are easily dispatched by Wakayama, with Ôki escaping at the end, vowing to get Wakayama next time.
Why does he bother? Because Wakayama has killed four of his sons, who were just going along, minding their own business of trying to kill Wakayama. The last three kiddies go down, too, which annoys Ôki no end, and makes the Shogun comment that as an evil mastermind, he's flubbing the job.
Which is pretty much what happens here, with flying fake heads, and dying minions spouting fake blood like a shaken bottle of warm soda. It's violence on a pornographic level. That is not to say there isn't some technical interest in these movies. There's great cinematography modeled on the manga it's based on. Here, there's a lot snow, and plenty of anachronistic details, like Wakayama having a machine gun rigged into the baby carriage, and hundreds of skiing swordsmen trying to kill Wakayama.
The best thing about the movie, though, is it's the last of them. Even if Ôki flees saying he'll get Wakayama next time, I take some comfort in the fact there was none.
Why does he bother? Because Wakayama has killed four of his sons, who were just going along, minding their own business of trying to kill Wakayama. The last three kiddies go down, too, which annoys Ôki no end, and makes the Shogun comment that as an evil mastermind, he's flubbing the job.
Which is pretty much what happens here, with flying fake heads, and dying minions spouting fake blood like a shaken bottle of warm soda. It's violence on a pornographic level. That is not to say there isn't some technical interest in these movies. There's great cinematography modeled on the manga it's based on. Here, there's a lot snow, and plenty of anachronistic details, like Wakayama having a machine gun rigged into the baby carriage, and hundreds of skiing swordsmen trying to kill Wakayama.
The best thing about the movie, though, is it's the last of them. Even if Ôki flees saying he'll get Wakayama next time, I take some comfort in the fact there was none.
A worthy end to a great samurai series
Hashimoto4 January 2001
Honestly, I think that the Lone Wolf and Cub series is the greatest samurai series ever. EVER. Although some of the events are, ahem, not the most plausible things in the world, the journeys of Ogami Itto and Daigoro are fascinating to watch. Actually, the perfection of the direction and cinematography makes even a machine gunning baby cart seem perfectly normal. A great movie.
Not an ending, just a stop
davidmvining4 March 2021
And so comes to an end the original six films of the Lone Wolf and Cub franchise, completed before the end of the manga, denying a complete end to the conflict between Itto Ogami and the Yagyu clan. In the hands of director Yoshiyuki Kuroda, Ogami and Daigoro meander through another cobbled together actioner that at least has the smarts to shake up the aesthetics and mythos of the action, providing something new.
The film begins with what seems to be real focus. The Yagyu Clan is on the verge of losing face because they can't manage to kill Ogami despite five movies' worth of effort. The head of the clan, Retsudo, is getting desperate and has set his youngest child, his daughter, the most dangerous of his four remaining children, to kill Ogami. First, she must kill her three brothers in a display of her skill that, well, it doesn't make a whole lot of sense but it's a neat scene anyway, I guess. She demonstrates her ability with her throwing knives by killing each brother in a row in a different way. I mean, I guess Retsudo isn't that concerned with his family name passing down anymore because the danger is so great, but this is another example of what sounded like a neat idea falling apart the second you think about it.
Anyway, the movie spends several minutes setting up this daughter, and...well, she's dead after about ten minutes, killed by Ogami who instantly sees through all of her attacks and kills her with little trouble. I mean, this is probably the perfect microcosm of my problem with these movies. The filmmakers dedicate time to a character based almost purely based on her ability with a unique weapon. After all the time dedicated to showing us how awesome she is, Ogami gets rid of her almost instantly, and the woman is never mentioned again. The movie was smart enough to give her a direct tie to Retsudo, at least, which feeds into Retsudo's decaying position and mental state, but the relationship between her and Retsudo was never established beyond expository dialogue.
Retsudo, desperate after he threw away the lives of his three sons and daughter, finds a never mentioned before illegitimate son who has hidden in the mountains for decades, Hyouei, the leader of the Tsuchigumo clan. Hyouei brings out his three fiercest fighter, buried under the earth for weeks and given magical powers turning them into some kind of kung fu zombies, and we get another instance of awesome fighters getting built up and then easily dispatched by Ogami once they show up. In between there's a sequence where they use their magic to kill everyone in an inn that Ogami and Daigoro stay the night in because, as we learn during the sequence and not before it through voiceover, everyone who helps Ogami will die. Ogami flees northward to the snow driven mountains where he kills all three in a very quick encounter.
Finally, we're ready for our final confrontation between Retsudo and Ogami. Retsudo has no more children, legitimate or illegitimate. He has to kill Ogami himself if he wants it done, so he brings a small army (another one) for Ogami to kill off one by one in the snow. Now, action movies have used snow fights to great effect before, thinking of James Bond in particular and On Her Majesty's Secret Service specifically. The problem here is that it's a back and forth battle on a slope where everyone's on skis, so it feels artificial when the army comes down to Ogami, he fights off a bunch of them, they ski down past him, and then he skis after them. Add in the visual of the baby cart and it comes off a bit more ridiculous in execution than I imagined they thought it would look in theory.
And then Retsudo gets away and the franchise ends without a real ending because the manga hadn't caught up. I have no idea why Toho Studios didn't make a seventh film to end out the franchise with the same cast, perhaps getting the ending from the author early like what happened on Game of Thrones, but they didn't. This is the end, and it's a disappointing ending.
Looking back at this franchise, I guess I didn't realize what I was getting into. Knowing almost nothing about it beforehand other than it was in the Criterion Collection and The Mandalorian adopted its core concept of a warrior traveling with a small being for its first couple of seasons, I think I expected something more adept. I certainly didn't expect that every single movie would be at least two different stories inelegantly stitched together. There are some highlights here and there (my favorite being Baby Cub in Hades, which I think mostly holds together), but overall I found the franchise rather dull because the basic building blocks of storytelling were largely absent. It also didn't help that some of its "coolest" moments fall apart the second you think about them. No, I wouldn't recommend this franchise. It's reputation is far greater than it deserves.
The film begins with what seems to be real focus. The Yagyu Clan is on the verge of losing face because they can't manage to kill Ogami despite five movies' worth of effort. The head of the clan, Retsudo, is getting desperate and has set his youngest child, his daughter, the most dangerous of his four remaining children, to kill Ogami. First, she must kill her three brothers in a display of her skill that, well, it doesn't make a whole lot of sense but it's a neat scene anyway, I guess. She demonstrates her ability with her throwing knives by killing each brother in a row in a different way. I mean, I guess Retsudo isn't that concerned with his family name passing down anymore because the danger is so great, but this is another example of what sounded like a neat idea falling apart the second you think about it.
Anyway, the movie spends several minutes setting up this daughter, and...well, she's dead after about ten minutes, killed by Ogami who instantly sees through all of her attacks and kills her with little trouble. I mean, this is probably the perfect microcosm of my problem with these movies. The filmmakers dedicate time to a character based almost purely based on her ability with a unique weapon. After all the time dedicated to showing us how awesome she is, Ogami gets rid of her almost instantly, and the woman is never mentioned again. The movie was smart enough to give her a direct tie to Retsudo, at least, which feeds into Retsudo's decaying position and mental state, but the relationship between her and Retsudo was never established beyond expository dialogue.
Retsudo, desperate after he threw away the lives of his three sons and daughter, finds a never mentioned before illegitimate son who has hidden in the mountains for decades, Hyouei, the leader of the Tsuchigumo clan. Hyouei brings out his three fiercest fighter, buried under the earth for weeks and given magical powers turning them into some kind of kung fu zombies, and we get another instance of awesome fighters getting built up and then easily dispatched by Ogami once they show up. In between there's a sequence where they use their magic to kill everyone in an inn that Ogami and Daigoro stay the night in because, as we learn during the sequence and not before it through voiceover, everyone who helps Ogami will die. Ogami flees northward to the snow driven mountains where he kills all three in a very quick encounter.
Finally, we're ready for our final confrontation between Retsudo and Ogami. Retsudo has no more children, legitimate or illegitimate. He has to kill Ogami himself if he wants it done, so he brings a small army (another one) for Ogami to kill off one by one in the snow. Now, action movies have used snow fights to great effect before, thinking of James Bond in particular and On Her Majesty's Secret Service specifically. The problem here is that it's a back and forth battle on a slope where everyone's on skis, so it feels artificial when the army comes down to Ogami, he fights off a bunch of them, they ski down past him, and then he skis after them. Add in the visual of the baby cart and it comes off a bit more ridiculous in execution than I imagined they thought it would look in theory.
And then Retsudo gets away and the franchise ends without a real ending because the manga hadn't caught up. I have no idea why Toho Studios didn't make a seventh film to end out the franchise with the same cast, perhaps getting the ending from the author early like what happened on Game of Thrones, but they didn't. This is the end, and it's a disappointing ending.
Looking back at this franchise, I guess I didn't realize what I was getting into. Knowing almost nothing about it beforehand other than it was in the Criterion Collection and The Mandalorian adopted its core concept of a warrior traveling with a small being for its first couple of seasons, I think I expected something more adept. I certainly didn't expect that every single movie would be at least two different stories inelegantly stitched together. There are some highlights here and there (my favorite being Baby Cub in Hades, which I think mostly holds together), but overall I found the franchise rather dull because the basic building blocks of storytelling were largely absent. It also didn't help that some of its "coolest" moments fall apart the second you think about them. No, I wouldn't recommend this franchise. It's reputation is far greater than it deserves.
The Sixth--and Last--Film in the Series
Uriah433 December 2022
This film essentially begins in the winter with the exiled samurai named "Ogami Itto" (Tomisaburo Wakayama) sledding through the snow on the baby cart he has built for his infant son "Daigoro" (Akihiro Tomikawa) sitting safely inside. Meanwhile, the man who instigated Ogami Itto's exile, "Retsudo Yagyu" (Minoru Oki) is now feeling a great deal of pressure for not being able to kill them and, having already lost his three sons, now sends his daughter "Kaori Yagyu" (Junko Hitomi) to finish the job he started. Failing that, he also has another son from one of his concubines he can petition--but that would only happen if he was truly desperate. Now, rather than reveal any more, I will just say that this is the sixth--and last--film in the series and, quite honestly, it is not one of the better installments. For starters, it lacked the in-depth plot and character development of the others, which made the entire film seem rather formulaic. Likewise, the ending was quite ridiculous as well. That being said, while I don't consider this to be a bad film by any means, it just didn't seem to rise to the same level as some of its predecessors and I have rated it accordingly. Average.
My favorite of the series, and the "best" story
dandyc-735377 December 2019
The triumphant conclusion! What a film. The story, the villains, the stakes, and finally some adversity for Itto.
There are a few sequences in this film that are unique and standout from the others. Perhaps the third director provides some diversity. For instance, the scene in which Itto is trapped from below, no spoilers, builds tension in a rare way for this genre.
A great conclusion. White snow in hell. 6 worthless fleck seed try hards that are utterly obliterated by the Wolf and Cub.
Brilliant. Now watch these 6 in reverse.
There are a few sequences in this film that are unique and standout from the others. Perhaps the third director provides some diversity. For instance, the scene in which Itto is trapped from below, no spoilers, builds tension in a rare way for this genre.
A great conclusion. White snow in hell. 6 worthless fleck seed try hards that are utterly obliterated by the Wolf and Cub.
Brilliant. Now watch these 6 in reverse.
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