That only means it's time for Oryu to settle accounts with all the bad guys. Then he does some additional cheating, convincing Togazaki's wife that her husband, whose liberation from prison has already been arranged by Oryu, can only be freed by her signing away the family carriage business -- and submitting to rape. There are many films to go in this series, but I doubt that this will change. He didn't want her to have to kill anybody. A skilled gambler, she's able to shut down the winning streak of Oren Mari Shiraki , a tattoo-flaunting women who recurs through the picture as a road-not-taken version of Oryu herself. The Pinky Violence films would go on to become very popular in 1970's Japan, and this film is often seen as something of a precursor to the genre; and it's not really hard to see why, as although I wouldn't call this a 'full' Pinky Violence film - it certainly shares a lot in common with the films that would go on to become very popular in the seventies.
En la ciudad, el usurero, de un clan rival, está poniendo las condiciones de trabajo para los civiles cada vez más dificiles. The dedicated viewer will notice a few people who played some of the other Red Peony films all of whom were killed off , but the cast is solid and convincing. When violence cannot be avoided, she's a spectacular fighter. Tora is meanwhile so infatuated with Oryu that he can hardly keep from wetting his pants. The main thing, of course, that ties this film to the Pinky Violence flicks is the female protagonist; a lady loner who goes around with a samurai sword and a pistol looking for revenge on those that killed her father.
The film starts in a gambling hall and we watch as our heroine catches a man gambling. Wakayama pulls the character off with an excess of cuteness, but it's clear he's a good, honest, sincere man. Oryu, más conocida como la Peonia Roja, es una mujer que viajó hasta encontrar a los asesinos de su padre, que era un jefe de un clan yakuza. Overall, I can't say that I am as big a fan of this effort as I am of the likes of the genre on the whole; but this is a film that is certainly worth seeing. With its genre feel well established, this comes off feeling more like a classic western than a standard yakuza flick.
And now Katagiri knows that being Kakurai's sworn brother means nothing. She can shoot, stab, slash and do judo throws like a champion, but while she travels around learning the gambler's trade and the ways of honorable yakuza, she remains somewhat ashamed of her vocation. To an extent, this is a let-down because it was the Red Peony's duty to avenge her father, not Katagiri. There are plenty of not so savoury characters in the film also but there's also a lot of honour too, which again distances the film from a lot of the later efforts. He gets to kill Bunta, while he and Fuji share in finishing off Kasamatsu before a random enemy blows him away, since Oryu does need to be the last person standing when the smoke clears. Junko Fuji personally performs the requisit yakuza-enka or gangster folksong on the soundtrack, in a deep not entirely professional-sounding singing voice, a voice that conveys the power of the character.
Not many yakuza films have a happy conclusion for anyone. There's nothing guilty about this pleasure, the best in the Red Peony series and an evocative glimpse into Meji-period Japan. Gambler's Obligation is helmed by cult director Norifumi Suzuki, who gives the proceedings plenty of widescreen panache. The stage is set for a top-grade set of sequels. But when she asks if he knows who previously owned the wallet, he denies having seen it before. Versión original con subtítulos en castellano:. This will prohibit Masa from ever again working as a dealer.
Red Peony Gambler Hibotan Bakuto, Toei, 1968 was the first of what would be a long running film series that would eventually add up to eight films about Ryuko Yano aka The Red Peony. Oryu misunderstands the question when she agrees to the marriage. She was the complete package: beautiful graceful charismatic violent nurturing stern and emotional. Fujimatsu at least survived, to return to the wife Red Peony had helped him free from bondage to Kakurai. Meanwhile a turf war breaks out. Oryu drops her wallet which Katagiri is surprised to see. Taka refuses, adhering to the yakuza code that gamblers not meddle in the affairs of honest folk.
Shin has caused trouble for the good Boss Tora, one of Tomisaburo Wakayama's silliest though endearing roles. As they begin their duel, Oryu's tanto knife vs Kakurai's longsword, when Katagiri shows up to kill his sworn brother himself. It was lost by the man who killed Oryu's father five years before. To keep Tora from having to fight the more powerful boss angered by Shin, Oryu breaks into the bigger gang's headquarters to confront Boss Iwazu. Naturally, he's none to happy and after trying to jump her later on; she's saved by a young male swordsman. Junko Fuji starred as Oryu, the Red Peony, in a series of eight films from the Toei Studio from 1967 to 1971.
Event after event proves Kakurai's wickedness until finally his sworn brother cannot protect him an;y longer. While the Japanese clearly liked badass fighting heroines before they really became a thing in the U. Earlier, the Tsuruta character had explained to her the history of her rival Oren and her lover. Togazaki sends Oryu away for her own good when he decides to deal with his wicked rival Kasamatsu, which allows this sequel to reintroduce the comedy-relief yakuza clan from the first film, headed by Tomisaburo Wakayama. Many of her fellow celebrants are dead now, and it's a lonely climb to the tower where she beat the drum so happily before. As the genre moved on, the female leads would become more infallible and always superior to the men; but in this film, that's not the case and indeed our heroine even relies on a bit of male help at times. This first sequel ends on a sad note as Oryu returns to the site of the opening-credits festival.