Lone Wolf and Cub: Baby Cart at the River Styx (1972) User Reviews

Blood and Gore, But Also Depth and Development

[drqshadow-reviews · 7/10 · 20 March 2017]

Disgraced former executioner Ogami Ittō continues his brooding storm through the Japanese countryside, his three-year-old son Daigoro along for the ride in a booby-trapped carriage. Now some distance into their march to vengeance, the pair have drawn so much notoriety that they risk ambush and assassination at every turn. It's not paranoia, either: Ogami dispenses with blade-wielding enemies at nearly every chapter break, downing at least two-dozen men and women before the film is through. The opportunity isn't abused. In true poppy '70s samurai fashion, each challenger (or cluster of challengers) wears a distinct identity and a unique fighting style, like a colorful garden of deadly blossoms. They all bleed day-glo red, though, often in a towering arc of spray that paints landscape and fallen comrade alike. In Baby Cart at the River Styx, for the first time, we see vulnerability from the master swordsman and a little headstrong personality from his young child. We also see uncertainty from a prominent rival, another first, and restraint in the midst of a bloodlust. Some of the fighting is a little awkward, and the formula is threatening to wear thin, but overall this represents a wonderfully stylish, entertaining continuation of the journey that was so well-established in the first film. An excellent genre-definer.

The Second (And My Personal Favorite) Of The BABY CART Series

[EVOL666 · 9/10 · 8 February 2006]

Another winner in the BABY CART series (but honestly, I can't find too much fault in any of the films in this set of "classic" films...) and personally my favorite single entry...

This one has the Lone Wolf and his Cub still enjoying the "misadventures" of samurai-for-hire, and of course their quest for vengeance against the Yagyu clan that initially betrayed them. Some intriguing enemies in this one includes a band of female ninjas and the "Gods Of Death". There is also the requisite side story of Itto's "hit of the day"...

This one has some pretty fast-and-furious fight scenes and is probably the most action packed of the series. Again, like the other entries, good acting, great sets and costumes, beautiful camera-work, and the almost magical but extremely unorthodox "chemistry" between father and son are not to be missed. Highly Recommended 9/10

Another fine outing for Lone Wolf and Cub.

[BA_Harrison · 8/10 · 18 September 2007]

In this, the second in the Lone Wolf and Cub series, ronin Ogami Itto (Tomisaburo Wakayama) and his son Daigoro (Akihiro Tomikawa) continue to wander the land as assassins for hire, all the while keeping an eye out for members of the nasty Ragyu clan, who want them dead.

When the wealthy Awa clan approach Itto, offering him 500 gold pieces to kill a man who might be able to ruin them financially, he accepts; in order to complete his mission, he must face many dangers, including a team of vicious female warriors, and the highly skilled Hidari brothers, also known as the Gods of Death.

Baby Cart at the River Styx sees director Kenji Misumi delivering a breathtaking sequel to his excellent Sword of Vengeance. Like a Japanese Sergio Leone, he once again uses extreme close-ups, rapid zooms, sparing use of a haunting soundtrack, and superbly choreographed violence to continue his epic tale of a man and boy on a gore-spattered journey through 'hell'.

From the opening scene in which Itto quickly dispatches of two Yagyu clansmen, through to the stunning climax which sees Lone Wolf and Cub battling the Hidaris in a desert, this film is a stunning and often beautiful display of carnage. Battles take place in complete silence, with the vanquished always taking a second or two before they fall to the ground, blood gushing from their wounds. Daigoro also gets in on the act, activating spring-loaded blades in his cart to slice off the feet of the enemy. Misumi's handling of these scenes is superb, with some great use of innovative and ground-breaking visual techniques (one great fight scene has images superimposed onto each other to give the action a surreal and dreamlike quality).

But it's not all mindless violence. There are occasional moments of tenderness too, with the close bond between father and son displayed in a couple of notable scenes: Ogami gently bathes Daigoro, with one hand on his sword in readiness for trouble; and Daigoro nurses his injured father back to health, trading his jacket for food.

My only gripe with Baby Cart at the River Styx is that the film is often very dark, and it was extremely hard to see what was going on, particularly during the many night scenes. Whilst this may be due to my DVD being a bad transfer, it did affect my enjoyment of the film (I had to re-watch the gory dismemberment of one unfortunate shinobi at the hands of the female ninjas with my TV's brightness and contrast whacked right up), which is why I give it slightly less than Sword of Vengeance—7.5/10 (although I have to round my rating up to 8 for IMDb, which technically puts it on a par with the first one).

Road of Six Paths and Four Lives Continues

[eibon09 · 24 October 2001]

Kozure Okami:Sanzu no Kawa no Ubaguruma/Lone Wolf & Cub:Baby Cart at the River Styx(1972) is made up of a few episodes from graphic novel series. One part of story is loosely based on an episode called EIGHT GATES OF DECEIT. The sub plot involving the masters of death is inspired by THE FLUTE OF THE FALLEN TIGER. The part where Daigoro is used as bait to lure out Ogami Itto is based on another episode known as EXECUTIONER'S HILL. The bits and pieces from the different stories are sown together to form an exciting samurai flick.

First few minutes produce a stunning sequence of action mis-en-scene. Baby Cart at the River Styx(1972) is the best of the six film series because of complex character development, interesting story, and outstanding action sequences. The Chimes heard by Ogami Itto and his son, Daigoro during early moments of film are a reminder for them of their painful past. Humorous moment occurs when an owner of a hotel inn takes in Itto and son(Lone Wolf gave him gold pieces to watch over) after thinking of not taking them in moments earlier. There is a brilliant 360 to 180 degree pan of the camera that features an effective tight close up to display expressions of intuition from faces of Ogami Itto and Daigoro.

Places a little more focus into the code and demeanor of Ogami Itto than Part One. Ogami Itto as the Lone Wolf lives by Meifumado as a way towards restoring his family name while at the same time take revenge on the Yagyu clan. Ogami Itto kills without emotion yet a shed of humanity is somewhere within his soul. He is an action character of three dimensional depth that is rare for an action picture. Ogami Itto intriques me as a character of graphic novels and for this instance film because of his strong paternal presence.

Introduces some tough female ninja assassins that Lone Wolf & Cub have to go up against. They seem to be untouchable after dispatching a volunteer of the Kurokuwa group until the female warriors face off with Ogami Itto. Ogami Itto is one tough and determined opponent as the female ninja assassins find out when the majority of this group but one is killed off. The face off between Ogami Itto and Sayaka, the leader of the female assassin group successfully played by Kayo Matsuo has a surreal feel to it. Ogami Itto walking through a path of bodies with a baby cart that has a vegetable stuck in the middle front is a nice comic touch.

The confrontation between Lone Wolf & Cub and the Shogunate's Kurokuwa Ninja group is a combo of artful violent imagery and brilliantly smooth editing. This moment flows smoothly in a way that is hypnotic to the eye and mesmerizing to the brain. Although the scene does have it share of graphic violence, there is never a crude feel in the action as at moments in Sword of Vengeance(1972). Fantastic use of cuts and dissolves to make this moment one of the best action scenes from the first two films. The cinematography used in the action moves with graceful steps.

Lone Wolf and Cub:Baby Cart at the River Styx(1972) really gets at the heart of the story with its complex father/son relationship. The father/son relationship of Itto and Daigoro is what has made the Lone Wolf & Cub stories for so many people. Ogami Itto and Daigoro are tied together by an unbreakable bond that is indescrible in words. The bodily expressions tell more about the relationship of Ogami Itto and Daigoro than any sentence could ever do. An example of this notion happens when the leader of the Kurokuwa Ninja threatens to kill Daigoro is Itto does not give up.

The graphic violence is much higher here than in Sword of Vengenace(1972). The violent battle scenes of BCATRS stir around with stylistic expression. Maybe not as artisticly refined as in samurai films by Akira Kurosawa, but the violent battle scenes at least never feel bland or boring. I can see where filmmakers like John Woo got their influences when I watch the battle scenes of LW&C:BCATRS(1972). The graphic violence in part two and the other films in the series must have played an important influence on the bloody violence in Lucio Fulci's gothic chillers.

Ogami Itto and Daigoro follow a path of blood and corpses that is steeped in tragedy. In living by Meifumado, they are as one who hold a future that is bleak and hopeless. Only when they completely destroy the Yagyu Clan can the Lone Wolf and Cub return to a path of a hopeful future. For Daigoro, dying in the well would have been more merciful than living to an unknown future. Daigoro represents the good, kind side of Ogami Itto whom without would just be cold blooded and ruthless. The tragic path of the two is an element that is fascinating.

The most formidable opponets of Ogami Itto are the Bentenri brothers from part two. The duel between the brothers and the God of Death in the sandy desert is Leonesque. The head splitting moment is the creme de la creme of the duel. Tomisaburo Wakayama for this moment reaches the larger than life heights of Toshiro Mifune. Breathtaking samurai duel with excellent scenery that would have made Sergio Leone proud.

The actors who play the Masters of Death give their characters an unique quirk to make the Bentenrai brothers fascinating villains. One of the actresses(Michie Azuma) who plays a female ninja assassin would have a more substanical role as topless female assassin in Lone Wolf & Cub:Baby Cart in Peril(1972). Part One and Part two of LW&C use identical imagery. Better directed than the first film with fewer slow moments. Lone Wolf & Cub:Baby Cart at the River Styx(1972) stays true emotionally to the graphic novel that the film is based on.

Pure Blood-Soaked Brilliance - A Highlight Among Highlights

[Witchfinder-General-666 · 10/10 · 17 March 2008]

I can hardly find the right words to adequately praise the brilliance of "Kozure Ôkami: Sanzu no kawa no ubaguruma" aka. "Lone Wolf and Cub: Baby Cart at the River Styx". The "Kozure Ôkami" cycle is, simply put, THE greatest samurai saga ever brought to screen, and this second entry to the cycle is (along with the fifth) arguably the most brilliant of all six films. Director Kenji Misumi outdoes himself once again with this masterpiece, and the great Tomisaburo Wakayama is again incomparably brilliant in the role of his life as Ogami Itto. The lone Wolf Ogami Itto returns with his only son Daigoro, on their journey on the 'path to hell'. His expertise is once again put to the touch, as he is both hired as an assassin, and has a whole group of assassins set on himself by the despised Yagyu clan...

The entire "Kozure Ôkami" cycle ranks high among my personal all-time favorites, and "Baby Cart At The River Styx" is my personal favorite of them all, for a variety of reasons. The enemies Ogami Itto has to compete with are one of these reasons. The Lone Wolf and his son have to stand up against a group of female ninjas lead by Yagyu Sayaka (Kayo Matsuo) as well as three assassin brothers called the 'Masters of Death'. The fighting sequences and stylish bloodshed are among the most awesome ever brought to screen, the film is absolutely stunning from the very beginning, the atmosphere is incomparable, and the score is ingenious as in the first film. Ogami Itto's son Daigoro (Akihiro Tomikawa) has grown a bit, and learned to talk (but hardly ever does), since the first film. Daigoro is, as far as I am concerned arguably the greatest child-character ever in a film. The father-son relationship of Ogami Itto and Daigoro is one of the great aspects of the 'Ôkami' films, and makes these ultra-violent Chambara-highlights heart-warming at times. Daigoro's role has become more active in this second entry to the series, and he even actively engages in some of the crafty tricks in his father's fights. Tomisaburo Wakayama is again brilliant in the lead and the rest of the performances are also great, especially Kayo Matsuo is excellent as ninja-lady Sayaka, and so are the three 'Masters Of Death'.

"Lone Wolf And Cub: Baby Cart at the River Styx" is pure perfection in every aspect. The performances and characters, the incomparable atmosphere and locations, the brilliant score and photography, the stunning swordplay,... there is not one single aspect about this film that is not brilliant. I have seen too many films to come up with a list of all-time favorites, but if I ever was to make such a list, this second entry to the brilliant 'Okami' series would definitely be in the top 10! An incomparably brilliant masterpiece of blood-soaked swordplay-cinema, "Kozure Ôkami: Sanzu no kawa no ubaguruma" is essential for every true lover of film! 10/10!

Thoughtful and Humourous

[Johnny_West · 10/10 · 10 November 2019]

I thought the first movie was extremely grim. This one had a more thoughtful approach. I like that Lone Wolf confronted the sword woman five times. It was interesting that each confrontation was different, and that he spared her life. She was sworn to kill him but respected him, and had compassion for his son, when she could have tried to kill the boy. There were nuances as to their code of honor, their obligations, and their personal morality.

There were a couple of funny moments relating to the little boy and his participation in the various battles. The use of the boy for some humor was a plus.

The fighting scenes were mostly good, but not as good as the Zatoichi movies which I love and have seen them all. The bloody effects were pretty bad in some scenes, as the injured (killed) samurai sometimes started bleeding many seconds after they were stabbed or sliced. In one scene, Lone Wolf impales two guys at the same time. One of them immediately starts spraying lots of blood from his wound. The other guy gets a trickle of blood dripping out. It would have been more impressive if the double-impalement lead to double sprays of blood.

Several heads were sliced open, and the last one looked like a venus flytrap popping open, and there were no brains, eyes, or other material visible, it looked totally silly. Then a single spray of blood shot straight up into the air from the middle of the head. Laughable and really bad special effects.

Otherwise, the film was pretty good. It had a lot of action, some good story lines, and some humor.

The second in the Lone Wolf & Cub series - and the best!

[Leofwine_draca · 10/10 · 19 August 2016]

This follow-up to the excellent SWORD OF VENGEANCE is everything a sequel should be: it's better than the original, taking themes and running with them, and as a whole more expansive and elaborate than the first film. To be honest, I often find origin stories quite tiresome, as it can take ages to set up story lines. Here, we already know what's going on, and are thrust into the thick of the action right away! This one's definitely more focused on action, with endless battle sequences and none of the slow spots that the original had. I loved it to bits. It retains the style of the first movie but goes more overboard on the gore sequences, with all manner of grisliness – especially at the eye-popping climax, one of the goriest fight sequences I've ever watched!

Although the action-focused plot is slimmer than in the first film, the central characters are explored at more depth. Wakayama becomes ever more remarkable, a relentless assassin who can survive pretty much anything that's thrown at him – sometimes literally – and Tomikawa is scene-stealing as the infant the whole audience must love by now. In fact, he's quickly becoming, in my eyes, the greatest child character ever put on film – the scene with the water is endearing beyond belief. The supporting cast is pretty iconic, with a ruthless female fighter who becomes gradually attached to the killer twosome, and a trio of imposing 'gods of death' who cut quite the figure with their huge helmets and outlandish weaponry.

There are so many great bits in this short film that it's hard to remember them all. A highlight for me is when Ogami must contend with a clan of female assassins, who come at him in a series of spectacular ambushes. Then there's the fight in the forest, in which Daigoro reveals his own propensity for violence for the first time, and the bit on the ship. All of these (admittedly great) moments are eclipsed by the quite brilliant climax, with a desert backdrop, in which the blood flows like never before – and I'm talking literally! After I finished watching, I knew straight away that this was a film I'd taken to heart, and one I'm going to enjoy watching over and over. It may well be the most entertaining samurai film ever made!

An improvement over the first film in the series.

[planktonrules · 8/10 · 4 January 2011]

The Lone Wolf and Cub series was co-produced by Shintaro Katsu--the same man who played the lovable Zatoichi in so many films. While there are clear similarities between the two series, the Lone Wolf and Cub series will not be mistaken for the Zatoichi films because they are clearly much more adult and more morally ambiguous. In the first Lone Wolf and Cub film, I was actually rather put off by this. The rapes, excessive violence and an unlikable main character made this tough viewing for me--especially when I would have been just as happy with yet another Zatoichi type film. Fortunately, while this second installment is still clearly an adult film, it has been toned down in some ways and was a lot more enjoyable to me. Now when I say 'toned down', I am referring to the main character. He is less an anti-hero and more decent in this film. In one scene it appears as if he's going to rape a woman but has no apparent intention to do this. Also the enemy are clearly bad and it was easy to root for Ogami Itto in his two major conflicts.

The film begins with the clan who is trying to destroy Ogami approaching a group of rather intense female ninjas for their help. In this initial scene, I was stoked--the women seemed nuts and practically were killing machines--a nice match-up for the film. Bizarrely, however, these insane killers turned out to be amazingly easy for Ogami to defeat--and as a result it seemed anti-climactic. Fortunately, another plot appeared involving three super-macho assassins and the secret that might destroy a clan. When the clan hires Ogami to kill the three and the man who is trying to betray his clan you can understand Ogami's need to kill them--and it sets up a great finale.

Be forewarned that although this movie has less nudity and is in some ways tamer than the first film, it clearly surpasses it in blood. I have never seen a Japanese film with more blood spraying in all my life--and this includes the super-bloody Zatoichi film made by Beat Takeshi a few years back! Oddly, some of the killing and gore was done by Ogami's tiny son in this installment!! As a result, you'd only be insane if you showed the film to kids--even if there are no rapes and the leading man is less of a jerk. No, this is an adult-oriented film--and an extremely bloody and entertaining one at that.

By the way, if you like to see mistakes, watch the bathtub scene. During this scene the water level goes up and down repeatedly--indicating it was pieced together (poorly) from several takes.

Serious or Not?

[SpaaceMonkee · 6/10 · 30 July 2023]

The first Lone Wolf film was enjoyable and innovative, but this first sequel unsuccessfully straddled the line between comically violent and serious in a way that the film couldn't maintain.

In this film, Itto continues his journey of vengeance with his young child along for the ride, rolling along in a cleverly weaponized wooden stroller. (Never before has a toddler been complicit in so many killings!) It's a fun movie for the mindless action, but it never really goes beyond that. At times the movie seems like it wants to be a more serious film, but then it veers back to a perpetually nonchalant Itto effortlessly slaying would-be killers along the road.

Overall, it felt like a movie attempting to bridge genres without ever cleanly landing in the one that fit.

Even more entertaining than the first movie.

[Boba_Fett1138 · 9/10 · 19 April 2010]

This probably is the best and most entertaining movies out of all the Kozure Ôkami movies. If you already thought that the first movie was action packed, wait until you see this one.

It's not just more action filled or entertaining but it's also a better done film as well. The directing and cinematography and all, all seems better in this movie. There are some great looking and wonderfully done sequences and I'm not even talking about the fight sequences then.

The movie is basically non-stop entertaining action in which Ogami Itto takes on more bad guys and gals than ever before. He is still as skilled as ever, so often it doesn't take more than one strike with his sword to kill off his opponent. It doesn't mean the fights are boring though. Far from it really. They are greatly choreographed and very over-the-top. It's amazing, the innovativeness they came up with at times. Of course there also still is plenty of blood in this one, when blood sprays out of every wound that gets inflected in this movie.

Great entertaining fun!

9/10

http://bobafett1138.blogspot.com/

Samurai Daddy

[gavin6942 · 7/10 · 12 June 2017]

Trailed by a clan of female ninja, Ogami is paid to assassinate a clan traitor accompanied by three killers known as the Monks of Death.

The English title refers to the River Styx, which strictly speaking is not accurate. Instead it should be the Sanzu River, or River of Three Crossings, which is a Japanese Buddhist tradition and religious belief similar to the Greek concept of the River Styx. It is believed that the dead must cross the river on the way to the afterlife, a belief reflected in Japanese funerals when six coins are placed in the casket with the dead. The change is understandable, but unfortunate.

Anyway, this ongoing adventure is just great. A samurai assassin with a small child in tow. Not really a baby, but a toddler in a stroller or buggy. Not being familiar with the manga, I think this is a brilliant idea and I am somewhat surprised it has not been remade by an American director.

Best of the series.

[Ky-D · 9/10 · 11 June 2005]

I love the entire 6 part series, but this one is my personal favorite with it's grand collection of action, emotion and gory dismemberment.

Time has passed since the Yagyu clan framed Ogami Itto as a traitor and murdered his wife, but the wandering assassin is as determined as ever. The Yagyu clan is active as well in seeking to eliminate the former Shogun executioner; they enlist the aid of one of the clans sects, the Asuki Yagyu women, to kill Itto and his son. At the same time, Ogami has just accepted a job to assassinate dye maker.

Arguably the bloodiest of the series, but also the most methodical. Story elements are presented in slow, stiff dialogue exchanges, only to be off-set by quick, bloody bursts of violence. Much of the film is silent as well, there is very little talking for the whole picture. Once swords are drawn, however, the movie becomes a whole other beast entirely; the action is fast, it's gory, and it's ever so fun to watch.

Story wise, this one doesn't do much for the overlapping plot of the series. Despite clashing yet again with the Yagyu clan very little is resolved on that front. It ends pretty much were it started, but while the story lacks a grander scale, it makes up for it with interesting characters and a well told (if ultimately unimportant) side story involving the dye maker hit. Inparticular, the three 'Gods of Death' are a nice addition; Ogami's fight with them is the best of the series in my opinion.

Nothing much to say on the technical front, it's no better or worse then any other film in the sub-genre. Sound, lighting, direction, acting are all sufficient enough to get the job done.

A classic of samurai film and another hardy addition to a great series.

9/10

A little overrated?

[SarahofBorg · 7/10 · 8 April 2006]

May I be the first not to give this movie a rave review. Alright, first try to understand where I'm coming from here. I've been trying to see as many Samurai movies as possible. I've seen a few Zatoichi movies, a whole lot of Akira Kurosawa movies, and some others with Toshiro Mifune and others. And of course I saw the first Lone Wolf and Cub movie before I watched this. I did love the movie, although there was one scene that disturbed me, but it was a damed good movie. I've also read a little of the manga (just the first volume so far.) And I couldn't wait to watch this one. Everyone I know has given it rave reviews and they say it's the best of them all. And so I've just watched it. Upon reflection I might appreciate it a little more, but I doubt that.

My first BIG complaint is the cinematography. When I understood what I was looking at, it was gorgeous. At least 90% of this film was at night and there were quite a few long "scenes" where the picture just went pure black for a few minutes. I'm sorry but I didn't know what the heck I was looking at in all that darkness! But I certainly followed the decent story, I have nothing against it, although it didn't seem as deep as the first movie. It's the usual Ogami Itto getting hired to kill some bad guys, that's basically the entire plot boiled down to it's core. There's some interesting stuff with the Yaguu clan politics, but again nothing that really makes you think. I was looking forward to seeing female swordswomen, and I wasn't too disappointed, although it's no Lady Snowblood/Kill Bill.

Another big complaint from me is the laughable choreography. I think the cinematography purposely avoiding showing any scene where a realistic technique was necessary for plausibility. Basically, he would never focus on the action, and the little action that we are shown is usually not very realistic. At times it wasn't so bad though, but not the really important times. And the death scenes were a bit too drawn out, and again fake-looking. The manga probably does a better job (I don't really think I've read the part this movie covers.) So overall I'm unimpressed and pretty disappointed. I probably won't continue to watch the rest of the series, I'd rather catch up on my Zatoichi.

I have a bad feeling about this

[davidmvining · 5/10 · 16 February 2021]

I'm beginning to feel like there's a disconnect between me and these films that many of their fans do not share. I can appreciate the action elements, but the artistic ones feel shallow and poorly assembled to me. I had expected the narrative construction problems from the first film to get addressed in the second because the second no longer needed to tell Ogami's origin story, however Baby Cart at the River Styx continued the dual story construction, and, once again, I think the film suffers for it.

The Shadow Yagyu are still determined to kill Ogami in their effort to cement their claim to the Executioner position, and so they decide to send a two small armies: one of ninjas and the other of female warriors. Is there ever any doubt that Ogami will slice through each and every one of them by this point? I don't think there is, so the joys of the sequences can't fall into anything tension based. They have to fall in more with aesthetic and visceral pleasures, and this is really the movie's main strength. The near-constant action of the first half of the movie moves quickly with Ogami dispatching foe after foe in entertaining fashion, using his katana as well as pieces of the cart he pushes his small boy around in as weapons he can assemble and disassemble quickly. The bright red arterial sprays that ensue provide wonderful color to the image. The variety of attacks from ninjas in an en-masse attack as well as the women who attack in smaller groups and always in disguise provides the kind of varied action that makes action movies fun.

However, outside of the actual action elements I find the movie rather tiresome. On the one hand there is the story of the Yagyu attacking Ogami again, with Ogami easily fending them all off. On the other is Ogami taking up a new assassination contract against a man who is going to tell the secret of a special dye to the shogun, crippling a particular region's finances. The leaders of this region desperately hire Ogami, and he sets out to find the man who will be guarded by three brothers, each with expertise in unique weaponry. It's all just basic setup for the final confrontation where we will watch Ogami take all three apart. Again, there's no real tension around it, but there are aesthetic things to appreciate about the violence.

There's one moment, though, that I think exemplifies everything wrong with these movies up to this point. One of the brothers, the last one to die, receives a perfect cut from Ogami that leaves his neck open just enough so that Mogaribue escapes, a whishing sound from the next. He spends this moment talking about how he had always wished to make such a perfect cut on an enemy, but the irony is that he dies from it himself. That seems like a nice moment, but up until then the brothers were little more than walking antagonists only differentiated by their weapons. Suddenly trying to have this touching moment with nothing backing it up ends up making it feel empty and shallow. Instead of having a scene where the three brothers, perhaps on the ship ride they share with Ogami earlier in the film, where the brother could explain this to his other siblings, that one day he hopes to make the Mogaribue escape from an enemy. And then, when he dies by the cut, he can have the moment of realization without needing to explain what it is while he's dying.

The brothers aren't characters because they don't have the time dedicated to building anything since the movie is, again, really short for the two stories that get crammed inside it. Yet, despite the complete lack of work to make the brothers characters, we still have a moment at the end that tries to create some kind of emotional catharsis at his death, but the focus has been on action and violence.

Another interesting thing I'm seeing about these movies is Ogami's continued dedication to the shogunate system even after it was manipulated to destroy his family and the shogun does nothing to help him. It's the mirror image of Kobayashi's Samurai Rebellion where Isaburo's maltreatment by the shogunate does end up leaving him questioning and even rebelling against the system that degrades him, his son, and his daughter-in-law. Lone Wolf and Cub seems to want to take the opposite direction, which is fine, but there's no introspection about the choice. It's blind and just accepted and never really considered.

I have a bad feeling about this franchise.

A combination of intelligent plot and blood spurting action. A winner!

[Sadsack-3 · 17 February 2000]

It was this film that converted me to the joys of blood spattered gory Japanese epics. The action is amazing - each fight scene a gem. The main characters take everything so calmly that I began to see Blues Brothers-esque deadpan humour in some of the more gruesome sequences. Watch this film with your friends so you can all scream at the TV each time a fight kicks in. It worked for me.

Very well done

[gbill-74877 · 8/10 · 2 June 2020]

"My son and I walk the Demon Way in Hell, so we're not ordinary humans. We're resolved to descend to Hell through the Six Realms and Four Lives."

Lean, taut story line, told with a lot of style and great visuals. Director Kenji Misumi gives us creativity in the battle scenes, and the enemies of the Lone Wolf are distinctive - first a wave of women warriors, and then three brothers who wear bell-shaped hats and brandish different weapons, e.g. an iron claw. As in the first film there is moral ambiguity, as the Lone Wolf is a roaming assassin whose target is an innocent artisan of indigo dye who is fleeing a monopolistic business. It's conflicting, but I kind of liked that about it. In this one the baby has become a toddler, and is no longer just a passive observer of the action, occasionally pushing buttons to activate hidden weapons in his cart, in addition to being a cutie-pie. The pace of the film is great and I liked how it was just 81 minutes, not indulging itself in excess (you know, except for the body parts being lopped off here and there). Great ending scene in the desert too.

great samurai movie

[soytupadre · 10/10 · 2 June 1999]

ogami itto still in the path of avenge his wife,this time he has to fight yaigiu ninjas,killer women, and three weird guys that uses unusual weapons. i found this part better then the first part because there is much more action.

The pinnacle of the baby cart movies

[steve-goodhand · 10/10 · 24 February 2004]

Watch this film and whole set of baby cart films. River Styx is both stylistic and packed with action. The Gods of Death are perfectly evil and cool. The opening of film sets the pace and style, with lone wolf ninja encounter. The female ninja clan are sexually sadistic, show the highest qualities of female empowerment.

This film is great cinema, well shot, edited and runs smoothly. Highly enjoyable, with a great mise en scene, every frame has meaning and every scene has value.

Once you buy this film you will want all Kenji's films, including the great blind swordsman films.

For action and style River Styx is hard to beat.

The best filmed of the series

[jolgo13 · 10/10 · 24 January 2003]

This is the second film in the 7 film series based on the Japanese manga series. Even though I'd say the manga series tops it these films hold their own against lots of other films, even today. This film gain takes several aspects of the mnga, plot and other little things thrown in and mixes it up. The result turns out great. The gore in this one tops 'Sword of Vengance' and that is no small task but it is not realistic and made so on purpose. The final duel between Ogami and the Masters of Death is a great one. The head splitting scene sticks out the most I'd say. Or the `Wailing of the Wintery Wind' which was actually called `Flute of the Falling tiger' in the manga. That (for those who haven't seen it) is when Ogami slices a diagonal cut on the 3rd ones neck causing blood to come out and make a whistling sound. In the manga it sprays a bit and he falls dead. However in the film it sprays then he falls and it gushes out. I didn't get why.

Another key fight is with the Kurokawa in the forest with his double spear. Also when Diagoro is rolled in the cart and cuts the legs of two of the ninja.that's a good bit.

All in all the films can't be compared to the comics. They lack the emotional depth and some other things. But they stand on their own, as great pieces of art.

Were They Serious?

[boblipton · 6/10 · 6 April 2020]

The series continues its wonted way, pleasing all fans of spraying fake blood, fake body parts, and probably fake Japanese stoicism. This time the evil Yagyu clan have ordered their ladies' adjunct to kill off Tomisaburô Wakayama with deadly flying radishes, even stealing baby Akihiro Tomikawa and threatening to drop him down a bottomless well if his father doesn't surrender. He doesn't, and that's two attempts to kill him, with another to come, and his own work. He is, after all, the greatest assassin in all of Japan, blah, blah, blah.

What did the people who made this movie and the others in the series think of it (and them)? Would they even tell the truth if you asked? When this sort of bloodbath flick became popular, did they think they were entering a brave new world, that had such people in't, or did they think that, well, it's a job and they needed the paycheck, so learn the lines and don't trip over the furniture? Or did they view the audience with contempt, like sneering at a bunch of four-year-olds offered a box of Mallomars each? Stupid kids! I'll bet if we offer you Cheetos you'll eat them, too!

Well, technically it's up on its toes. I especially like the sound the pulley makes when Wakayama is drawing the bucket with Tomikawa up from the depths of the well. It squeaks in a way that is indistinguishable from a child's babbling.

More grisly mayhem from jidaigeki's greatest father-toddler team

[jamesrupert2014 · 8/10 · 8 April 2020]

This film, the second installment of the 'Babycart' series, finds the deceptively formidable mercenary-assassin Ogami Itto (Tomisaburo Wakayama) and his young son Diagoro (Akihiro Tomikawa) hired to hunt down and extirpate a traitorous dye-maker who is guarded by three deadly brothers, while in turn being pursued by various agents of the venomous Yagyu Clan, including a troupe of lethal women. Like its predecessor, the film is filled with preposterous violence, with even more grisly dismemberments and fountains of bright-red blood (one poor Ninja is hacked into more pieces than the Black Knight was in 'Monty Python and the Holy Grail' (1975)). To keep the blood-letting fresh, more exotic weapons are showing up: huge metal claws, razor edged straw-hats, and weaponised radishes (I kid you not). Itto's rolling arsenal (Diagoro's killer-stroller, the titular baby-cart) is deadlier than ever, with shin-slicing blades that are activated by the toddler himself. The little guy has a bigger role in this story and the film's baby-wrangler did an excellent job with the four-year old actor. If a doll was substituted in in the tougher-looking scenes (such as when a trussed-up Diagoro is being dangled over a deep well), the switch was very well done and the segment where the boy gets food for his injured father by exchanging his jacket for rice cakes left as an offering to the Buddha is a sweet moment amidst the technicolour carnage. The action set-pieces are as ridiculously over-the-top as those in the first film but still immensely entertaining in a pseudo-gruesome way, and there are some really odd flourishes (such as the aforementioned razor-radishes and the backward-running woman). The climactic battle with the Hidari brothers is over pretty quickly but the lead-up scene, where ambushers are unearthed by the eldest, deadliest, brother, is great. If you like this sort of thing, you'll love this film; if you don't, you likely won't make it past the first blood-bath.

One notch above mindless but mostly enjoyable.

[Pjtaylor-96-138044 · 6/10 · 2 June 2020]

'Lone Wolf And Cub: Baby Cart At The River Styx (1972)' is the second of four films in its six-entry series to be released in 1972, hitting Japanese cinemas just three months after its predecessor. This quick turnaround isn't evident at all. Though it isn't, in a way, as complete as the prior title, it's probably a more consistently enjoyable affair. It's a pulpy, stylistic Samurai flick far more focused on its splashy violence than its straightforward story. However, the narrative does do just enough with its focal characters to make them feel like worthy leads. Make no mistake, this is not a character study (it's no 'The Tale Of Zatoichi (1963)', for example). The relationship between its father-son duo is fleshed out ever-so-slightly by a couple of scenes that are dedicated to the ways in which they interact with one another when nobody is trying to kill them. A particularly great sequence involves the young Diagoro attempting to heal Itto using a series of trial-and-error methods. The major plot involves a band of female assassins hunting our heroes as they continue their life on the 'demon path' and take work as paid hitmen. There isn't a sense of revenge this time around, which makes the story one of survival more than anything else. By its end, it's difficult to say exactly what anyone involved has learned; it's a journey in the literal sense, not the figurative one. Still, it works well for what it is. Its action, which is what most members of its audience truly want to see, is flashy, fast and full of eccentric kills. Between ruby red arterial spray and literally split-in-two heads is the occasional quiet moment of surreal pseudo beauty, moments in which bleeding-out characters muse on the poetic irony of their imminent deaths or in which various flipping foes are superimposed over the spinning blade of their killer. It's not high art, by any means, but it's a level of distinct visual design that you may not expect from an exploitation picture such as this. Speaking of exploitation, there's actually less sexism this time around. A major component of the plot involves female assassins who are, for all intents and purposes, more capable than their counterparts. The lead of these even gets her own character arc. Granted, she is forcibly stripped at one point in a genuine but unspoken attempt by the hero to huddle together for warmth. This is the only really iffy scene in the entire experience, which just proves that this entry's female representation is far superior to that of the first entry in the franchise. In the end, the film is enjoyable enough to be worth a watch. It's a good effort, with some obvious behind-the-scenes talent, but most of its violence is just one notch above mindless and its narrative is very basic. 6/10.

Babycart at the River Styx

[Tweekums · 8/10 · 4 December 2016]

This, the second of the 'Lone Wolf and Cub' series of films, sees protagonist Ogami Itto, an assassin who travels with his young son Daigoro, being hunted by a group of female ninjas who are working for the Yagyu clan. This clan wants revenge for events that took place in the previous film. As well as dealing with these assailants Ogami has been hired by another clan who want him to kill a traitor who intends to give the secret of their lucrative indigo dying process to the shogunate. This man is being escorted by the three Hidari brothers… a trio of killers who is each a master of a lethal weapon; one has a spiked club, another has spiked gauntlets and the most deadly has a claw-like weapon.

I came to this without seeing the first film in the series but that didn't really matter as it was easy to figure out what was going on. The action starts almost immediately and gives the viewer a fair warning of what is to come… Ogami is attacked and one assailant ends up with a sword buried in his head and a second sprays vividly coloured blood after he is speared. There is plenty of similar violent action throughout the film with just enough quieter moments to lets us know what is going on. Ogami is an interesting protagonist as he isn't really a good person; he kills for money and without remorse… it just seems to be the case that most of the people he kills are worse people who are trying to kill him and are endangering his son. It is the relationship between Ogami and Daigoro that makes the film so memorable… the idea of an assassin who pushes his son around in an armed cart is original to say the least. The foes are interesting; the Hidari brothers are formidable and the female ninjas, known as the Gods of Death are as deadly as any of their male counterparts… as we see when they hack one apart to prove what they can do. As said before there are lots of fight scenes but they are varied so never feel repetitive. Overall this was a solid samurai action film; it is pretty violent but fans of the genre should enjoy it.

These comments are based on watching the film in Japanese with English subtitles.

Mayhem with a touch of poetry

[charlesem · 7/10 · 10 September 2022]

Among the cinematic innovations that Akira Kurosawa is credited with is the use of a pressurized hose to spew fake blood in his 1962 film Sanjuro. The story has it that the amount of pressure needed was miscalculated, and the explosion of gore nearly knocked Tatsuya Nakadai off his feet when he received the fatal blow from Toshiro Mifune's Sanjuro. But the effect was so startling - and so in keeping with the comic tone that pervades the movie - that Kurosawa decided to keep it in rather than go to the trouble of reshooting. And so a continuing motif of excessive bloodletting was introduced to the samurai movie. The pressure hoses get quite a workout in Kenji Misumi's second film (of six) in his Lone Wolf and Cub series, as his hero, Ogami Itto (Tomisaburo Wakayama) continues to trundle little Daigoro (Akihiro Kobyashi) across the landscape of 17th-century Japan. Wide-eyed Daigoro is witness to all sorts of bloody encounters, and even at one point participates in them: Under attack by a small army, Ogami gives the pram containing the boy a shove into the melee, signaling him to release a mechanism that shoots blades out of the cart's wheels, cutting off a couple of the attackers below the knees. The story doesn't matter much: It's about Ogami's being commissioned to assassinate a man who threatens to reveal a clan's secret process for making indigo dye. This secret is so important that the people who plan to steal it commission ninjas to guard the man who plans to leak it, including a small army of female assassins and a trio of brothers who wear what look like large straw lampshades. Ogami bests them all in various ways, while continuing to defend Daigoro, who at one point is kidnapped and threatened with being dropped into a deep well. The film is full of ingenious ways of putting people to death, including a scene in which the guardians of the thief are crossing a desert when one of the brothers stops and plunges his iron-clawed hand into the sand, out of which bubbles a geyser of blood - their opponents have buried themselves in the desert, planning an ambush that gets thwarted by the keen-eared brother. But eventually he too, gets what he deserves from Ogami, who cuts his throat, resulting in an almost touching moment in which the dying man listens to his final breath whistling through the wound - a sound, he says, he always wanted to hear, but not from his own throat. It's this kind of distancing from the dismemberments and blood fountains that makes Lone Wolf and Cub: Baby Cart at the River Styx tolerable, and sometimes even poetic.

Tomisaburo Wakayama is simply without equal.

[SaracenReborn · 28 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!