Recently seen TV shows #5

Sukeban Deka III: Romance of the Ninja Girls (1986-1987) – 4,5/5

After the iconic pop-culture fusion Sukeban Deka II: Legend of the Girl in the Iron Mask (1985-1986) Toei and Fuji TV faced an impossible challenge; how to equal the preceding series? During the show’s run Yoko Minamino had became one of the biggest idols of all time. Her shoes would not be filled easily by just anyone… except ninja. Yes, in Sukeban Deka III teenage ninja girls walk in school uniform and battle masked assasins on the streets of modern Tokyo.

Yui Kazama – played by the supercute Yui Asaka – is a hyper-energetic countryside girl know as the Great Sukeban of Kyushu (Asaka’s real real life home before she became an idol), raised by her ninja master uncle. She is sent to Tokyo to meet her sisters Yuka (Yuka Onishi) and Yuma (Yuma Nakamura) who are the leading sukebans in their school… and also members ninja family. The legends says that when time is ready it is the Kazama family that must defend Japan in an epic battle between good and evil. Lead by a mysterious Hannya-masked ninja, the three sisters begin their fight.

The first two Sukeban Deka shows concentrated on modern day pop-culture. The third series finds its inspiration in ninja legends. The currupt high school principals are gone, and now almost every villain dresses in black, arms with knives, and walks on rooftops. A special mention must be given to the kabuki-masked martial arts devil making his first appearance in episode 5. Although his face is not revealed in this episode, Toei fans should be quick to recognize him from voice as he is one of most famous Toei villains of the 1970s…

While the previous sukeban fighters were never quite up to the physical requirements of the role, Yui, Yuma and Yuka succeed rather well in their roles. Asaka’s yo-yo art is the most impressive seen in any of the three shows, and Nakamura’s way trapping enemies with knitting needles and wire is yet another original fighting method. But by far most impressive is Oshishi’s combination of metal crane shuriken and crane style kung fu that occasionally puts weaker martial arts movies into shame. As far as performances go Nakamura and Onishi both fare well but obviously pale in comparison to Sagara and Yoshizawa of the previous series. Asaka on the other hand is brilliant; very funny and endlessly charming, without trying to copy anything from her predecessors.

Asaka was the youngest of the three Sukeban Dekas. Unlike Saito and Minamino who were 18, Asaka was only 16 years old when the show started. This was also taken into consideration in the screenplay. When she introduced herself she said ”Kazama Yui, class B1”, rather than B2 like the other two sukeban dekas (Nanno actually proceeded to B3 during the second show’s course). Like her predecessors, she was given the code name Asamiya Saki, but she didn’t use it very often. A cover identity was not really needed against ninjas, and most of ger enemies knew her identity anyway.

Yui also performs on the series’ pitch perfect soundtrack together with Nakamura and Onishi. While perhaps not as big stars as the leads of the second show, Asaka, Nakamura and Onishi almost exceed the previous show with their brilliant pop songs. Former Onyanko Satomi Fukunaga – who plays a supporting role in the series – is also heard on the soundtrack. She is responsible for the first of the five theme songs. Ichiro Nitta also delivers his usual terrific score.

The only real weakness comes during the last 10 episodes. After bringing the epic story to mythical dimensions, the screenwriters are struck by an overly strong urge to re-imagine the Star Wars trilogy. This doesn’t feel a very natural move after so succcesfully building on Japanese pop culture legends and ninja mythology. This setback doesn’t wreck the show, but it does prevent if from becoming the very best Sukeban Deka show. Nevertheless, Sukeban Deka III is an unforgettable and completely unique piece of television history.

Recently seen movies #131

Ichi (Japan, 2008) – 2,5/5

Female Zatoichi is not a new invention (Crimson Bat, 1969) but nevertheless an idea that deserves to be repeated. Gravure idol Haruka Ayase stars, and Fumihiko Sori, whose previous work was the anime problem waste Vexille (2007), directs. The outcome works mainly because the concept is so good, and Haruka’s face looks rather nice as well. That is easily her strongest asset. The only reason why her lack of charisma and acting skills don’t stand up is that most people around her fare even worse, with the villains Riki Takeuchi and Shido Nakamura being the worst offenders towards the art of acting. Sori’s directing is routine, which is also true to the screenplay and soundtrack. The brief fight scenes are ok although Ayase – who does her own fighting – doesnt really convince with her katana handling skills. In the end, despite all its flaws, Ichi is passable entertainment. However, everything it does has been done better before in films such as Azumi (2003).

Recently seen movies #130

Daydream (Japan, 1964) – 2,5/5

Tetsuji Takechi’s psycho sexual arthouse film follows the logic of dream. The story begins when a man and a woman meet at the dentist’s office and are given strong tranquilizers. The rest of the film is either reality or hallucinations. He meets her again at a night club but finds out she’s being abused by a high class man. He tries to help her, but the situation turns into a living nightmare. Takechi uses surreal images and especially long takes effectively, but also allows the film to become too long. The Japanese government, in the middle of organizing the Tokyo Olympics and polishing the nation’s image, was reportedly less than happy with large advertising campaign Takechi’s ”disgraceful” movie was given.

However, author Jun’ichiro Tanizaki, on whose 1926 short story the movie was based on, gave Takechi his blessing, stating that this is how he would have written it in the first place if not restricted by the censorship of the time. The film version does go quite far indeed, remaining disturbing 45 after its release. After Daydream Takechi continued making controversial films, releasing The Dream of the Red Chamber later the same year, and Black Snow, which led to the director being arrested for indecency, in 1965.

Recently seen movies #129

Real Onigokko (Japan, 2008) – 3/5

Tsubasa Sato (Takuya Ishida) wakes up in a parallel world where all people with the surname Sato are being hunted down and killed on the streets by ”monsters” – masked killers hired by the dictator emperor that rules the new, slightly futuristic and gothic Japan. Made with a modest budget but with plenty of imagination Real Onigokko is a refreshing action-horror-sci-fi hybrid. Although not exceptionally well photographed, there’s several visual stand out moments when the masked killers – equipped with trackers and wearing dark helmets with gloomy red eyes – chase the main character around Tokyo. Shuffle (1981) type of exhausting intensity is never quite reached, though. The main problems are those with the logic – which fails as many times as you bother to question it – and performances. Although not terribly acted, none of the cast members – Mitsuki Tanimura included, I’m afraid – make an impression.

Recently seen movies #128

Karaoke Terror (Japan, 2003) – 3,5/5

Original, weird, and just a little bit ingenious. A slacker youth kills a middle aged woman after being rejected while trying to pick her up. The woman’s friends – all middle aged, all divorced, and all named Midori – decide to get revenge. But the man’s friends could not tolerate being humiliated by egocentric women in their 30s. This launches a war between sexes and generations – all set to showa era hit songs (1926–1989). Decidedly slow paced but ultimately very funny movie about gender roles, completed with violence and karaoke. Based on a novel by Ryu Murakami, who has dealt with similar themes in his other works, too (Audition, Love & Pop).

Recently seen movies #127

Star of David (Japan, 1979) – 2,5/5

Norifumi Suzuki made an unexpected move by directing a Nikkatsu pink film in the middle of his hugely successful mainstream period. Basing the film in Masaaki Sato’s manga Suzuki took full use of Nikkatsu freedom and delivered a sexploitation film Toei wouldn’t dare to produce. The story follows an anti hero (Shun Domon) – a young and intelligent gentleman – who captures women uses the basement of his mansion as a torture chamber. As expected from the director, the film is film is well done and comes with plenty of christian and political references. Unfortunately it’s also too long, with the 100 minute running time offering a few rape scenes too many and not quite many enough visual or story highlights. By Nikkatsu standards it’s nevertheless more ambitious – and better – than their average genre production. Casting wise the film is remarkable for starring the 1974 Miss Kimono / 1975 Miss Japan Hiromi Namino in a role usually played by unashamed Nikkatsu actresses. Also, Suzuki’s Toei collaborator Bunta Sugawara is seen in a short but hilarious cameo role.

Recently seen TV shows #4

Shoujo Commando Izumi (Japan, 1987-1988) – 3,5/5

Originally planned as Sukeban Deka IV but then departing into a series of its own, how could Toei and Fuji TV outdo their previous achievements and overcome the challenges set by their competitors, such as Nippon TV’s Rebellion League of Girls in Sailor Uniform? By raising the caliber, and arming the seifuku warrior Izumi (Izumi Igarashi) with bazooka. Although it must be noted that, to the disappointment of many, the light anti-armor weapon is only used in a couple of episodes, with Izumi’s bracelet and inhuman powers given to her by a mysterious organization that kidnapped her two years ago being her primary weapon.

The series has a dynamite start with more pyrotechnics applied to the first few episodes than most Toei action films of the time. Igarashi also delights with both her singing skills and her willingness to do far more of her own stunts and fighting than you’d expect from an idol. However, one should prepare for the show losing some of its kick after the amazing opening episodes and following rather familiar patterns at the expense of commando action. Overuse of slow motion also hurts the action.

The supporting cast features most notably Takeo Chii, whose clumsy policeman character is quite far cry from his stand out role in Yukihiro Sawada’s nihilistic cop thriller Retreat Through the Wet Wasteland (1973). After working in action and yakuza films throughout the 70’s Chii moved mostly to television. Yumi Tsuchida and Masami Katsuragawa play Izumi’s shoujo sidekicks, without memorable results. The short lived rock band A-Jari, who is responsible for most of the soundtrack, also makes an appearance in one episode. Interestingly their song Fight for Love is also heard in the show, despite it actually being the theme song of the fore mentioned Rebellion League of Girls in Sailor Uniform.

Considering its sky high potential and especially the jaw droppingly great opening episodes Shoujo Commando Izumi turns out slightly under performing entertainment in the long run. However, none of the 15 episodes are bad – except maybe one story that gives too much room for the 80’s women’s fashion – and the ending is almost as good as the show deserves. Obviously, even with its flaws Izumi’s commando adventures are a must for fans of Toei’s 80’s high school action.