Brief introduction to Truck Yarou

One of Toei’s most succefull cash cows in the 1970’s was the Truck Yarou series. This 10 film series remains relatively unknown outside Japan, but it just may be director Norifumi Suzuki’s most remarkable work. Suzuki’s career could be divided into three parts. Western audiences are familiar with the middle part, the early 1970’s pinky violence movies. However, already before that Suzuki was an important yakuza film screenwriter and ditrector, being involved with a large number of ninkyo yakuza productions such as the Red Peony Gambler movies, of which Suzuki directed one and wrote seven. Suzuki became an official box office champion in the late 70’s with his mainstream friendly Truck Yarou films, which form the core of this final third of his career.

Truck Yarou stars Bunta Sugawara (Momojiro aka First Star) and Kinya Aikawa (Jonathan) as two truck drivers traveling across the country and making deliveries. Momojiro is an eternal bachelor, usually falling in love in every film, but never settling down. Jonathan is the opposite; he has a wife and too many kids. He can never tell them appart or remember their names. Both men tend to have problems with authorities, especially Jonathan who used to be a policeman. The authority issue is a regular theme in Suzuki’s movies. Most of his post yakuza-era films make fun of hypocrite teachers, policemen, priests, nuns etc.

The series features a terrific mix of low brow comedy, emotional drama, and action. Tearful family reunions (the supporting characters often turn out to be each other’s long lost sisters / brothers / daughters) walk in hand to hand with climatic car chases and regularly make way for naughty gags and female nudity. Suzuki’s exploitation preferences are sometimes visible, but always filtered through a mainstream lens. The Truck Yarou films are enjoyable, high energy movies for big crowds. Probably most surprising is that the mixture really works and even the drama parts are strong, rarely hurt by the surrounding comedy bits. One can also find fun references to timely events and movies. For example in the beginning of the seventh movie Momojiro dreams of his truck turning into a space ship. Yes, this movie was indeed released briefly after the Japanese opening of Close Encounters of the Third Kind and Stars Wars.

While all 10 movies are good, most of them are excellent. The earlier films tend to be a bit more drama heavy and the best action scenes are seen in the later installments. One theme that is repeated in most films is festivals. Since the storylines takes the characters around Japan, Suzuki is given a good excuse to present local festivals and feast with beautiful landscapes. The cinematography and music are good throughout the series. The theme song is sung by Sugawara and Aikawa. It’s a great song and after just a few films becomes an unseparable part of the series. You’ll notice it at the latest in the 8th film where the song is not included, immediately hurting the viewing experience.

More or less all of the films share the same structure. There’s a delivery task, rival trucker, love interest for Momojiro, and a big finale where enemies usually become friends and help each other to make the final delivery while the police force throws everything they’ve got to stop the truck bastards. Some of the action scenes feature a bit of stock footage as Toei couldn’t afford to trash so many police cars. Scenes like restaurant fights and Momojiro’s visists to bathhouse (always bringing the girls some gifts related to his current delivery mission) appear in almost every film. A cynical viewer could say that if you’ve seen one or two Truck Yarou films you’ve seen them all. But these films are not made for cynical viewers. It is a part of the concept to always throw our beloved characters into somewhat similar but slightly modified situations.

One of series’s main attractions is the dekotora vehicles. The term is an abbreviation of Decoration Truck. In the 1970’s it became popular among lonely Japanese truck drivers to decorate their vehicles with wild artwork, exterior parts and neon lights. It was in interesting deviation of the traditional Japanese work harmony, and a way to express oneself. There trucks were gorgeous to look at especially at night time. The Truck Yarou series played important part in popularizing the phenomena in all of Japan. During the series’ course we get to see various different artworks and decorations on the main characters’ trucks. Some of the supporting characters would also drive very distinctive and memorable vehicles.

There’s a load of famous actors appearing in the series. The better you know Toei movies, the more faces you’ll be able to recognize. Even if you’re not a Japanese cinema aficionado, you’ll surely recognize some superstars like Sonny Chiba (in the 5th film) and Tomisaburo Wakayama (in the 6th film) playing rival truckers. Chiba’s role especially is memorable. He plays the leader of the Jaws gang (the trucks are numbered Jaws I, Jaws II, Jaws III etc.). Chiba’s fight scene with Sugawara is a classic comedy piece on both stars’ career. Other famous actors appearing in the films include Junko Natsu, Downtown Boogie Woogie Band (both in the 1st film), Tatsuo Umemiya (2nd film), Mieko Harada (7th film), and singer Sayuri Ishikawa (10th film), just to mention a few.

The successful series ran from 1975 to 1979, with two films being released every year. Apart from the finl film they were all Toei Top 10 box office hits in their release year. Director Suzuki still found time for other projects as well. Most interestingly, in his depraved 1979 exploitation film Beautiful Girl Hunter Suzuki made a direct reference to the Truck Yarou series. It was quite surprising to see two such different type of movies meet, even if it was just for one scene. Perhaps this connection will remind people of the versatility of both tough guy Sugawara and ”exploitation director” Suzuki. Indeed, most Western viewers who only know Sugawara from Kinji Fukasaku’s violent yakuza films will be very surprised to see him do some very silly physical comedy in the Truck Yarou films.

Films in the series:
Truck Yarou: Goiken muyou (トラック野郎　御意見無用 ) (1975)
Truck Yarou: Bakusou ichiban-boshi (トラック野郎　爆走一番星 ) (1975)
Truck Yarou Boukyo ichiban-boshi (トラック野郎　望郷一番星 ) (1976)
Truck Yarou: Tenka gomen (トラック野郎　天下御免 ) (1976)
Truck Yarou: Dokyo ichibanboshi (トラック野郎　度胸一番星 ) (1977)
Truck Yarou: Otoko ippiki Momojiro (トラック野郎　男一匹桃次郎 ) (1977)
Truck Yarou: Totsugeki ichiban-boshi (トラック野郎　突撃一番星 ) (1978)
Truck Yarou: Ichiban-boshi kita he kaeru (トラック野郎　一番星北へ帰る) (1978)
Truck Yarou: Neppu 5000 km (トラック野郎　熱風５０００キロ ) (1979)
Truck Yarou: Furusato tokkyubin (トラック野郎　故郷特急便 ) (1979)

Recently seen movies #162

G.I Samurai (Japan, 1979) – 3,5/5

Business genius, narcotics crimimal, and the reformer of Japanese entertainment industry, producer Haruki Kadokawa took rule of his father’s company Kadokawa Heralds in the mid 70’s. Haruki Kadokawa’s strategy was to produce large scale, Hollywood type films and support them with aggressive advertising campaign and simultaneous supplementary releases. For his 1978 Ken Takakura film Never Give Up Kadokawa borrow military equipment from the US army. G.I. Samurai (aka Timeslip), based on a hit novel by Ryo Hanmura, continues on the same path. Shinichi Chiba plays an army commander whose platoon that is thrown back in time to the 16th century. With no way back to their own time, the men must fight for they life and ally with warlord Nagao Kagetora (aka Kenshin Uesugi) (Isao Natsuagi).

G.I. Samurai is a slightly uneven but unique action film. Kadokawa has put enough money into the project to cover three Street Fighter trilogies. The investment shows; the climatic 25 minute battle scene featuring trucks, a battle helicopter, and hundreds of extras is possibly the most massive action piece created in the history of Japanese cinema. It’s also one of the most intense scenes in any war movie; a few dozen heavily armed men fighting an enemy of thousands. The film’s tone is rather dark at times; power corrupts one character after another, and when stripped of their responsibilities the modern soldiers turn into savages. Still, G.I. Samurai is primarily an entertainment film and should be reviewed as one. There are some weaknesses such as overlong ending, and use of music that varies between clumsy and brilliant. Supporting roles feature loads of brief appearances by current and upcoming stars; idol Hiroko Yakushimaru, action star Hiroyuki Sanada, karate villain Masashi Ishibashi, producer Haruki Kadokawa himself, and many others. The film also takes the opportunity to re-write history. Many characters appearing in the film are real 16th century warlords. The viewers will finally get to discover the real cause of death of Shingen Takeda!

G.I. Samurai has had quite history with varying edits. The original Japanese version runs approximately 139 minutes. However, for its original US theatrical release the film was cut for below 90 minutes. Almost all characterization, effective modern day flashbacks and darker psychological themes have been removed from the film. It leads to several continuity problems. For example the helicopter vs. boat scene is entirely missing the sniper (Koji Naka) and has been edited to look like Chiba is the only man fighting the villains. As a result, the some bullets come from the wrong direction. Also, some decisions made by the characters become nonsensical since the preceding scene has been removed (one example would be the ending, which features no footage of Kagetora meeting the other warlords). Strangely, the sex and rape scenes from the original film are missing as well, although one would assume grindhouse distribution to favour sexual content. But even this hurts the film; the renegade soldier’s (Tsunehiko Watase) worst crimes are never seen, and he becomes an enemy merely for stealing some equipment. Aside from this heavily cut US version a 117 minute print also exists, and it has been screened at least in Norway and Finland.

Recently seen movies #161

Yellow Fangs (Japan, 1990) – 4/5

Sonny Chiba’s largely self financed directorial debut nearly destroyed his career. The film played for empty theaters. In order to compensate for the million loss Chiba was forced to sell his personal property as well as Japan Action Club – cold irony considering the film was dedicated to the 20th anniversary of JAC. It’s also a shame because Yellow Fangs is a stunning adventure film. It’s loosely based on real evens that took place in Hokkaido in 1915. A bear attacked and killed seven people in the village of Rokusen sawa. It dragged some of the female victims into the woods where it ate them or buried them in snow. It was believed that the bear was targeting women on purpose. The film takes some artistic freedom from the facts – spreading the events into larger area and longer time span – and also adds its own theories and fictional characters. The storyline follows 5 men trying to hunt down the bear. Chiba himself has stated it was his aim to create the ultimate action adventure. In some respects, he even succeeds in it. Rather than man versus bear the film is the ultimate battle between man and nature. The snowy mountains of Hokkaido provide breathtakingly beautiful yet merciless setting for the adventure. One can only imagine how difficult the shooting process must have been.

In many ways Yellow Fangs is a very masculine movie. It’s easy to see Chiba’s admiration for these strong men that survived in extreme conditions and made their living by hunting. But then, one of the strongest characters in the film is a young girl (Mika Muramatsu) who goes after the bear alone; living long periods of time in the mountains all by herself. The leading male roles are played by Bunta Sugawara (the leader of the hunting group) and Hiroyuki Sanada, who is one the main contributors to the film’s quality. Not only does he give a charismatic performance, but he’s also responsible for the film’s score. While some the music goes a bit over the top, most of it is magnificent. The film’s minor problems include a couple of less than believable bits, an unnecessary sequence related to gold mines (Chiba’s commentary on modernization) and in a few scenes the bear itself. While most scenes feature real animal, the opening and ending sequences rely on the good old man in suit method. This footage looks more like classic kaiju than National Geographic like the rest of the movie, although the good editing and cinematography lessen the problem and keep the beast outside the frame most of the time.

Recently seen movies #156

Wandering Ginza Butterfly 2: She Cat Gambler (Japan, 1972) – 4/5

Meiko Kaji returns in this sequel by name only follow up. She plays the same character as before, but the previous film is not referred in any way and the movies are also somewhat different in terms of style. The original found a charming balance between ninkyo yakuza atmosphere and mini skirts. Wandering Ginza Butterfly 2 also combines modern and past, but in a different way. Gambling scenes are plenty and feel almost as lifted from an early Showa era set yakuza film. Miss Kaji also spends most of her time wearing kimono. However, at the same time the pic is filled with club scenes, neon lights and early 70’s disco music, similarly to the Delinquent Girl Boss movies. The atmostphere is modern, even if many of the seminal elements have roots in the past. Comedy is also a major part of the film.

In terms of casting Wandering Ginza Butterfly 2 further closers the Delinquent Girl Boss movies. Tooru Yuri has a big supporting role – comedic of course – Junzaburo Ban plays an old man with a problematic father-daughter relationship, and Yukie Kagawa, whose absense from the first film was almost distracting, is given a rather unexciting role as a night club hostess. The biggest addition to the cast, however, is Shinichi Chiba. Chiba gives a very humoristic acting performance as a stammering small time goon who is a bit afraid of bigger players. Chiba’s action skills are put into use in the great finale where he and Kaji slaughter three times as many people as there are members in villains Fujio Suga and Hideo Murota’s gang. This is a great conclusion to a highly entertaining film that is more or less on par with the original. The storyline may not be very strong, but there is a wide variety of familiar and enjoyble genre elements on display. Fans of positively charged girl gang films should thoroughly enjoy Wandering Ginza Butterfly 2.

Recently seen movies #155

Wandering Ginza Butterfly (Japan, 1972) – 4/5

Meiko Kaji made her final breakthrough in the Stray Cat Rock movies (1970-1971). These ultra chic and largely feminine gang films were distributed by Nikkatsu, the leading studio in modern action cinema and youth films. Toei, a studio with a strong track record in traditional yakuza films, was also catching the drift and followed their modern day set Delinquent Boss series with four Delinquent Girl Boss (1970-1971) movies, helmed by Kazuhiko Yamaguchi. Meanwhile, Nikkatsu made a decision to switch over to pink cinema, and Meiko Kaji was left looking for a more decent employer. This brief history concidered, it’s very fitting that she made her Toei debut in Wandering Ginza Butterfly, a female yakuza actioner directed by Kazuhiko Yamaguchi. Indeed, this could easily have been the fifth Delinquent Girl Boss film. The concept is the exact same. Kaji plays and ex-gang member who has just finished serving her sentence. She finds her way to Ginza hostess clubs, where she meets nice guy Tsunehiko Watase and cool as hell swindler Tatsuo Umemiya (the star of Delinquent Boss), and ultimately finds a new home under the wings of a good hearted woman (Akiko Koyama) running a club. But, following the genre rules, there will be a conflict when the local yakuza try to take over the business by force.

Wandering Ginza Butterfly has a couple of surprises in its pocket. Probably most unexpected comes a very strong drama sequence in the middle of the film. This scene reminds of what a great actress Meiko Kaji is. Another highlight is an edge of your seat billiards match. Violent action is saved to the very last reel, which also features a brief glimpse of bare skin, basically just thrown in for the sake of itself. Yamaguchi usually wasn’t very interested in sexual content. Wandering Ginza Butterfly is in fact an exceptionally light hearted and purely enjoyable film in its own genre. It is perhaps partly because of Kaji’s more elegant presence, as compared to wild girl Reiko Oshida of the similarly constructed Delinquent Girl Boss movies, that certain parts of Wandering Ginza Butterfly have an exceptionally strong ninkyo yakuza film atmosphere to it. No doubt screenwriter Takeshi Matsumoto was also a major contributor to this; his earlier works include instalments to both The Delinquent Boss and the Brutal Tales of Chivalry series. Kaji’s character is called Nami the Red Cherry Blossom, not too far off from Oryu the Red Peony, the heroine played by Junko Fuji in the Red Peony Gambler movies (1968-1972). Fuji’s retirement from movie industry took place just one month before the release of Wandering Ginza Butterfly. It’s not difficult to see Toei was looking for a new yakuza queen.

Recently seen TV shows #6

Rebellion League of Girls in Sailor Uniform (Japan, 1986-1987) – 4/5

Rebellion League of Girls in Sailor Uniform was Nippon TV’s answer to Toei / Fuji TV’s hugely successful high school action series Sukeban Deka (1985-1987). It opened in late 1986, just before the second Sukeban Deka series ended. Yumi (Nobuko Sendo), Ruri (Risa Yamamoto) and Kei (Kyoko Goto) form a three girl rebellion league, backed up insider Miho (Miho Nakayma), in a fight against corrupt high school officials and teachers straight out of a Kinji Fukasaku yakuza film. Expect no peace when classes are led by Rikiya Yasuoka (the madman who tries to kill Sonny Chiba with a traffic sign in The Executioner)

Unlike Sukeban Deka, Rebellion League of Girls in Sailor Uniform doesn’t invest much into the storyline. There is a larger backstory that is introduced in the first few episodes, but in practice it is soon forgotten and the episodes are individual stories only very loosely related to any bigger scheme. The secrets revealed in the final episodes are also somewhat underwhelming. For this reason Rebellion League is rather superficial entertainment; the series is as good as the sum of its episodes, and episode quality is mostly defined by the amount of humour, original villains and inventive fight scenes.

It’s the fight scenes that are the show’s biggest asset. The action choreography, which is by Sonny Chiba’s Japan Action Club, is easily the best ever seen in a 1980’s idol product. It’s obvious from the beginning that these girls have taken a karate lesson or two before walking into the set, and they only improve as the show advances. Watching Sendo, Yamamoto and Goto doing Donnie Yen style split kicks, running on the opponents’ shoulders, or just delivering ordinary roundhouse kicks episode after episode often makes you forget that these girls – although naturally assisted by a skillful stunt team and editors – are indeed adorable idols. Slight stiffness in their performance doesn’t hurt the fun. JAC’s choreography gets most insane in episode 12 where the girls encounter an entire football team on battlefield.

Just like the Sukeban Deka girls, each of the heroines have their signature weapon. Yumi relies on boxing gloves, Ruri throws sharp pens, and Kei uses a combination of scarf and long yellow chain. When going into fight, the girls disguise themselves with outrageous hairstyles, make-up and white uniform. Especially Kei is an attention stealer on battlefield; the war painting on her face almost makes her look like a special forces commando on jungle mission.

Sendo and Yamamoto both contribute one song to the soundtrack. Rock band A-JARI perforns the theme song ’Shadow of Love’. A-JARI is also seen in front of the camera in one episode, and this is definitely a band cameo to remember, unlike their special episode in Toei’s Shoujo Commando Izumi one year later (another high school action series that A-JARI worked on). The songs are all good, however, the amount is quite small compared to some of Toei’s series. Rebellion League also lacks a memorable score by a composer such as Ichiro Nitta.

Sendo, Yamamoto, and Goto are all good in their roles, but not unforgettable. Miho Nakayama, often marketed as the star of the series, is actually a supporting player and doesn’t even appear in every episode. She only becomes equal to the other three leads in the last three episodes. Nevertheless, she’s the first billed star in the opening credits till episode 4, after which she starts taking turns with the real star, Sendo. Nakayma’s selection of weapon is explosive roses. Although she was a successful pop star, most western fans probably know her best from Shunji Iwai’s Love Letter (1995) in which she played the leading role.

Despite its shortcoming in terms of story and characters – as well as a couple of lesser episodes – Rebellion League of Girls in Sailor Uniform is great, occasionally jaw droppingly cool high school action fun. What it loses in depth, it takes back with crazy opponents, ( blind caucasian teacher with a huge afro), solid cast and visiting stars that include Kinya Aikawa, Shinzo Hotta, Noriko Hayami and Jun Izumi, and first grade action scenes. Not a Sukeban Deka beater, but a great challenger.

Recently seen movies #134

Sukeban Deka: Code Name = Asamiya Saki (Japan, 2006) – 2/5

The original Sukeban Deka was made in a time when idols could act and sing. Kenta Fukasaku’s new film stars Aya Matsuura, who does act and sing – and has released a great foot massage video – but doesn’t convince as Asamiya Saki one bit. Rather, her performance is unintentionally funny and enjoyable. The same applies to some extent to director Fukasaku, who hasn’t improved since his earlier achievement Battle Royale 2. Fukasaku’s ‘million cuts with slowmotion, flashbacks and a random black and white image’ –directing at times reaches some minor trash value, at others gives you a headache. The action scenes are mostly gci, falling far behind Yui Asaka’s genuine yo-yo art in excitement.

However, the new film is not entirely without merits. Against all odds the great Hiroyuki Nagato is not dead but back and looking exactly the same as he did 20 years ago. The original Sukeban Deka Yuki Saito also pays a brief visit at the end of the movie. Riki Takeuchi isn’t too bad either, although he’s helped by the fact that most actors surrounding him make even small acting talent shine. This refers to wooden man Shunsuke Kubozuka, zombie killer Tak Sakaguchi, and Hello! Project escapees Rika Ishikawa, Erika Miyoshi and Yui Okada, creating a poor man’s Onyanko upgrade. The soundtrack – with two songs from Matsuura and Miki Fujimoto – isn’t much to write home about but does feature one good tune that is played in the scene where Saki puts on her new new leather battle suit. An enjoyable scene, as out of place in the Sukeban Deka universe as it might be.

Recently seen movies #133

Sukeban Deka: Counter-Attack of the Kazama Sisters (Japan, 1988) – 4/5

The first Sukeban Deka movie, despite being solid entertainment, failed failed to live up to the TV shows. Now Hideo Tanaka, who had been helming the school girl fighters since season one, gives his second try at silver screen adaptation. The outcome is an unexpected success. Taking place after the end of the third season, the film takes a completely new direction and in this sense is a logical continuation to the franchise where the preceding TV shows were also all very distinctive. Traditional Sukeban Deka activity has been closed down and replaced with special forces lead by young politician whose goal is to fight crime at any cost and without mercy. Yui, at the request of the Sukeban Deka founder Kurayami, has joined the forces but cannot accept the merciless methods – and razor blade yo-yo’s – used by the new crime fighting unit. She soon finds herself in a situation where her former colleagues have become her enemies.

Counter-Attack of the Kazama Sisters is much darker than any of the preceding adventures – rather ironic considering Asaka is the most adorable of the three sukeban deka’s – being both violent and displaying a close future vision that even occasionally reminds of Paul Verhoeven’s scifi movies. Compared to the first film Kazama Sisters is better focused, less over-the-top and notaby punchier. Yui’s sisters Yuma and Yuka (are not given too much screen time – although each girl performs on the soundtrack – but this probably works to the benefit of the film. Hiroyuki Nagato’s extended role also comes as a positive surprise as this is one of the few times we get to see him outside of his office.

Recently seen movies #132

Sukeban Deka: The Movie (Japan, 1987) – 3/5

It’s ironic that Sukeban Deka’s movie versions have been widely distributed in the west, while the TV shows – that are essential for understanding the films – have never been brought outside Asia. On the other hand, yo-yo armed schoolgirls that are never thoroughly introduced to the viewer, and references to events that are never explained, will probably offer an enjoyably confusing experience for first timers. This is how most Japanese cult movies are advertised in the western market anyway.

In certain ways Sukeban Deka: The Movie could indeed be a more rewarding experience for new viewers. Hitting the theaters a few months after the closing of the second series, the film brings together the old cast (Minamino, Yoshizawa and Sagara) and adds Yui Asaka from the third series. Unfortunately much of the potential is wasted. Minamino dominates the screen at the expense of other actors. The television show’s best character, sukeban Okyo, played by the wonderful Haruko Sagara, doesn’t get much room, and even her hair is wrong. The same applies for Yoshizawa, and one can only wonder what was the reason for including Asaka. Her character features a profile completely different from that of the Sukeban Deka II fighters, but this delicious opportunity for comparison is largely ignored.

Nevertheless, the film version is by no means a bad movie. It just doesn’t compare well against the television shows which count among the most iconic ever made. The film is more over-the-top and less effective. However, it is a good amount of fun and just seeing the familiar cast together again is wonderful. There’s also many fun references and jokes like the Sukeban Deka author Shinji Wada in a cameo role, and a new super yo-yo that is so powerful that Saki must use an armor to prevent it from crushing her own chest. Ichiro Nitta’s soundtrack is once again cool, and Minamino’s new theme song is great. Putting comparisons aside, Sukeban Deka is an enjoyable film on its own.

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.