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Customer Reviews

4.7 out of 5 stars
17

on June 13, 2017
Old timey dubbed show with lots to offer...my kids loved it! The picture quality was fantastic!
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on April 22, 2002
This 4th in the Series, brought to you by the folks that let you know sword fighting was a messy and WET business, begins with a lovely young woman, topless and tatooed, slicing up some men in tip-top fashion. Our hero, the implacable and stone-faced Ogami Itto, former Shogun Executioner presently master ronin assassin, will be hired to dispatch the young lady to the next world.
This entry is the first not directed by Kenji Mishimi, and is told a little more elliptically with many flashbacks that fill in more detail on the backstory of the Yagyu Clan's enmity toward Ogami Itto that lead them to murder his wife and set him and his young son on the road as "demons at the crossroads of Hell". Lord Retsudo, Itto's arch enemy, reappears and there is much clan intrigue and skull-duggery going on.
There is still plenty of fighting and bloody mayhem, a fight in a temple has Ninja arms and legs being lopped off willy-nilly left and right. There is a lot of spraying blood, but there is also the same attention to period detail and the explanation of customs & codes of this long ago civilization, helped by great Liner Notes & Subtitles.
It all climaxes with a hellacious fight with Ogami wiping out another army of opponents, but this time by using the terrain of gullies and ravines to his advantage. He ends the fight by taking Retsudo's eye but is badly wounded himself in the process. But, of course, he will live to fight another day.
Graphic & fantastic, serious and silly, the Lone Wolf & Cub series is a kick if you've a mind for it.
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on March 23, 2002
This is another in a series of Lone Wolf and Cub I have seen. I was first introduced to this series by watching Shogun Assasin. This one had a very good plot and allowed us to see more of the personality of the Cub. The fight scenes were excellent. The only one that was not up to par of all the ones that I have seen is the scene in the temple where you couldn't see clearly what was going on but know that this was realism as it would have happened that way. I have almost completed my collection of all six in the series and look forward to the last two.
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on September 30, 2014
Classic!!
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on May 7, 2014
It was not as good as the first movie. By the way, I have been looking for the first movie to buy it, but have not found it!!!!!!!!!!!!
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on September 13, 2014
Great product
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on January 10, 2015
Love it !!!!
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on April 7, 2017
After spending a few movies on the lam, picking up odd jobs and dispatching would-be assassins, wandering ronin Ogami Ittō gets back to the business of stalking his real enemy: Retsudo Yagyū, who dishonored Ogami's name and orchestrated his wife's murder. The two finally cross swords this time (with consequences for both), but not before Ittō deals with a disgraced, grudge-bearing former rival, a femme fatale with curious tattoos, a corrupt local official (complete with his own private army) and a host of explosive-lobbing foot soldiers. And, for once, the harsh lifestyle has taken a toll on our swordsman: the lone wolf that stumbles away from the battlefield at the end of this film is a far cry from the one who stoically, almost carelessly, dealt with blade-flinging challengers at its onset. Stuffed with fascinating, well-rounded new characters, unique fight scenes, badass acts of heroism and gallons of bright red spray, it's incredible that the final running time comes in just short of ninety minutes. Feels like there's enough depth, and enough story, to have stretched for twice as long.
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on July 24, 2006
Here's a lesson in the value of reading on-disk liner notes. There are four short pages of notes on Animeigo's version of LONE WOLF AND CUB: BABY CART IN PERIL.

Page one tells about the Mountain Witch and Kintaro. Both legendary figures in Japan. The mountain witch, or yamauba, is the `fairy of the mountains,' old and haggard in appearance with a thin face and wild white hair. The mountain witch cares for the mountains; kintaro is a child of super-human strength and skills, something like our Paul Bunyan, I guess. Important stuff to know because the character Ogami Itto (Tomisaburo Wakayama,) the ronin Lone Wolf, has contracted to kill (for the usual 500 pieces of gold) is the beautiful young Oyuki, who has been slaughtering the Yagyu clansmen sent out to assassinate her. Oyuki has a tattoo of the Mountain Witch on her back and one of a nipple-seeking Kintaro covering her chest. Besides being a superbly skilled warrior, the lovely Oyuki will distract her opponents by removing her blouse while in battle. Whatever it takes to awe and shock.

Page two describes the `Yagyu New Shadow Style' of swordscraft. Lone Wolf and Cub is set in 17th century Japan, and every episode I've seen so far - this is my third - concentrates on sword fighting styles and techniques. The New Shadow Style is the type favored by Yagyu Gunbei, Ogami's bitter rival. Ogami, as we're reminded in every film, was the Shogun's Official Executioner until betrayed by the pernicious Retsudo. Gunbei was a disciple of Retsudo's, and he fought Ogami for the Executioner position and, save for what may have been a technicality (watch the film and decide for yourself,) defeated Ogami. Although each film in the series tells a particular story - in this case that of Oyuki and Ogami's contract to kill her - they all also flesh out the big story. I really should have started these in sequence, but I've been picking them up haphazardly. In any event, the Gunbei-Ogami rivalry is fleshed out in this one, even though it hasn't a whole lot to do with the main story.

Page three tells us about the goumune, or `street beggars,' of feudal Japan. Lone Wolf and Cub spend a lot of time traveling through the poorer communities of Japan and observing the outcasts and the looked down upon. As the goumune clan leader observes to a rude Yagyu thug sent by the Shogun to bring Ogami back, in a speech that distantly echoes words Shakespeare wrote for Shylock, the goumune may be reviled and looked down upon, but they eat, drink, and expel waste like any other human. And, like any other human, they value courtesy and a show of respect. Translated into terms I can understand - roughly and imperfectly translated, I realize - the goumune are something like the dirt farmers in westerns. Like I said, it's a rough translation - goumune are valued less than `human beings,' according to the notes, at a ratio of about 7 to 1. Still, in terms of firepower a group like the Yagyu clan - Ogami's chief enemies since the betrayal that forced his with-cub exile in a land between heaven and hell, between life and death - a group like the Yagyu clan have it all over the goumune. Not unlike the big bad ranchers pushing around the frightened and huddled sod busters in a lot of westerns.

We learn the Owari fief was a major commercial crossroads during the time the events in this movie took place on page four.

Lone Wolf's willingness to mingle with and befriend, and at times defend, the despised, sets him apart as a true samurai. Or a classic cowboy hero, come to think of it. He's imperturbable to the point of being a sphinx and proficient as heck with the sword. There's a lot of blood in these movies - when a bad guy gets his legs cut off at the knees the prop department empties a couple of quarts of krylon red #5 all over everything. In this movie alone I'd guess they were buying the stuff in 50-gallon drums. It may have played brutal in 1972, but it just seems a little cartoonish today. Not in a bad way, mind you. Lone Wolf and Cub was born of a Japanese comic book series and these movies are vividly visual. If the strange names and customs make watching this movie sound like work, it's not. They're a lot of fun, very well produced, visually pleasing, and containing a hero-and-a-half you can root for.
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on August 22, 2004
In this 4th installment of the series, Director Misumi Kenji was replaced by Saito Buichi -- although I feared the series' quality would deteriorate, I was pleasantly surprised at the nuances Saito lent in his own adaptation.

Still only a third of the way through the manga series myself, "Baby Cart in Peril" adopts episodes from early volumes and introduces a later (for me: unknown) episode that involves (finally!) a showdown between Ogami and Retsudo!

As usual, the film does a good job giving screen time to other characters allowing them to develop. O-Yuki, the assassin willing to bare her vengeance, is a powerful and interesting character. Daigoro gets more and more screen time as in this movie for the first time, he wanders off alone. The little boy is so charming in this film (like the third installment) -- I love his scowls: talk about inhabiting a character. Combined with the nearly concrete stare of Ogami (actor Wakayama Tomisaburo), this movie confirms it still has the magic. Somehow these nearly opaque actors convey incredible emotion. I just wish I knew what Wakayama was looking at -- he never eyes the action or the camera directly.
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