#Hibotan bakuto

[redsamuraiii]

The Valiant Red Peony : Red Peony Gambler (1968)

Set during the Meiji era, RED PEONY GAMBLER stars Fuji as Ryuko Yano, the daughter of a gambler. When her father is murdered, Ryuko takes on a new name derived from the crimson flower tattooed on her shoulder – “Oryu, the Red Peony” – and sets out for revenge.

One thing I noticed about Japanese films is the use of flower names to reflect their character like in Shogun (2024) and Yae no Sakura (2013). Here, Red Peonies are flowers that can live over 100 years and thrive in cold winters, indicating that she survived the worst.

As mentioned in my earlier post, Asian films like Japanese films have always featured strong women who are feminine, gentle and caring with those they love and care but fearless, cunning, steadfast and a force to be reckoned with, against enemies.

There are numerous films such as this, Lady Snowblood (1973), Crimson Bat : The Blind Swordswoman (1969), Undercover Geisha (2003) & Ichi (2008), and anime such as Carried by the Wind: Tsukikage Ran (2000), Joran : The Princess of Snow and Blood (2021) & Hell's Paradise: Jigokuraku (2023).

They inspire Hollywood shows like Kill Bill (2003), Blue Eye Samurai (2003) and Shogun (2024). Japanese films are underrated, especially the old ones that I feel it's wasted that most of these shows are not available on global mainstream sites for the world to enjoy and appreciate. But it's good to see people becoming aware of them.

[gokaiju]

The Valiant Red Peony 1-3 (Kosaku Yamashita, 1968, Norifumi Suzuki, 1968 and Tai Kato, 1969) | Cover for Blu-ray boxset by Eureka Entertainment | Made in 2024 by Gokaiju

[illustraction]

RED PEONY GAMBLER - HIBOTAN BAKUTO (1968-1972) - GUNS SWORDS AND TATTOOS: YAKUZA FILMS SERIES (Part 2/10)

One of TOEI most successful series with 8 films starring once again their lead female star, JUNKO (Sumiko) FUJI as Oryu the beuatiful gambler along TOEI's BIG FOUR (Takakura, Tsuruta, Sugawara and Wakayama).

Most of the posters of the series in various forms have been included above (Please click on each image for details)

Director: Kosaku Yamashita, Shigehiro Ozawa, Tai Kato Actors: Junko Fuji, Ken Takakura, Koji Tsuruta, Bunta Sugawara, Tomisaburo Wakayama

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The posters above courtesy of ILLUSTRACTION GALLERY

[basedkikuenjoyer]

I've been wanting to show these a little love, but not dwelling too long on each one. This is the poster for the the first Hibotan Bakuto movie. The Red Peony Gambler, sometimes called the Valiant Red Peony in Western releases. It's an 8-part series following the exploits of Ryuko Yano, the lady Yakuza. The movies came out over a span of 1968-1972. Eight movies in four years, far out. Not the biggest budget productions, but that didn't stop them from being popular. Your star here makes them. Junko Fuji is an absolute treasure and she makes Oryu feel so real. The epitome of "silk hiding steel."

The more I watch of these the more I feel they are one of the Jidaigeki references that trickled down into fairest Okiku, we've talked at length about that. She's a pastiche of this entire subgenre of female-led historical dramas. Polite & proper ladies denied their chance for a happy, normal domestic life taking matters into their own hands and protecting the weak. Seeing a pretty lady kick ass was new territory in the late 60s.

All told, you're not getting much more than Oryu's origins. How her plan for life fell apart and how she started to be the wandering gambler. It's a good standalone if you want to watch just one, but that means it lacks the unique feel the rest have. This one is probably the most graphic actually, still not as bad as counterparts like Tales of the Poison Seductress. The first two are the ones you can't skip if you care about the series though.

[caycecayce]

Made a new song and music video

[jailhouse41]

Press photo for Red Peony Gambler 2: Gambler’s Obligation (Hibotan Bakuto: Isshuku Ippan, 緋牡丹博徒 一宿一飯), 1968, directed by Norifumi Suzuki (鈴木則文) and starring Junko Fuji (富司純子) and Kunio Murai (村井国夫).

[artmialma]

Senju Shunga (born 1968) Swedish "Hanafuda" 2020 The half-naked tattooed beauty that looks at us confidently is none other Oryu from the legendary late 1960’s Japanese Yakuza movie “Hibotan Bakuto. Bakuto were nomadic gamblers active in Japan from the 18th century to the mid-20th century. They were one of two forerunners (the other being tekiya, or peddlers) of what would later become the modern Japanese organized crime syndicates called yakuza. text and image via: https://shungagallery.com/senju-shunga-paintings/ www.facebook.com/senjushunga/

[taishou-kun]

Sally Mae サリー・メイ AKA Sako Kako 加古 幸子 on Hibotan bakuto kinpatsu enka 緋牡丹博徒 金髪艶歌 LP's sleeve - Japan - 1970

Source showapops.com

[filmrushmx]

17/NOV/2018: RED PEONY GAMBLER PT. 2

緋牡丹博徒 鉄火場列伝 (1969) dir. 山下耕作 / Hibotan bakuto: Tekkaba retsuden (1969) dir. Kōsaku Yamashita

緋牡丹博徒 お竜参上 (1970) dir. 加藤泰 / Hibotan bakuto: Oryū Sanjō (1970) dir. Tai Katō

緋牡丹博徒 お命戴きます (1971) dir. 加藤泰 / Hibotan bakuto: Oinichi itadaki masu (1971) dir. Tai Katō

緋牡丹博徒 仁義通します (1972) dir. 斎藤武市 / Hibotan bakuto: Jingi tooshi masu (1972) dir. Buichi Saito

[basedkikuenjoyer]

Since we ended Oryu's journey with it, I wanted to poke at this concept a bit. Because it was always something in my mind about Kiku's story. It's like, the logical reflection of Yamato's. If the latter comes to the realization "not now," the opposite is "right now." You're needed here now vs. this being a rather perfect opportunity if you want to. And I like that this concept is floating around because it tracks so well with something I knew about Himura Kenshin's story, but not this earlier example that made a lot of sense for Oryu's. Ending on a note where you're not done, but your body is well past the point it's telling you it can't hold up anymore.

I always thought the idea would be a cool hook or motivation for the tail end of Kiku's if you wanted to break her off into something else. You're just 22 compared to a group where the next youngest is 35. But the exact logic for Kenshin's works for you; your frame just never really filled out and these battles would take a toll on anyone. Tama dreams of one day having big adventures but Tsuru's mostly dropped her demonic side, the idea is all three are kinda the same woman at different stages. Tsuru's a badass but not the type to go on wild adventures or jump in on a brawl. Kiku was caught between the victim and the bystander, unsure of what to do but willing. The Raid and battle still seemed to bring out a bit of a warrior's spirit. I'm not saying it isn't there, just that peacetime would probably bring out more of an advisor or administrator. Kiku's the type who'd make an excellent Daimyo but never actually get it you know?

Especially with losing an arm, it always felt like this concept of knowing you only have a little time left to use that strength was one with strong potential. So it was wild to see our Red Peony leaning on it in her final scene.

[jailhouse41]

Press photo for Red Peony Gambler 2: Gambler’s Obligation (Hibotan Bakuto: Isshuku Ippan, 緋牡丹博徒 一宿一飯), 1968, directed by Norifumi Suzuki (鈴木則文) and starring Junko Fuji (富司純子).

[taishou-kun]

Hibotan bakuto - Oryu sanjo 緋牡丹博徒 お竜参上　[Red Peony Gambler - Oryu's return] poster by Shimura Tatsumi 志村立美 - Director : Katou Tai 加藤泰, Touei 東映, 1970

[basedkikuenjoyer]

The fourth installment, Hibotan Bakuto: Second Generation Ceremony, is the end of an era for our valiant peony. Unlike the first three's 4th wall-breaking introductions, the film will end with Oryu's final message to us directly. Fittingly after the titular ceremony, where Oryu formally becomes recognized as succeeding the Yano Family. The plot getting there is her big "test" so to speak. Remember, Yakuza families served the function of giving rowdy young men something that'd keep em busy. The illegal stuff gets a pass because they manage construction gangs, firefighting teams, stuff like that. Or protect villagers that fill these roles.

So this one centers more on that side of things. We still have gambling as an element but the action isn't happening in gambling halls. This plot honestly feels like one that may have been adapted from an American Western. A conflict between one family with a contract to build a railroad for transporting coal and another that represents the boatmen who currently haul it. Industrialization is a huge theme of this series set in the Mid-Meiji. Lets Oryu's diplomacy skills shine more, but also opens us up to some nice big setpiece battles since we have a lot more extras around. This one's a lot of fun.

[basedkikuenjoyer]

Moe Violence: or How I Struck the Jidaigeki Goldmine

I lost a close friend recently. A really close one and it was the kind of sudden bolt from the blue that’s really just fate waking up and deciding to kick you in the teeth. He liked old Western movies and was enough of a film buff to know how much back-and-forth there was with samurai cinema. So we had a lot of fun talking about movies. Made me want to finally get through a stack of films I’ve dug up on archive.org. Liking what I like, I think this binge has helped get a lot of clarity on where we started with looking at Lady Snowblood & Red Swallow Oyuki. (Oh...by the way. I plum forgot Snowblood’s auntie/confidant type figure was named Okiku. Always has a basket of yellow mums outside her door)

Started with checking out a trio of films the absolutely wonderful Junko Miyazono did after Red Swallow. Series is called Tales of the Poison Seductress; Hannya Ohyaku, Quick-Draw Okatsu, & Okatsu the Fugitive. They’re all standalone, caution though they’re very violent. SA is a factor too but from what I’ve seen most of the scenes may drag but try to keep it not too graphic. I say that as someone pretty turned off but “losing her virtue” is a threat hanging around frequently in these and there’s a torture element. This is 60s/70s Japanese Grindhouse cinema, the type of thing that inspired gory directors like Quentin Tarantino. It ain’t for everyone and that’s why I wanna gush about it here. What I’m getting more and more though is that pinning our beloved Okiku to one jidaigeki reference is a fool’s errand. My dears, she’s an ode to an entire subgenre!

Let’s not split hairs over the specific category of Toei films and slightly different ones with a female lead. The term I see used is “Pinky Violence.” Pinky coming from having female leads and being very sexually charged affairs. Toei needed to do something to compete with more Western movies making it over, so they opted for shock value and the way they went for it ended up giving us a pretty feminist genre. Not to say these were all jidaigeki which means “period drama.” There were a lot of modern ones I have yet to dive into heavily. Before Lady Snowblood Meiko Kaji gave us a really fun looking 6-part series called Stray Cat Rock for a great example. Machine guns, motorcycles, and LSD. They look awesome and check this aesthetic! I’m in love.

That knowledge does make me think of Nami and the early design with a missing arm. Jojo’s Stone Ocean as well while we’re at it. There’s also a fair number of Yakuza movies that fall sorta in between like the Red Peony Gambler (Hibotan Bakuto) series. It’s all a little nebulous if you want to get into the weeds. There’s a few different styles from a few different studios but make no mistake. These were popular movies in Japan. Big studios like Toei were churning them out as B movies to maintain relevance. Compete with television and Hollywood’s resources.  

Know what isn’t nebulous? Yeah...the hallmarks of the genre are big things we see out of Okiku’s role in Wano. The otherwise perfect lady with some little hook that means she isn’t “marriage material.” The whole arc of showing she can kick as much ass as any man but always reminding you of the lady playing the part. A big, big shared element is this core theme of taking down corrupt officials who abuse their power. Urashima the Yokozuna is exactly the type of guy who’d end up a villain in these. Sticking up for humble villagers, looking out for other women and children. Being the collateral damage of “great” men’s ambitions is what we tend to see over traditional fare like say, reinstalling a dynasty. I love the running theme of these being so much more local in scope. And Kiku gets that modern twist of her being trans for the “excuse.” I adore that in contrast to anime trends of needing to make an excuse for the deviance. My dead sister was the favorite, I went silly due to trauma, etc. This trope and trend of subversion is a big reason I love the mistaken bride idea. 

The more of these I see, and I’m friggin hooked these days, the more I see little bits and bobs that feel like they may have shaped our beautiful flower of Wano. And others! She’s a little more than a simple homage though. We do see the violence part pretty well for One Piece. Kiku gets the shit beaten out of her on Onigashima and it is gory by this manga’s standards. That’s where the modernization seems to be though. We tone down the sexuality for cute. Which isn’t that off base, the archetype in historical settings typically does have that innocent and sweet side. One Piece just isn’t the type of series you’re going to actually see things like making good on Tama’s intro of fleeing from being sold to the red light district. Even if it didn’t make it in the proper story, Kiku & Izo’s origin does flirt with that kind of content more than the series usually would. Hell, we do get Holdem torturing Tama and the series just fades to black on a similar spot for Tsuru. 

Wano made this genre feel familiar already. Snowblood loves it some anachronic storytelling, Red Peony sets up and ends films with a non-diagetic theatrical framing. Ohyaku uses a big simpleton to bust out of a prison camp. Speaking of, can I please get someone whipping a hair stick like a dart? That’s my favorite little signature from the Red Peony. Oryu in those is a fun protagonist played by Junko Fuji. That’s one of the more accessible series, less graphic than One Piece so far, and she plays with gender as a theme more. Proclaims to be a man but we always see deep down she’s still a lady that wishes she could have married the honest merchant’s son. Oh...and almost all of these ladies are total daddy’s girls like Kiku acts towards Kin. That whole series gets its own because there’s eight of them and they’re soooo good. 

Eiichiro Oda is a great writer and worldbuilder...but he’s actually pretty derivative. One Piece doesn’t break ground as much as refine the dominant genre when it started, even Rurouni Kenshin was more subversive for shonen. The more I see of these though, the more I see Oda just being this big kid who thought these old movies were so cool and couldn’t wait to rip into his samurai gang. Of course one of em if gonna be a little Junko Miyazono/Meiko Kaji being a fierce strong-willed lady of war. These movies are classic cool!

[basedkikuenjoyer]

And now, our finale. Part 8, Execution of Duty. We've watched Oryu the Red Peony grow through her initial trilogy as the film series grew into a defined, wicked cool tone. Parts 4 & 5 expanded the idea of what her story could be as an actual Yakuza leader. 6 & 7 meandered about taking more inspiration from the always present theme of industrialization, feeling more like an American Western. For Part 8, we're at the end. New writer, new director though the series has had a few of those. The consistent creator was the writer & director for #2 Norifumi Suzuki. All but this one...you know how that goes.

Yeah...Execution of Duty is easily my favorite. Best one by a mile. The story, centered around the succession of an old female family head Oryu admires, allows Junko Fuji to show a much softer side of the character for the early movie. It being one of her best performances in the role helps. Which makes it all the more awesome when the fight lets her be so much more savage than the rest. This time the hair stick dart goes in a dude's eye! Be warned, this one is more violent than the others but no SA really. No one's threatened with being sold to a brothel. Some primo shot choices too, love this little one in the battle where they just focus on Oryu's graceful footwork as she offs a bunch of mooks. There's also a great one for the lil traitor that goes out with a redemption. He gets the jump on Oryu, she spins and stabs him...then sees he was using the back of the blade. Beauty.

What a friggin swan song. I wanna talk about this concept more tomorrow, because it comes up somewhere else, but for an ending...I love it. We could have had a 9th part from here, after the first ones they're pretty episodic. Oryu's fine, no one died except the potential husbando but he always does. What I love though is we get this classic "walk into the sunset" moment. The local big boss has his men flank the streets so she can leave town peacefully. Big shot of how Oryu's commanding respect as her leitmotif plays...then the bloodied Oryu stumbles and falls for a moment. Having to protect her pride, get up and still walk onward. Such good stuff. What a ride.

[basedkikuenjoyer]

Next we have Part 7 of the Red Peony Gambler series, I'm Here to Kill You. A notably aggressive title. If the last two were the most Wano, this one's the most Rurouni Kenshin. It feels like it'd be the most polarizing too but I liked it. This time we're full bore on the theme of industrialization but it couches the Western tropes in a very, very Meiji mindset I recall seeing in Lady Snowblood. This time it's a factory polluting the farmer's water and citizens being drafted. Oryu's tackling government corruption this time, normally she's more local scale. First time we establish a clear timeframe because they're talking a lot about the imminent Russo-Japanese War. Also add that each one of these movies has been roughly a year of Oryu's life. She's just an infamous Yakuza by now.

I love this one, but aside from its premise it is kinda forgettable. Very fun twist in the third act with the official she's trying to meet. Torakichi saves the day. The environmental themes are very much ahead of their time and this one accomplishes a bit lighter of a tone. I also like seeing a series able to step back in length of the entries. The previous two did feel like they dragged a bit.