Shintaro Katsu became an icon playing the beloved masseur, gambler, samurai scamp Zatoichi. But, as times changed and more extreme tastes began to dominate Japanese cinema in the late 60's-early 70's, he tackled a very different role and his production outfit unleashed one of the most gritty and exploitation indulgent series in the history of chambara cinema. Ladies and gentlemen (especially the ladies) meet 'the longest arm of the law' Itami Hanzo.

Though it may sound like a throwaway pop culture reference, Itami 'The Razor' Hanzo is like a filthy dream combination of 'Dirty' Harry Callahan and John 'Johnny Wadd' Holmes. Like 'Dirty' Harry, Hanzo is a lawman who wants justice but must deal with rigid laws and corrupt superiors, therefore he's willing to bend and break the rules in order to right the wrongs that he sees. And, like Johnny Wadd, he's got a monsterous schlong and a rough (but pleasing) way with the ladies. It is like those two 70's male macho icons were transported to Tokugawa era Japan and embodied by a constable ready to fight, fornicate, and get results any way he can.

Sword Of Justice (1972)- Our introduction to Itamo Hanzo (Shintaro Katsu) begins at a ceremony where constables are being sworn in. Hanzo, who has avoided the ceremony the previous years he's been an officer, steadfastly refuses to take the oath because he cannot lie and claim to be uncorrupt when he works under a hierarchy that accept gifts (meaning "bribes") from merchants. Needless to say, this doesn't put him in the good graces of his bosses.

Through an informant, who Hanzo disfigures in order to disguise him, Hanzo learns of a supposed killer named Kanbei who has been seen around town despite the fact that the deposed samurai was sentenced to an island prison. Starting off by having his way with Kanbei's mistress, Hanzo begins to uncover a conspiracy that goes deep within the Inner Castle.

Directed by the master of the commercial samurai film, Kenji Misumi (Sword Devil, various Zatoichi's and Sleepy Eyes of Death films, as well as the bulk of the Lone Wolf and Cub series) , the first film in the Razor trilogy is a jaw dropper of wonderful sleazy weirdness. The character was created by manga author Kazuo Koike, who was also responsible for Lone Wolf and Cub and Crying Freeman. With an array of weapons up his sleeve, a booby trapped home, his prodigious member, and his bull-headed sense of justice and outrage against corrupt authority, Hanzo is an anti-hero not to be reckoned with.

The series presents one of the most transcendent perversions in samurai/70's celluloid. That is- the kink factor. After Sword of Justice opening scene, we witness a near nude Hanzo, his body a roadmap of scars, with his two comic lackeys (Onibi and Mamushi) assisting him in various self inflicted tortures. The sadist Hanzo uses his body as a test subject to find the line between pain and pleasure that he can later use against his criminal captives. He then goes though his penis strengthening ritual, which,... well, you just have to see it. When it comes to getting down with the ladies, it is either a deliriously beautiful scene where the camera is actually a psychedelic p.o.v. from inside his penis, or the hanging net torture sequence (a series staple) which I won't even begin to describe. Going into detail woudn't really help since when watching these scenes you can barely believe what you are seeing. It is these kind of gonzo curve balls that, along with the general hard edge, makes the series so great.

The Snare (1973, aka. Hanzo the Razor's Torture from Hell)- The film opens with Hanzo chasing a couple of bumpkins. His pursuit crosses paths with a samurai procession that is escorting the finance commissioner Lord Okubo. They take offence and Hanzo's insolent mouth lays the ground further for his possible punishment (even beheading). Back on the case with the panicked bumpkins, it seems the two were spooked after they found a dead girls body at the local watermill. Examining the body, Hanzo surmises that she was a city girl who died after she had an abortion. Hanzo's investigation leads him to a witchy abortionist and a temple of nuns who are selling off their students to sicko businessmen.

While I'm a huge fan of Kenji Misumi, who directed the first film in the series, director Yasuzo Masamura was a great choice to helm the second feature. Throughout the 60's he had established himself as a new wave provocateur with films like Blind Beast, Giants & Toys, and Manji. His cutting edge eye and commercial leaning ability was perfect for this kind of film. Continuing the 70's grindhouse brilliance of the series by delivering plenty of breasts, blood, and our hard-nosed lead character, The Snare is every bit as good as the first film.

Who's Got the Gold? (1974) aka. Haunted Gold)- Onibi and Mamushi are out night fishing near the town treasury and spot what they think is a female ghost. Hanzo investigates and finds the masquerading culprit as well as hollowed out bamboo filled with gold at the bottom of the river. As he puts her under his standard "interrogation" technique, a group of ninjas break in and kill the woman before he can get all of the information behind the stolen gold. The trail to the gold thief is long and convoluted, but basically Hanzo finds two esteemed houses are involved, not only in stealing the shoguns gold, but loaning out the bounty to poor samurai and then gleaning profits from the indebted.

The final entry is a bit different from the first two films. Directed by Yashio Inoue, who I cannot say much about based on his imdb resume, this film has a more steady narrative approach and while Hanzo remains his same badass self, it appears they made an effort to soften the ol' tough guy. The film has more comic touches and some buddy-buddy business between Hanzo and an in debt samurai named Heisuke. While still a very good film with a good story and rousing action, it has some repitition from the first two films and it softens the edge that made the character of Hanzo so distinctive. The selling point of the character was that he lacked a nice side, so this one is a decent affair that just isnt up to the previous films standards.

The DVD: Home Vision Entertainment

Picture: Anamorphic Widescreen. Nothing short of amazing. Home Vision has done a top notch job and you'd almost swear these thirty year old films came out last year. The prints are crisp and finely detailed. Though there is a spot or two here and there and some grain levels that do mark them as older films, overall, they are gorgeous. Colors are vibrant, revealing striking hues and healthy fleshtones. Contrast is nice and deep. Who's Got the Gold? leans a little soft, but the first two films are very sharp. Beautiful prints, technically sound, all around fantastic transfers.

On a little side note, back in the day, I bought the films on vhs from Animeigo, and I was always suspicious that the letterboxing was slightly cropped. Home Vision proves this too be true because their prints reveal more side information.

Sound: Mono Japanese language with optional English subtitles. The mono gets a good push and despite the limitations has some decent response. Dialogue is clear and the funky scoring (I swear the first films main theme stole a riff from Superfly) will get your booty movin'.

As far as the subtitles, here is a little comparison between the Animego vhs/laserdisc and the Home Vision DVD. From the closing credit song of Sword of Justice- Animeigo: "Eyes of fire that glare with anger. His veins, like bolts of rage, run right between his eyes... A mere constable fighting in the name of law and order. These are the Razor's words of anger" whereas the Home Vision version reads: "He glares, his eyes full of anger. The veins in his temples stand out... He's just a petty officer. Razor Hanzo's anger explodes." Home Visions subs are more formal, whereas Animeigo took the often more flowery, literal approach. It's an apples and oranges kinda' thing.

Extras: First off, we get some great packaging, but down to the actual discs it is pretty barebones. Every film has its own Liner Notes/Original Poster Art insert and Original Trailers.

Conclusion: What can I say? I'm a Japanese film fan. I'm an exploitation freak. And, I'm a samurai enthusiast. The Razor series has long been a favorite because it satisfies all three with gratuitous funky, bloody, kinky, badass aplomb. The presentation here is absolutely fantastic. Really that is enough- or should be- but it is a tad disappointing that Home Vison didn't go the extra mile in the features department. But, you get over that pretty quick because you get damn near pristine presentations of one of the best gonzo samurai series at a great price.