Lobo Solitário - O Andarilho do Rio Sanzu

Título original: Kozure Ôkami: Sanzu no kawa no ubaguruma

1972
Not Rated
1 h 22 min

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Lobo Solitário - O Andarilho do Rio Sanzu (1972)

Adicionar um enredo no seu idiomaTrailed by a clan of female ninja, Ogami is paid to assassinate a clan traitor accompanied by three killers known as the Gods of Death.Trailed by a clan of female ninja, Ogami is paid to assassinate a clan traitor accompanied by three killers known as the Gods of Death.Trailed by a clan of female ninja, Ogami is paid to assassinate a clan traitor accompanied by three killers known as the Gods of Death.

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7,9/10

7,1 mil

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Curiosidades
The distinctive hats worn by the Gods of Death, are a traditional Japanese straw hat often associated with ronin. The style of hat is known as roningasa. 'Ronin' meaning masterless and wandering samurai, and 'gasa' meaning hat.

Erros de gravação
When Ogami and Daigoro are walking through the forest shortly before being attacked by Kurokawa and his ninja henchmen (around the 31:30 mark), cars can be seen driving by in the background on the left side of the frame.

Citações
Benma Hidari: [Ogami Itto has bested him and slashed him across the neck with a sword; blood is starting to flow from the wound, making a certain sound] My neck... my own neck... It sounds like it's wailing. My neck was sliced open diagonally. The cut wails like a cold winter wind. They call it "mogari-bue," - the whistle of a fallen tiger. I've always wished to kill someone, just once, and create such a fine cut and to sing this tune. Now I'm hearing it from my own neck. What a laugh.
[rolls over dead, with blood spurting out from his neck wound onto the sand]

Conexões
Edited into Ninja Assassino (1980)

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Avaliação em destaque

7/10

Blood and Gore, But Also Depth and Development

Disgraced former executioner Ogami Ittō continues his brooding storm through the Japanese countryside, his three-year-old son Daigoro along for the ride in a booby-trapped carriage. Now some distance into their march to vengeance, the pair have drawn so much notoriety that they risk ambush and assassination at every turn. It's not paranoia, either: Ogami dispenses with blade-wielding enemies at nearly every chapter break, downing at least two-dozen men and women before the film is through. The opportunity isn't abused. In true poppy '70s samurai fashion, each challenger (or cluster of challengers) wears a distinct identity and a unique fighting style, like a colorful garden of deadly blossoms. They all bleed day-glo red, though, often in a towering arc of spray that paints landscape and fallen comrade alike. In Baby Cart at the River Styx, for the first time, we see vulnerability from the master swordsman and a little headstrong personality from his young child. We also see uncertainty from a prominent rival, another first, and restraint in the midst of a bloodlust. Some of the fighting is a little awkward, and the formula is threatening to wear thin, but overall this represents a wonderfully stylish, entertaining continuation of the journey that was so well-established in the first film. An excellent genre-definer.