Ghost of Yotsuya (1959)

Kenji Misumi’s 1959 gothic horror film The Ghost of Yotsuya is one of several film adaptations of a very famous kabuki play. Nobuo Nakagawa’s version came out in the same year so the two versions can easily be confused. There have in fact been countless film, television, manga and anime adaptations.

Iemon Tamiya (Kazuo Hasegawa) is a samurai down on his luck. He cannot find a position. He lacks the connections and the money needed to secure a decent position. He is a proud man but he is almost penniless and heavily in debt. He is basically a good honourable man but he is embittered by poverty and failure. Perhaps that clouds his judgment a little. His wife Oiwa (Yasuko Nakada) is ailing which adds to the pressures and the bitterness.

Iemon has become involved with some disreputable characters. He trusts them, which is a very foolish thing to do.

The loyal family servant Kohei (Jôji Tsurumi) is devoted to Oiwa. He is a good man but his devotion to his mistress may be just a little excessive. He would not think of doing anything dishonourable but his judgment my perhaps also be a bit clouded.

Oiwa’s health is failing. There is a medicine that could cure her but it is very expensive.

Iemon attracts the attention of Oume (Yôko Uraji), the beautiful young daughter of Lord Ito. Oume is in search of a husband. She has chosen Tamiya. The fact that he is already married does not deter her. She is a stubborn girl and she has become obsessed by Tamiya. She must have him.

Oume’s obsession grows. She is tempted to take drastic steps to separate Tamiya from his wife. Oume is headstrong and spoilt and selfish and she is a young girl carried away by love and lust. She might not be evil to begin with but she is vulnerable to temptation.

Iemon’s disreputable friends can see the potential for profiting from this situation.

The stage is set for tragedy.

In gothic horror the aesthetic is everything. If the aesthetic is lacking then any gothic horror film is worthless. The aesthetic is certainly no problem in Ghost of Yotsuya. This is a visually dazzling film. Like any good gothic horror film it was shot entirely in the studio and like any good gothic horror film is has a deliberately and exaggeratedly artificial look. The film was shot in colour so this is not the world of shadows of black-and-white gothic horror. This is a misty world of sickly disturbing colours.

The basis of the story was an 1825 kabuki play although the origins of the story go back much further in time than that.

The various film adaptations differ slightly. In some versions Iemon is much more of an out-and-out villain.

The problem for Daei studio was that Kazuo Hasegawa was a very big star. They were reluctant to have him play a mere villain. In Daei’s version Iemon’s character is softened somewhat. This actually woks quite well. He becomes almost a Shakespearian tragic hero, an Othello manipulated by the true villains. Iemon is no paragon of virtue. He is a bit of a fool. His bitterness has warped his character just a little. He is vulnerable to Oume’s seductive charms. He never becomes evil but his actions are unfortunate and have tragic consequences. And he is aware of his follies and is haunted not just by a ghost but by his own guilt about his cruel behaviour and his foolishness.

We feel some sympathy for him, and we feel a great deal of sympathy for Oiwa. She is not perfect. She is jealous and perhaps not sufficiently understanding of her husband’s frustrations but she is a woman who is horribly wronged.

It takes a long time for the supernatural elements to kick in but since we know that this is a ghost story that becomes quite effective. We can see the tragedy unfolding and we know that the ending will be disastrous.

The Ghost of Yotsuya is classic ghost story and it’s a classic Japanese ghost story that deals with themes of honour and ambition as well as jealousy and emotional betrayal. Highly recommended.

The Radiance Blu-Ray looks gorgeous (and this is a visually stunning movie in a weird fantastic otherworldly way). There are some decent extras.

The Radiance Blu-Ray set also includes the excellent The Snow Woman (1968).

The Snow Woman (1968)

The Snow Woman is a 1968 Japanese gothic horror movie.

The first thing to note is that in Japanese (and Chinese) folklore the supernatural is treated in a way quite different from western folklore. Ghosts are not necessarily malevolent. And ghosts are corporeal. They can have sex. They can fall in love. Getting involved with ghosts can be dangerous, but not always. The boundary between the natural and supernatural worlds is not clear-cut. There are supernatural entities that are vaguely similar to the old western idea of the land of faerie - these entities are not evil as such but they’re dangerous because although they can look human their motivations are entirely alien. Witches are not quite the same as westerns ideas of witches.

And of course there’s no Satan as such, and not quite the same obsession with evil. There’s obviously no trace of the Christian concept of sin. Evil exists, but it’s viewed in a slightly different way.

The supernatural world can be tricky to deal with. It has to be approached with caution.

The setting is presumably some time during the Tokugawa Shogunate. It is certainly some time in the past. The Snow Woman begins with two men caught in a snowstorm in a forest. Shigetomo is a master sculptor. Yosaku (Akira Ishihama) is his pupil. Yosaku lives with Shigetomo and his wife. They are more or less his adoptive parents.

The two men are looking for a particular tree, a very special tree. From this tree Shigetomo will sculpt a statue of a goddess for a temple.

They encounter the Snow Woman. She is a supernatural creature although it might be an oversimplification to describe her as a witch. Yosaku survives the encounter. The Snow Woman thinks he’s so handsome that she cannot bear to harm him.

Shortly afterwards a very pretty young woman turns up at Shigetomo’s house. Her name is Yuki. It’s quickly obvious that Yosaku and Yuki are falling in love.

They get married and have a son.

On their wedding night Yosaku notices one odd thing about her. She is very cold. Not cold emotionally or sexually. She is a very loving wife. It’s just that her skin is strangely cold.

Of course we, the audience, know Yuki’s secret. She is, in some sense at least, the Snow Woman. She is not human. Or perhaps she is both a supernatural being and a human woman. During that encounter in the snowstorm she fell hopelessly in love with Yosaku. But she made a bargain with him, and part of the bargain was that he would remember nothing about that night.

Yosaku has been given the commission for that goddess statue that Shigetomo was supposed to carve. The commission has also been given to a rival sculptor. This is due to the machinations of the wicked Lord Jito. The sight of Yuki has awakened Lord Jito’s lusts. He will stop at nothing in order to have her. To achieve this he intends to destroy Yosaku.

Yuki must find a way to save herself and also her husband and herself.

The Snow Woman is a yōkai. These supernatural creatures can be malevolent, they can be benevolent or they can be neutral. Sometimes they’re merely mischievous. Sometimes they’re deadly. The Snow Woman in this movie is also somewhat vampiric.

The Snow Woman in the film does not just take on the physical form of a woman. She develops a woman’s emotions. We assume that in some way this is due to the power of love.

By 1968 filmmakers in Japan (and indeed in all countries) had developed astonishing skills in cinematography, lighting, makeup and practical effects. Skills which are now mostly lost. To do a remake of this movie today you would have to use CGI and it simply would not look as good.

Everything looks unreal, otherworldly and mysterious which is of course exactly right.

The Japanese were particularly good with makeup effects and the makeup work here is superb - it conveys an other-worldly feel without being in the least crude.

This movie was based one of Lafcadio Hearn’s retellings of Japanese ghost stories. If you haven’t read Lafcadio Hearn do so immediately. You will thank me. Start with Kwaidan.

This is a horror story, of sorts, although quite different from western horror films. Don’t expect non-stop thrills and gore. This is also a supernatural love story. Very highly recommended.

This film is included in the Radiance Film Japanese gothic horror Blu-Ray set. The transfer is immaculate.

Belladonna of Sadness (1973)

If you go into Belladonna of Sadness expecting the kind of anime movie you’re accustomed to you’ll be confused and disappointed. This is not even remotely similar to what we now think of as anime. In fact it’s not even a true animated movie. It’s partly animated but relies to a huge extent on still images.

Belladonna of Sadness was released in 1973. It was made by Mushi Production, an important company in the early history of anime. They made many of the best-known 1960s anime TV series, such as Astro Boy. Belladonna of Sadness was the third in Mushi’s Animerama series of adult-oriented anime feature films. All three films were commercial flops and the box-office failure of Belladonna of Sadness pushed the studio into bankruptcy.

It has something of a fairy tale feel, at least superficially. It’s based on Jules Michelet’s 1862 history of witchcraft, La Sorcière.

The setting of the movie is France in the Middle Ages and it reflects Michelet’s virulent anti-Catholic anti-monarchy views. Jean, a simple farmer, and Jeanne are about to be married. The wicked lord deflowers Jeanne (reflecting the popular but entirely false myth that feudal lords had this right). Jeanne responds by calling on Satan, although when he appears Satan tells her that he’s already inside her. Satan is like a cute little floating penis.

With Satan’s help Jeanne prospers but her wealth makes her unpopular with the people and attracts the jealousy of the lord’s wife. Jean becomes a wealthy tax collector and an alcoholic. Jean and Jeanne experience lots of ups and down until finally the movie just devolves into bad acid trip territory.

Finally we get a kind of bizarre nightmare orgy scene which is rather hair-raising.

To me Belladonna of Sadness doesn’t feel the slightest bit Japanese (which might explain why Japanese audiences didn’t bother seeing it). It’s clearly heavily influenced by European art cinema and by all kinds of counter-culture elements such as American underground comics.

This is a psychedelic freak-out movie. It’s not a movie, it’s a happening. Can you dig it?

There is a plot. The plot is not terrible. It’s your basic selling your soul to the Devil and getting mixed up in witchcraft kind of plot.

You can tell that the visual artists involved were real artists because so much of the artwork is incredibly crude and ugly and looks like it was done by a deranged five-year-old. Overall this is a movie that looks hideous. A large part of the problem is that that late 60s arty aesthetic has not worn well. The 60s aesthetic is terrific when it’s done with wit and style in a very “pop” way but when it’s done with serious arty pretensions it can be cringe-inducing.

The frustrating thing is that there are some very good visual moments. It does have to be said however that those moments are very hippie-dippie.

This movie uses a variety of animation techniques and only uses traditional cel-and-ink animation sparingly. It’s all very experimental and avant-garde.

It’s a movie that is quite divisive. Some people think it’s a masterpiece. Some people think it’s an embarrassing train-wreck. I lean more towards the embarrassing train-wreck theory. It is at times an interesting train-wreck. I tend to like movies that are interesting failures but this one really didn’t grab me. Maybe I just wasn’t in the right head space man.

This is a movie that was for many years little seen although despite legends to the contrary it was never a lost movie.

If you want to see this movie through to the end I’d advise getting in a large supply of mind-altering substances. Then you’re really be able to groove to it. Maybe. I can’t really recommend seeing this movie but I’d be reluctant to advise people not to see it. All I can say is that if it sounds like the sort of thing you enjoy then see it but if it sounds like the sort of thing you won’t enjoy then don’t see it. Belladonna of Sadness is just not my cup of tea.

The Discotek Blu-Ray offers a nice transfer with a number of extras. The audio commentary includes a lot of fascinating information about the tumultuous history of Mushi Production and the movie’s troubled production history.

Evil of Dracula (1974)

Evil of Dracula, released in 1974 by Toho, was the third instalment in Michio Yamamoto’s so-called Bloodthirsty Trilogy.

It begins with Mr Shiraki (Toshio Kurosawa) arriving to take up a post at a small girls’ school in a remote rural locale. Some odd things seem to be happening. A couple of days earlier the principal’s wife was killed in a car crash. She was with another man, not her husband. The principal is keeping her body in the cellar. He assures Mr Shiraki that that is the local custom.

One of the girl has disappeared. Apparently that’s a common occurrence. At least two girls vanish every year. It’s just one of those things. Nobody worries about it.

Mr Shiraki has an encounter with a half-naked woman who tries to attack him. She has fangs. But he thinks it was just a dream. It had to have been a dream.

He knows he shouldn’t but Mr Shiraki sneaks a look at the corpse of the principal’s wife. She bears a striking resemblance to the woman in his dream.

The local doctor, Dr Shimomura (Kunie Tanaka), tells Mr Shiraki about the local legends concerning vampires, dating back to the shipwreck of a European sailor two centuries earlier.

The doctor has his suspicions that the vampire legends might contain some truth. Perhaps the schoolteacher who ended up in the lunatic asylum might know something. Dr Shimomura thinks the teacher had a mental breakdown after finding out something shocking.

One of the girls at the school, Kumi (Mariko Mochizuki), has developed a major crush on Mr Shiraki. And one of her friends was found passed out, with strange puncture marks on her breast. Mr Shiraki is certainly convinced that he is dealing with vampires.

And Kumi and her friends are in danger. This vampire targets schoolgirls. We will eventually find out why.

Mr Shiraki’s only reliable allies are Dr Shimomura and Kumi. They’re not sure how many vampires they are up against. There’s a male vampire and there seem to be several lady vampires. The odds don’t look too good. And nobody is quite sure how to deal with vampires anyway.

The plot is a fairly stock-standard vampire movie plot. Michio Yamamoto is not trying to do anything ground-breaking. He does manage a reasonable amount of spookiness.

Putting vampires into a Japanese setting does provide some interest. There are plenty of suitably gothic visuals, with a Japanese flavour.

The male vampire looks a bit silly but the lady vampires look great - subtle creepy makeup that still makes them look sexy and seductive.

This movie adheres pretty closely to established western vampire lore. Which is a bit disappointing - a few more distinctively Japanese touches would have made things more interesting.

There’s no shortage of attractive women. There’s virtually no nudity (a couple of glimpses of nipples). There’s no gore. This is a rather old-fashioned horror movie for 1974.

The acting is adequate. Michio Yamamoto does not exactly do an inspired job as director but he’s competent.

Evil of Dracula is the weakest film in the trilogy. Vampires were an unusual feature in Japanese gothic horror in the 60s and 70s although they became slightly more common in anime movies and TV in the 80s and 90s.

Arrow have released all three movies in the Bloodthirsty Trilogy in a nice Blu-Ray boxed set with lovely transfers.

Evil of Dracula would not be worth purchasing on its own but it’s maybe worth a look if you’re buying the boxed set anyway.

I’ve reviewed the two earlier movies in the trilogy, The Vampire Doll and Lake of Dracula.

Genocide (1968)

In the late 1960s Japan’s Shochiku studio made a short-lived and rather tentative attempt to break into the booming market for science fiction, horror and monster movies. Four of these movies are included in Criterion’s Eclipse Series 37 DVD boxed set When Horror Came to Shochiku. While it’s a cool name for a boxed set it’s a tad misleading since these movies are certainly not typical late 60s horror films. They all combine horror and science fiction in weird and wonderful ways.

Genocide begins with a swarm of insects causing an American B-52 bomber to crash into the sea near Kojima Island, just off the coast of Japan. The three crew members survive and reach the island. The B-52 was carrying a H-bomb.

The crash was witnessed by Joji (Yûsuke Kawazu), a young Japanese guy who collects insects for a scientist. At least his gorgeous young wife Yukari (Emi Shindô) thinks he’s collecting insects. Actually he’s canoodling with a blonde named Annabelle (Kathy Horan).

The Americans really want to find their H-bomb. They do find the three crew members but two are dead and the third, Charly, has lost his memory (we later find out he’s lost his mind as well).

Joji is now under suspicion of murder. Yukari knows about the blonde and she’s not happy about it but she still loves Joji. She appeals to Dr Nagumo (Keisuke Sonoi) for help. Nagumo is the scientist for whom Joji collects bugs. Nagumo is keen to help.

So far it all makes sense, doesn’t it? Well it won’t make sense for long. Dr Nagumo is already disturbed by reports from around the globe of strange insect behaviour.

Dr Nagumo is more worried after he’s visited the cave in which the American airmen took shelter. He’s also worried about Charly’s condition. Charly has been seriously spooked by something. He is now terrified of bugs.

The bugs are definitely behaving oddly but there are humans on the island who are up to mysterious and possibly wicked things as well. At this stage we have no idea what they might be up to or which of the people on the island might be involved.

There are quite a few people acting strangely. There’s the creepy guy at the hotel. Maybe he just wants to get into Yukari’s pants but maybe he has another agenda as well. We know that Joji has been covering up his torrid love affair with Annabelle. He could be covering up other things. Dr Nagumo seems like a nice guy but we can’t discount the possibility he might turn out to be a mad scientist. We’re a bit suspicious of Annabelle. And the Americans get rather evasive when they’re asked about that H-bomb.

Up to this point the movie’s craziness level is in low gear but it will soon be kicked into overdrive. The motivations of the various characters are totally nuts. The nature of the mysterious happenings on the island turns out to be bizarre.

And then we get a full-blown psychedelic freak-out sequence.

The acting isn’t very good but it’s appropriate to the demented subject matter and I rather enjoyed Kathy Horan doing the dangerous blonde thing as Annabelle.

The special effects (and especially the miniatures work) are definitely iffy. That doesn’t matter in such an insane movie. It just adds to the fun. And some of the effects with the insects do work.

The plot is gloriously silly but you have to admire its boldness. Who says movies have to make sense?

Genocide is a wild crazy ride. The pacing is excellent. The craziness doesn’t let up. Thankfully there’s no comic relief. There’s an anti-war message but it doesn’t become tedious. There’s delightfully off-the-wall pseudo-science. It combines horror, science fiction and spy film elements. Genocide is just pure enjoyment. Highly recommended if you love insane psychotronic movies.

The DVD transfer is very good. So far I’ve watched three of the movies in the boxed set. The X from Outer Space (1967) and The Living Skeleton (1968) are both goofy fun while Goke, Body Snatcher from Hell (1968) is delightfully deranged.

The Living Skeleton (1968)

In the late 60s Japan’s Shochiku studio made a short-lived and tentative attempt to break into the booming market for science fiction, horror and monster movies. Criterion’s Eclipse Series 37 DVD boxed set When Horror Came to Shochiku includes four of the movies made at Shochiku at that time. When Horror Came to Shochiku is a cool name for a boxed set but a bit misleading since these movies are not quite what one would think as typical late 60s horror films.

The Living Skeleton (Kyûketsu dokuro-sen), made in 1968, is one of these four movies.

You have to bear in mind that this is not a low-budget independent film. It was made by a major studio, with the resources of a major studio. It was made by people who had learnt their craft in a studio system. They were professionals. They knew how to make movies. It has a certain amount of major studio polish.

The Living Skeleton opens in fairly spectacular style. A freighter, the Dragon King, has been captured by pirates. The setting is contemporary - it’s worth remembering that piracy still goes on today. These pirates are particularly ruthless and the crew and the handful of passengers are massacred.

Three years later we meet a young woman named Saeko (Kikko Matsuoka). She lives in a small Japanese costal town. She is an orphan and along with her identical twin sister Yoriko was more or less raised by the village priest. He’s a Catholic priest - Japan has a large Catholic community.

Saeko is a nice girl but she has been troubled since her twin sister disappeared. The sister is assumed to have been drowned when the freighter on which she was travelling went down in a typhoon. Of course the audience knows that the twin sister was killed by those pirates.

Saeko has a boyfriend, Mochizuki (Yasunori Irikawa). He’s a decent guy and they plan to get married.

They go scuba diving and see something unexpected - skeletons.

Later they see a ship. Not on the bottom of the sea, but afloat. Maybe it’s the ship on which Yoriko met her fate. Saeko wants to reach the ship, she does so, and she is disturbed by what she finds.

Then things get spooky for a bunch of people all of whom have something to hide. What they have to hide is connected with the events on board the Dragon King.

Viewers will have their suspicions about what is going on but it may not be so simple.

This is one of those movies that plays around with genre. You think you know what kind of movie it is and then you start to think it’s not that sort of movie at all. And then you find yourself thinking it could belong to any one of several genres. Is anything supernatural going on? Certainly strange creepy things happen. We’re kept guessing. Maybe we’ll get a definite answer at the end. You’ll have to watch the movie yourself to find out.

There are some nicely crazy plot twists.

There’s a touch of ambiguity to at least one major character. We might understand a character’s motivations without entirely approving of the actions to which those motivations lead.

We have to talk about the special effects. There are some very obvious miniatures shots. I don’t mind that. In fact in a movie such as this where you’re not always entirely certainly that everything you see is real or truthful obvious special effects can be an asset. There are some really ambitious effects shots and they’re often quite effective and disturbing.

This film was shot in the ’scope aspect ratio in black-and-white, a combination I always find rather appealing. The cinematography is suitably moody.

This movie has a lot of the qualities you expect in a horror exploitation movie combined with some genuinely unsettling atmosphere. It has some outlandish moments and a few crazy moments.

Overall The Living Skeleton is entertaining with enough weird touches to make it a cut above average. Highly recommended.

The DVD transfer is very good. So far I’ve watched three of the movies in the boxed set. The X from Outer Space (1967) is goofy fun while Goke, Body Snatcher from Hell (1968) is delightfully demented.

Lake of Dracula (1971)

The Japanese vampire movie Lake of Dracula, released in 1971, is the second movie in what became known as the Bloodthirsty Trilogy. It is not a true trilogy but it does comprise three gothic horror movies made in quick succession by the same director (Michio Yamamoto) for the same studio (Toho) and all dealing with vampires. They’re three entirely separate movies with no direct links to each other.

It begins with a little girl having a dream in which she loses her dog. At least she (and the audience) assume it’s a dream. It’s not really a very terrifying dream, although perhaps she doesn’t remember the terrifying parts. We then jump forward a number of years. The girl, Akiko (Midori Fujita), is now a young woman living with her younger sister Natsuko (Sanae Emi). They live in a cottage on the shores of Lake Fujimi. Akiko has a boyfriend, a young doctor Takashi Saeki (Chôei Takahashi). He’s a really nice guy. Both girls are very likeable girl. We care about them. They’re typical cheerful bubbly young women.

Akiko cannot forget the dream. It has driven her to produce a disturbing painting of a hideous eye.

A large crate has just been delivered to Akiko’s neighbour’s house. The crate contains a coffin. The neighbour’s servant Kyûsaku is unwise enough to open the coffin.

Akiko by now has another dog and it runs off just as did the dog in the dream. It runs off into the woods, and while Akiko is searching for it Kyûsaku tries to rape her. This is very surprising. Kyûsaku is a very gentle soul.

Another young woman is found near the lake. She is barely alive and has lost a lot of blood. She has puncture wounds on her neck. Dr Takashi Saeki has slim hopes of saving her.

Akiko becomes increasingly frightened. She has seen a strange man hanging around the neighbour’s house. There were the incidents in the woods wth the dog and with Kyûsaku. And Natsuko is behaving rather strangely.

There’s no mystery that there is a vampire abroad and Akiko and her boyfriend eventually figure that out.

The plot doesn’t hold many surprises but atmosphere is what matters in gothic horror and this film has a nicely spooky atmosphere that is achieved in a nicely low-key way. The vampiric transformations are handled well. When someone is vampirised they don’t look much different, in fact most people would not notice anything strange about them other than the fact that they look rather pale. The main clues lie in slight changes in behaviour.

Sanae Emi handles this very expertly. She plays Natsuko as a normal cheerful very likeable young woman and as a vampire she is subtly menacing and seductive in an unsettling way.

This is very much a western vampire story in a Japanese setting. And yes, Dracula himself does play a part albeit indirectly.

It’s not a particularly terrifying movie but I’ve never thought that gothic horror movies were supposed to be terrifying. Or at least they’re not supposed to trade in straightforward physical terror. They’re about the dread of the unnatural, the dread of evil. In a thriller or a slasher movie we’re afraid that the hero or heroine will be killed. In a vampire or a werewolf film we’re worried that he or she will be transformed into a thing of evil. It’s the fear of eternal damnation rather than death. To some extent that’s true of witchcraft movies as well. The witch might not just kill you. She might curse you for all time, and curse your descendants.

From around 1970 to 1972 was an interesting period for the vampire film. In various countries filmmakers were all coming up with the same idea - to revitalise the genre by moving the vampire into contemporary setting. In France there was Jean Rollin’s The Nude Vampire (1970), in Spain there was Jesus Franco’s film Vampyros Lesbos (1970), in Britain Hammer’s Dracula A.D. 1972 (1972), in the U.S. Count Yorga, Vampire (1970) and The Velvet Vampire (1971). It’s intriguing to find that the Japanese were working along the same lines at the exact same time.

Lake of Dracula is enjoyable if you don’t set your expectations too high. Recommended.

Arrow’s Blu-Ray presentation is excellent. I’ve also reviewed the first film in this trilogy, The Vampire Doll (1970). It’s rather more interesting than Lake of Dracula.

Blood Shadow (2001-02)

Blood Shadow is an anime OVA from AT-2 Project comprising three episodes released in 2001 and 2002, directed by Nao Okezawa. I believe it has also been released as Crimson Lotus and Red Lotus. It was based on the PC game Guren.

The setting is Japan during the Tokugawa shogunate (1603-1868). A brigade of elite warriors has been established to fight demons. They are the Crimson Lotus and they are answerable only to the shogun. They have been trained since childhood. They have all kinds of ninja skills as well as demon-hunting skills. Since this is anime you won’t be surprised to learn that most of the members of the Crimson Lotus are very cute young women. Their leaders are a young man named Rekka and a slightly older woman, Tsukikage. Tsukikage was Rekka’s mentor and he sees her as a kind of big sister.

The other members of the Crimson Lotus are girls, Misako, Akane and Ayano.

I’ve been able to find out very little about the production history of this anime. It seems to be regarded as rather disreputable and is often dismissed as mere hentai. Technically this is hentai. It includes hardcore sex scenes. I think it’s a little unfair to dismiss Blood Shadow as nothing more than hentai. There’s plenty of action and plenty of horror content. I’d call it erotic horror with both the erotic and horror elements being reasonably extreme.

Episode 1, The Demons, introduces us to the hero Rekka and Tsukikage as they are battling a particularly troublesome demon. Tsukikage sacrifices herself to save Rekka.

During another fight with demons Rekka encounters Haruka. She’s a sweet girl but she’s not entirely human. She has some demon blood, and she hates herself for this. She is shocked when Rekka wants to have sex with her - how could a man want to make love with a girl tainted by demon blood? She expects him to be repulsed by her but it turns out that they both enjoy themselves a great deal. Haruko is recruited into the Crimson Lotus.

They also hear a rumour of a mysterious group known as the Black Steel.

In Episode 2, Darkness, their mission is to persuade the legendary demon huntress Kureha to join the Crimson Lotus. At first she’s not interested but eventually she relents. There’s another mission as well - to destroy a powerful demon named Burai who preys on women.

They discover that the Black Steel (or Kagemai) is another demon-hunting group, but they seem more ruthless and perhaps more morally ambiguous than the Crimson Lotus. Rekka has by now made a discovery - not every demon is evil. That’s not just because of Haruko.

Rekka and Kureha also make a discovery - a hard day’s demon-hunting puts them both in the mood for a bit of bedroom fun.

Things get much more crazy in Episode 3, Laughter, as Rekka starts to figure out what is really going on. There’s evil afoot but the evil is much more complicated and twisted than he’d thought. Key characters will find out things about themselves. There have been betrayals by powerful people. Certain forces have been unleashed.

Blood Shadow is a pretty decent horror tale with lots of demonic mayhem and rivers of blood.

The idea of sex-obsessed demons isn’t really all that outlandish. Sex demons (such as succubi and incubi) are an important feature of many folklores and let’s face it every vampire story is to some extent about sex.

Whether you enjoy Blood Shadow or not depends entirely on how you feel about depictions of graphic sex and how you feel about hentai. If you can handle some of Jess Franco’s more extreme blendings of sex and horror (such as Female Vampire and Doriana Gray) you should be able to handle this. While it’s certainly scuzzy I think hardcore scenes are easier to take in anime form than in live-action form. The erotic content is part and parcel of the story here. But if you really don’t care for hardcore scenes you might not enjoy this anime.

I thought Blood Shadow was not outstanding but still pretty good. I recommend it, with the caveats alluded to above.

Blood Shadow has been released on Blu-Ray by Critical Mass. It offers the Japanese language version with English subtitles, and for those masochistic enough to want to watch anime in an English dubbed version that option is offered as well. The transfer is excellent.

The Vampire Doll (1970)

The Vampire Doll is a 1970 Japanese horror movie, the first in what became known as the Bloodthirsty Trilogy.

Kazuhiko Sagawa (Atsuo Nakamura) has been overseas for six months. As the movie opens he is on his way to see his fiancée Yûko Nonomura (Yukiko Kobayashi). He will be staying at the home of the Nonomura family in the country for a few days. He arrives only to be told by her mother that Yûko was killed in a car accident two weeks earlier. He is of course devastated. That night he thinks he sees Yûko but of course it must have been a dream.

The focus of the film now switches to Sagawa’s sister Keiko (Kayo Matsuo). She’s worried that she hasn’t heard from her brother. Keiko and her boyfriend Hiroshi (Akira Nakao) decide to drive out to the Nonomura home to make sure that Sagawa is OK.

What they find there makes them just a little uneasy. Yûko’s mother seems a bit evasive. Keiko finds a doll that Sagawa has bought for Yûko as a present. The doll has been smashed, which seems odd. Keiko and Hiroshi are not exactly alarmed but they’re not entirely satisfied, and they’re worried that they have found no trace whatsoever of Keiko’s brother.

And they hear some slightly disturbing stories about the Nonomura family.

Something very bad happened in the past and it may be the key to what is happening now.

Speaking to Yûko’s doctor increases their unease.

What does alarm them is seeing Yûko.

The story develops in much the way you would expect a gothic horror tale to develop, with a few significant differences.

Keiko and Hiroshi start to suspect that something bad has happened to Sagawa, and that they might be in danger as well.

There’s also the Nonomura family servant, Genzo. He has a habit of attacking people and gives the impression that he sees himself as defending the Nonomura family.

This is a Japanese horror film with an unusually strong western influence. Vampires are part of the western gothic horror tradition. Vampires as such are not really a feature of Japanese folklore. The Japanese (and Chinese) concept of the supernatural is much more focused on ghosts but Japanese ghosts are not quite like western ghosts. They’re corporeal rather than being disembodied spirits.

There is a vampire in this story but in many ways this vampire is more like a ghost than a western vampire.

A lot of the familiar elements of the vampire myth are missing in this movie. There are no crucifixes or holy water and no mention of garlic. There are no mentions of stakes through the heart. The vampire does not sleep in a coffin.

Crucially this vampire does kill but does not drink blood. Blood is not the motivation for the killings. Revenge is the motivation. And revenge is the motivation you would expect of a ghost.

My impression is that this is essentially a ghost story with the apparent western influences being entirely superficial. Vampires were a big thing in western pop culture and the Japanese have always been very aware of trends in western pop culture. The Japanese have always been willing to absorb western pop culture influences but somehow Japanese pop culture remains Japanese pop culture. In this movie the vampire elements are like a seasoning but the main dish is a Japanese ghost story.

Director Michio Yamamoto provides some gothic trappings but doesn’t overdo them. He is not trying to make this movie look like a Hammer horror film. It has a certain Japanese aesthetic austerity.

The vampire makeup is also not overdone but it’s effectively creepy. There’s one brief gore scene but overall this is a movie that relies on creepy atmosphere rather than gushing blood.

The Vampire Doll manages to be a rather interesting slightly unusual vampire movie and on the whole it works. Highly recommended.

The Arrow release offers a nice transfer and there’s an appreciation by Kim Newman which is, as you would expect, informative and entertaining.

Vampire Hunter D (1985)

Vampire Hunter D is a 1985 science fiction/horror anime feature film.

Vampire Hunter D: Bloodlust, released in 2000, is rightly regarded as one of the great anime movies and certainly one of the most visually stylish and flamboyant anime films ever made. In fact it’s one of the most visually stylish and flamboyant movies of any type ever made. It is a sequel to the 1985 film.

When approaching the 1985 film you do have to take that fifteen-year gap into consideration. This was several years before Akira established anime’s first firm foothold in English-speaking markets. Even in Japan in 1985 the idea of anime aimed at adult audiences was fairly new. Anime film-makers were just starting to explore the thematic and aesthetic possibilities this would open up.

Vampire Hunter D was made as an OVA (basically direct-to-video but without the negative connotations this has in western countries) and later released theatrically. Director Toyoo Ashida did not have anywhere near the budget of the 2000 film. The 1985 movie simply cannot match the visual magnificence of the 2000 sequel.

On the other hand, given its budgetary limitations, the 1985 film is visually quite impressive. At the time it was certainly visually impressive. There are some striking images and the first appearance of D is memorable.

Like the 2000 film this one mixes familiar gothic horror tropes with Wild West elements. It is however not quite the Wild West of American westerns. It’s closer to old Mexico, or perhaps to Spanish California. In fact it’s set 10,000 years in the future so this qualifies as a post-apocalyptic sci-fi movie as well as a horror movie. The hints of the Wild West are there to add coolness, which they do.

Doris Ran is a formidable young lady who is quite prepared to take on werewolves. Vampires however are out of her league. Only a specialised vampire hunter can hope to take on a vampire.

And Doris has a problem. She was bitten by Count Magnus Lee, a vampire. This means that henceforth she will be regarded with fear and suspicion by the other villagers. It seems to her to be an extraordinary piece of good fortune when she encounters a vampire hunter, known only as D.

She knows she will have to pay him. She has no money but she hopes that he will accept the use of her body as payment (the incorporation of such adult concepts in anime was still quite ground-breaking in 1985). D does not take her up on her offer but he agrees to work for her anyway.

Before he even gets near the Count D will have to battle his terrifying supernatural minions.

The Count is not simply out for victims for the sake of their blood. He is 10,000 years old. He gets bored. He needs amusement. Marrying a human girl should provide plenty of amusement. It’s not specifically stated but it is implied that vampires are very attracted to human women. He has chosen Doris to be his bride. Doris is of course horrified. She would choose death rather than succumb to the embraces of a vampire. That’s why she hired D - to save her from such a fate.

There are some twists that make this more than just a conventional vampire tale. D is a dampiel, the offspring of a vampire father and a human mother. He has a vampire side to his nature, which sometimes asserts itself in disturbing ways. There is another dampiel in this story but I’m not going to give away a spoiler.

There are conflicts with the aristocratic vampiric Lee family. There is tension between the Count and his vampire daughter Ramica. There are conflicts within the human population of the village as well.

These conflicts and divided loyalties will pose problems for D, and he has his inner conflict between his human and vampire sides to worry about as well.

Interestingly this movie was based not on a manga but on a series of novels by Hideyuki Kikuchi. It was later adapted into a manga. The character design for D was retained almost exactly for the 2000 movie.

One fascinating thing about this movie is that it deals with a subject that is a crucial ingredient of Bram Stoker’s Dracula novel but which is often rather glossed over in western vampire movies - the class issue. In Stoker’s novel Dracula is seen as a particular threat because he represents the power, glamour and seductiveness of the decadent aristocracy. Dracula’s opponents are solidly bourgeois. In Vampire Hunter D the vampires represent a decadent oppressive (but glamorous) aristocracy which preys on the poor and the middle class.

There’s plenty of violence and gore and there’s some nudity. There’s no shortage of adult concepts. Vampirism in fiction and movies is usually a metaphor for sex but in this case the sexual motivations of vampires are made much more overt.

The overall concept is brilliant, the world-building is done effectively and economically, there’s lots of mayhem and for a low-budget production the visuals are stylish and imaginative. Highly recommended.

Happily the Urban Vision DVD includes the Japanese language version with English subtitles. In general the English-dubbed versions of 80s and 90s anime should be avoided like the plague. There’s also been a Blu-Ray release. One thing that should be noted is that some of the character names are totally different in the subtitled version compared to the English dub.