Bloodtype Online

    The final installment in Synapse Films’ Legends of the Poisonous Seductress series is Okatsu the Fugitive (1969).  This is in no way a sequel to Quick-Draw Okatsu, it just uses the same lead actress and gives her the same name.  Nobuo Nakagawa also returns as a capable director. 

    This is the most atmospheric of the Junko Miyazono revenge trilogy.  The plot is filled with fairly standard variations on honor betrayed and revenge killings, but the sets take a decidedly more stylized and ominous tone that fans of Jigoku will really appreciate, but more on that later. 

    This time around, Miyazono is the betrothed daughter of a wealthy, yet honorable man who uncovers the illegal tobacco trade causing so much pain and suffering in their village.  Turns out, his childhood friend is in charge of it all.  Being a reasonable man, he shares what he knows with his friend, demands that he stops, and promises to keep his mouth shut if his demands are met.  Of course, his friend flips out and has Okatsu’s father thrown in jail.  Seems that there is a written record of all the corruption and her father refuses to turn it over.  Soon, it’s a sadistic family affair.  Dad gets to spin on a water wheel while Okatsu and her mom watch.  He still won’t talk, so her mom is thrown into a jail cell with a bunch of inmates.  When her screams fail to loosen his lips, they threaten to have his daughter raped as well.  Okatsu doesn’t sit there and whimper though, she causes enough chaos to give her parents the opportunity to engage in a little murder-suicide, leaving her to face her fate alone. 

    Despite suffering horrible abuse, she is soon rescued by her fiancée, who vows to take revenge with her.  She declines his offer, choosing to act alone.  A wise choice because she can’t trust him either.  Seriously, all you need to know about life can be found in these revenge films: the government is corrupt, those closest to you will betray you (o be prepared) and never ever cross a woman with a sword.  Don’t get me wrong, gun fights are a good time, but imagine for one second the finely tuned hatred required to control a sword while you mow down loads and loads of subordinates, just to reach the ultimate object of your loathing.  That’s anger and it’s a beautiful thing. 

    Now back to the Jigoku connection.  Sure the two films share the same director, but some of the sets used on this film should really catch your attention.  The dungeon is dark, dank and seemingly buried deep under ground.  Then, there is the “bottomless swamp,” a very bad place to end up.  A gallows hangs directly over a very dark, misty pool of water, surrounded by ragged rocks and darkness and it definitely looks like it was pulled straight out of hell.  Good use is made of this, too.  If that’s not enough, look for Yoichi Numata in a small roll as a thug.  Even though he is best known for his role as the gleefully evil demon in Jigoku (and Sadako’s last living relative in Ringu 2), it was still a great surprise to see him here. 

    A great conclusion to a fine trilogy, ably released by Synapse Films. 

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Jennie Milojevic