Blu-ray Review: RED PEONY GAMBLER I-III

Eureka Entertainment has been my cinematic passport to Asia for the past several years. After enjoying their Hong Kong output, I’m excited to explore Japan’s Yakuza genre with The Valiant Red Peony: Red Peony Gambler I-III available now on Blu-ray. While the first part of the series’ title seems a bit redundant in English, it’s a beautiful and elegant limited edition for collectors.

Ryuko Yano (Sumiko Fuji), known commonly by her nickname, ‘Oryu’ the Red Peony, is the de facto boss of a Yakuza clan under her father’s name, who was murdered some years ago. Oryu is on a path of vengeance which takes her on a journey to rival clans where tradition and corruption clash at the turn of the century.

Gambler I is an excellent film, and on its own justifies purchasing Eureka’s set. Modern audiences will no doubt pick up on some very heavy Tarantino vibes, mostly relating to Kill Bill Vol. 1. Oryu is a strong female character who is looked upon as an equal despite on occasion using a gun while her male peers adhere to the primary use of knives and swords. Taking place in the violent world of organized crime, the film is surprisingly free of any sexual assault towards our protagonist, which seems to stem from the universal respect that she commands; both as a member of the yakuza and for her renowned skills as a dealer in a traditional card game, which often serves as an equalizing measure during feuds.

Unfortunately, both Gambler II and III, while decent movies, are quickly produced sequels that recycle the same plot, but in a more generalized fashion, while often becoming a little silly with some characterizations. Oryu has become an emissary who deals with injustice towards the innocent by rival clans, who are growing more inclined to criminal practices of the West, even dressing like their American counterparts. However, all three films have the same narrative structure, with a climax that consists of a very pro-female ballad to our lead, followed by a deadly fight between heroes and villains, with Oryu leading the way with her trusty six-shooter.

Sumiko Fuji is a radiant presence as Ryuko Yano. She portrays a fearless and diplomatic heroine who travels regional Japan with her flowing hair blowing in a transcendental wind. Fuji personifies an almost spiritual aura of good nature and fairness.

SPECIAL FEATURES

Limited edition O-Card slipcase featuring new artwork by Grégory Sacré (Gokaiju) [2000 copies]
Original Japanese audio tracks (uncompressed LPCM mono)
Optional English Subtitles
Brand new audio commentary tracks on all three films
Tony Rayns on Red Peony Gambler – brand new interview with critic and Asian cinema expert Tony Rayns
Trailers
A collector’s booklet featuring new writing by Jennifer Coates (Making Icons: Repetition and the Female Image in Japanese Cinema, 1945–1964) and Joe Hickinbottom

Despite being the only featurette in this set, the interview with Tony Rayns is packed with insightful context and genuine adoration for the films in question. As such, the 20-minute supplement is a must-watch for viewers unfamiliar with the yakuza genre, as Rayns gives a much-needed historical breakdown of its origin and trajectory. Equally informative are the commentaries included for each film which, interestingly, are all conducted by different individuals. Unsurprisingly, the tracks are all unique and recommendable in their own way. However, shout out to Arne Venema and Mike Leeder for their hilarious recount of a real-life female yakuza member which can be found in the commentary for the second Red Peony film. – by Hannah Lynch

VIDEO AND AUDIO

Presented in 1080p – all three titles come from restorations of the original film elements supplied by Toei. They’re not the sharpest HD masters, however. In fact, relatively speaking, the 2.35:1 image is somewhat softened but free of any visible damage. The colour is certainly vibrant with opaque red blood, but the second film has a slight yellowish hue. LPCM 2.0 Mono is standard in terms of quality, but it does not lack volume, coming through aggressively loud in many instances, such as the opening credits.

The Valiant Red Peony represents an evolving genre in Japanese cinema, moving from traditional values to a more contemporary style that Hollywood capitalized on with the somewhat bridging title, The Yakuza. Visually, the films are marvellous, despite their stories lacking depth at times, and while not officially a trilogy, Eureka has made a wonderful set that will appeal to fans and curious newcomers.

THE VALIANT RED PEONY: RED PEONY GAMBLER I-III
(1968 & 1969, director: Kôsaku Yamashita, Norifumi Suzuki and Tai Katô)