Vintage Pulp Jan 18 2014
WOLF PACK
The gangs that couldn’t shoot straight.


Furyô banchô: Inoshika Ochô, aka Wolves of the City, aka Wolves of the City: Ocho the She-Wolf was a significant hole in our Japanese actioner viewing résumé, but we solved that by watching the film a few days ago. In short, you get an amoral motorcycle gang in Nazi regalia pitted against evil Yakuza, with the tide eventually turning when the legendary hellion Ocho the She-Wolf teams up with the gang. The movie looks great. Yukio Noda’s direction—for the most part—is a marvel. He frames shots with six, seven, sometimes even a dozen interacting characters spread across the screen, yet it all seems effortless. Modern directors don’t seem remotely interested in using shots like these anymore, which is a shame, but it may also be a function of today’s screenwriters choosing to limit the number of characters who interact simultaneously. In any case, this is one thing we loved about the movie and we’ve shared some images of this technique below.

But Wolves of the City is a mixed bag. It relies upon numerous violent set pieces, but where the dialogue sequences feel so carefully thought out, the action is pure Keystone Kops. Because Noda continues framing large numbers of actors in single shots, his performers seem more intent uponhitting their stage marks than making these confrontations look realistic. They reach their required positions in the scenes, but these hardened gangsters handle pistols and machine guns as if they were rubber snakes, dealing a major blow to what should be the visceral thrill of such moments. By packing the screen during the gunfights Noda forces the audience to accept that nobody can successfully shoot anyone from five feet away. It feels very bang-bang-you’re-dead amateurish, complete with wounded gangsters clutching their chests, spinning around, and falling to the floor.
 
In the end the plot ushers us through various deals, deceptions, and shootouts, and you finally get the inevitable throwdown between the bikers and the Yakuza. This is the most unlikely sequence of all, with bikers motoring around none too swiftly inside a confined warehouse while still miraculously being missed by a hailstorm of screaming lead. But by now we know what we’re going to get and we just have to go with it. At one point Ocho puts out a gangster’s eyes and archly informs him (as if he can hear through the head-splitting pain), “You’re the seventeenth victim of Ocho of Inoshika’s eye attack!” This movie does attack the eyes rather beautifully, and if you look past the Vaudeville antics of the action scenes you may enjoy it. The panel length poster at top is rare, and as far as we know it’s the only one of its kind to be seen online. Furyô banchô: Inoshika Ochô premiered in Japan today in 1969.

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History Rewind
The headlines that mattered yesteryear.
October 19
1989—Guildford Four Exonerated
The men known as the Guildford Four, who were imprisoned for a series of bombs attacks on British pubs that left five dead and 100 injured, are decreed not guilty after an investigation reveals that police colluded in doctoring statements that appeared to incriminate the defendants.
October 18
1968—Olympic Committee Suspends Carlos and Smith
The U.S. Olympic Committee suspends African-American track & field athletes Tommie Smith and John Carlos for saluting the crowd with raised, gloved fists during a medal ceremony at the Mexico City games. The salutes represented the black power and civil rights movements in the United States. Both athletes also received their medals shoeless to represent black poverty.
October 17
1933—Capone Sentenced to Prison
Chicago organized crime boss Al Capone is convicted of income tax evasion after all other attempts to tie him to an assortment of crimes, from the mass murder of the St. Valentine's Day Massacre to widespread violations of the Volstead Act, fail. He is sentenced to eleven years in federal prison and, cut off from the outside world while on Alcatraz Island, his power is finally broken.
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