I assume that the Koike Lupin film trilogy is subject to Tarantino cross-comparisons frequently, so let's be a bit contrarian with discussing the jidaigeki genre. Perhaps the genre has been dumbed down to the delayed causality trope due to the likes of anime sword fights and fedora and katana-donning weeaboo meme, but their presences are monumental. The crossroad in this discussion lies at the duel samurai finale sequences. Nothing better encapsulates build-up, tension, pay-off and base violence more often than these jidaigeki staples. Of course, subtexts enrich these fights, speaking in place of the silent tension, clashing of steel or savage screaming. However, I don't believe that subtexts necessitate complexity or provoking commentary, such as Hara-Kiri's anti-samurai sentiment. My overall point being that Goemon's Blood Spray doesn't possess profound subtext, and it's great.
Accompanied by Jigen's Gravestone and Fujiko's Lie/A Woman Called Mine Fujiko, Goemon's Bloodspray is intended as a peek into the titular character's past, and excitedly so considering the samurai's usual silent demeanor. Retaining the jazzy, noir stylistic sense of its other peers, the film's aesthetic is slick. Slick with blood and vengeance no strange to classic samurai films, as this aesthetic is overshadowed by Goemon's persistence in the Bushido's Code. The film sheds no greater light on Goemon's past than what we already know for, his cool, silent character. However, perhaps this is as much as we need to know.
___Stacked with consistently fluid, bold action sequences headed by Takeshi Koike, the eye-candy of violence validates Goemon's character. Not subject to whim or calculation like his future partner-in=crimes, Goemon is as linear as 180. His honor comes before his life, even before the expected fleshing of his past in this film. Even for an unnamed crime boss with less than 20 minutes of screen-time before his death, Goemon unhesitatingly follows bloody vengeance in stride. Really, nothing else or no one else actually matters in this film, not Lupin's shenanigans, Zenigata's hunt or the aftermath of the crime organizations. These 53 minutes are dedicated purely to Goemon fulfilling a samurai's loyalty.
And as I've said, this subtext isn't profound, yet this simplicity echoes loudly with Goemon's actions. Vengeance and spirit broken once upon defeat, paid back twofold in the rematch finale. Mixed in-between, it's criminal not to mention unarguably the apex of the film. A classic One Man Army sequence of Goemon silently slicing dozens of criminal clan members, after honing his senses in training, with tranquil music trailing by indicating the divine state-of-mind he's reached. Although not the finale fight, it checks off every classic jidaigeki finale fight condition; build-up, tension, pay-off and an adrenaline overdose of violence and gore. Although, this hype does impede the actual finale fight with Hawk a bit, but is nonetheless a great finish to this tale. The key-animation finishing Goemon's tale of vengeance and honor on a dramatic, high-note. Indeed, plot points are left unanswered, but that matters none in the face of the path of honor and violence that Goemon treads in this film.
___The Lupin III franchise has become my favorite in recent years. Usually slick with episodic gags and amusement, Goemon's Bloodspray is a thrilling deter with its stone, bloody demeanor befitting of its archaic protagonist. Fans and first-time watchers are equally welcomed, as this film doesn't possess any relevant plot context with the main story, besides character dynamics. Directed by RED-LINE's Takeshii Koike, an abundance of eyegasms is assured with frequent action and fight sequences and phenomenal effects design.
While being extremely entertaining and exciting, Goemon's Bloodspray does a better job at characterizing Goemon than what normal character past exploration could offer. A tale of vendetta and blood suits the quiet, archaic and deadly man that Goemon Ishikawa XIII is. Oh, and this is where the gif of Fujiko taking a bong hit originates from.
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