Red Peony Gambler 3: The Flower Cards Game

Name: Hibotan bakuto: Hanafuda shôbu
Genre: Action
Released: 1969-02-01
Duration: 1 h 38 min
Rating: 7
Cast: Sumiko Fuji, Ken Takakura, Kanjûrô Arashi

Original title: Hibotan bakuto: Hanafuda shôbu

IMDb RATING

7.0/10

252

YOUR RATING

Red Peony Gambler 3: The Flower Cards Game (1969)

Action

After saving a blind child from being hit by an oncoming train the gambler known as Oryu-The Red Peony is accepted as a guest by a Yakuza boss only to become involved in a romantic dispute b... Read allAfter saving a blind child from being hit by an oncoming train the gambler known as Oryu-The Red Peony is accepted as a guest by a Yakuza boss only to become involved in a romantic dispute between two members of rival clans.After saving a blind child from being hit by an oncoming train the gambler known as Oryu-The Red Peony is accepted as a guest by a Yakuza boss only to become involved in a romantic dispute between two members of rival clans.

See production info at IMDbPro

IMDb RATING

7.0/10

252

YOUR RATING

See production info at IMDbPro

Trivia
Despite having already appeared (and died) as Katagiri in previous entry in the series The Valiant Red Peony (1968), here Ken Takakura plays an entirely different person, Shogo Hanaoka. For some reason, the resemblance of these two apparently unrelated men provokes no recognition on the part of protagonist Oryu.

Connections
Followed by Hibotan bakuto: Nidaime shûmei (1969)

User reviews3

Review

Featured review

Best Yakuza-film ever!

Not only in my opinion, but also in Paul Schrader's, this is the ultimative in Japanese Yakuza movies. All the figures are absolutely brilliantly portrayed, with the wonderful FUJI Yunko in an atypical role which nevertheless made her famous. It's about a professional female gambler who is confronted with a gang war, and who tries to save the love of young couple. Meanwhile, she brings seeing back to a young girl, but cannot help her after that... (This plays a big role in the sequel, HIBOTAN BAKUTO - ORYU SANJO). Seldom had a Gangster movie shown so much humanism, and seldom the japanese Widescreen-Processing, which is even larger than your average Cinemascope, was used more effectively. Kato brings in his stylish mixture of genre film and expressionist pictures not seen since THE BAD SLEEP WELL, and never seen in a colour production before. The only disturbing fact is the director's affection for inhumane rape sequences, but they are here very short. Great stuff for all fans of japanese movies.