Cat's Eye (1983-1985) Anime Series Review

Tsukasa Hojo's Cat's Eye was a manga series (one of the highest selling) serialized in Shonen Jump from 1981 to 1985 and was eventually adapted into an anime series that ran from 1983 to 1985 with 73 episodes. The series followed the Kisugi sisters: Rui (older sister), Hitomi (middle sister) and Ai (kid sister), a trio of art thieves who under the alias of Cat's Eye try to gain back their missing father's art collection from museums and private collectors. Detective Toshi, female inspector Mitsuko and the police chief go after Cat's Eye whenever the girls leave a card telling them when and where they will strike next, but they are almost always outsmarted by the girls and most of their heists tend to be successful. A major conflict is introduced by the fact that Toshi is Hitomi's boyfriend and he has no idea that she is part of Cat's Eye, even when the café the girls run has that exact name.

Influential and empowering, the show was known for its highly capable and skilled female protagonists, even creating a very intimate feeling of sisterhood featuring clashing personalities that give us some funny arguments between the trio. Strong, clever, cunning, daring, deceiving, just, loyal and confident, these sisters are not only role models but also present a very modern version of female thief characters in fiction as they are not just romantic interests for others but people with full lives and motivations. Along with Dirty Pair, these were breakthrough incarnations of older tropes.

When it comes to the anime you can expect some fantastic J-pop and Eurobeat music performed by Anri accompanying rhythmic aerobic dance animation during the opening as nearly psychedelic abstract visuals showing the girls moving their bodies with fluidity and grace, sometimes hand drawn and other times rotoscoped. The ending theme Dancing with the Sunshine is also a true banger and both songs fit the overall style quite perfectly.

The story structure in each episode is kind of formulaic and somewhat loose in continuity but not completely episodic either. Every episode will feature Cat's Eye hatching a scheme to steal a painting, but some unforeseen event or element will destabilize it momentarily until the girls find a way to turn things back around as they pull tricks to fool Toshi and the policemen after them. Sometimes the girls are facing mobsters, other thieves, motorists, kidnappers or rich guys with deadly traps in their compounds. There's enough variety and intrigue, sometimes beginning with a baffling or out of nowhere visual or storytelling device that throws you off but that begins to make sense once the plot unfolds.

The talent of the writers relied on coming up with intriguing way of making you guess how the heroines will escape capture and the tricky and convoluted techniques they could employ to create a perfect alibi and never be caught outside of the café, although, sometimes it feels like they are cheating with some almost incredible or tricky twists. However, these tricks also give it some charm even if at some moments they stretch verisimilitude a bit because there are a lot of contrived plot points and coincidences in their plans, either that or they rely on the police officers and detectives being too dimwitted but nothing that truly breaks the story at any point.

Some aspects of the relationship between Toshi and Hitomi are a bit too unbelievable as there are only so many times one can let a coincidence fly by without the characters wising up to the real identity of the thieves but at several points Toshi comes close to solving the case by putting together the girl's patterns and the connections to the artist and the crimes but things don't quite work out for him.

The romance aspect is vital to the show's narrative as it really brings contradictory emotions to any kind of possible resolution that you can imagine. You want Toshi to succeed so he can marry Hitomi, but you don't want the girls to be caught either. Other pieces of media like the 1997 movie deal with this part of the story in a different way.

Director Yoshio Takeuchi did a great job at putting together a faithful adaptation of the spirit and story elements from the manga into an exciting and thrilling show that consistently did enough variations of its premise and formula without feeling stale or repetitive. I wont spoil the ending but I gotta say that incorporating the fictional element to play out a possible closure to the main storyline but without actually having it take place in the world of the series was a stroke of genius. It was a perfect ending that's not really an ending.

A highly recommended series for anime fans or lovers of caper stories.

Black Mama White Mama (1973) Movie Review

Black Mama White Mama is a 1973 exploitation action movie that belongs to the subgenre of Women In Prison films. Distributed by American International Pictures and produced by John Ashley and Eddie Romero (The Woman Hunt, Savage Sisters), who also directed the film, it was one of several action flicks produced by American filmmakers but shot in the Philippines. Director Jonathan Demme (Silence of the Lambs, Caged Heat, Crazy Mama) wrote the original concept for the movie with his partner Joe Viola (Bionic Woman, The Hot Box, T.J. Hooker, Cagney & Lacey) and it was basically a female remake of The Defiant Ones (1958), tackling subjects such as women's liberation, racial tensions and left-wing guerrillas. Eventually, screenwriter H.R. Christian developed the film from there. Nowadays it is considered a fundamental piece on Blaxploitation cinema, low budget genre cinema and Women In Prison cinema.

Lee Daniels (Pam Grier) is a prostitute transported to a tropical women's prison where she meets Karen Brent (Margaret Markov), the girlfriend of a revolutionary guerrilla leader. In the can they suffer the wrath of lesbian authoritarian guards and the harassment of fellow prisoners. There's a certain tension between the two and their clashes made them end up in the hot box as punishment. When Karen's boyfriend, and his rebel soldiers, intercepts a bus transferring the girls to a maximum-security prison, the girls end up on the run chained together. Now they must fight to survive as the authorities and a gang hired by the army to hunt them are on their tail.

A surprisingly thoughtful and precise exploration of the sociopolitical climate, the film uses the metaphor of "chained together by the man" to its full exploitation and narrative potential. The sordid thrills one can expect are here but they don't degrade the film as they add to the filthy environment and the overall analogy of oppression and abuse but in a playful and entertaining way that helps to explore these ideas. A good marriage of an outrageous tone that's well handled to be sober and focused on its development.

Some supporting actors also add to the film, an example is the joyful Sid Haig with his humorous but fitting attitude and demeanor. Pam Grier plays a very grounded character that gets rid of any type of stereotype or exaggeration, not unlike her usual roles but slightly more rough and grungy. Markovis also does a serviceable job as the white girl.

The sleaze factor isn't as increased as in some of the other Women In Prison movies from the Philippines. However, the goods are delivered when the time comes and the pacing in the first act is almost unrelenting as the narrative focuses on the pair of girls, but once they get loose in the jungle and other subplots start forming the film kind of drags. Eddie Romero's direction is as functional and even as dry as always, but at several points this simple style achieves an intense and clear exactness that drives the film forward with good rhythm.

A very recommended exploitation film with a relevant theme and all the hardcore stuff in grindhouse films you expect.