Grogu Was Daigoro—The Half-Century-Old 'Father and Child' Bond I Realized After Watching 'The Mandalorian & Grogu'
*This article contains descriptions of the contents of the film 'The Mandalorian & Grogu' and 'Lone Wolf and Cub'. Please be aware if you are concerned about spoilers.
The moment I left the theater, the first person who came to mind was Kinnosuke Yorozuya.
'Lone Wolf and Cub'—there may be many people who don't immediately recognize the name now. However, perhaps some have heard the phrase 'Shito-shito picchan, shito-shito picchan♪' from its theme song. It was a Showa-era period drama starring Kinnosuke Yorozuya.
The protagonist of the story is a ronin named Itto Ogami. Once a high-ranking official for the Shogun, he was framed by a conspiracy, his wife was murdered, and he was driven from his home. With revenge in his heart, he wanders the country with his young son, Daigoro, in a baby cart, fighting evil wherever he goes—that is the framework of 'Lone Wolf and Cub'.
This combination of a 'man of few words but strong convictions wandering the land' and 'the young presence by his side' is exactly the same as the Mandalorian and Grogu.
The Baby Cart and the Pod—A Gimmick Spanning Half a Century
One of the highlights of 'Lone Wolf and Cub' is the 'gimmick' of the baby cart Daigoro rides in. It was packed with 'gimmicks' unusual for period dramas of that time, such as side panels that could slide open for Daigoro to sneak out, or hidden weapons.
Isn't the pod that Grogu travels in based on the exact same concept? It is packed with functions and surprises within its adorable appearance, and it plays an unexpected role at key moments in the story.
And there is one more important commonality. Daigoro is not just a being to be protected. There are many scenes in 'Lone Wolf and Cub' where Daigoro uses his quick wit to save his father when Itto falls into a pinch. Similarly, Grogu exerts his power during the Mandalorian's crises. Not only does the parent protect the child, but the child also saves the parent—this bidirectional relationship brings depth and emotion to both works.
I had a vague sense of déjà vu regarding this setup while watching the Disney+ drama series, but after seeing the movie, I was convinced: 'It's Lone Wolf and Cub.'
An Interview That Confirmed My Intuition
Wanting to verify this intuition after watching, I looked it up and found an interview with director Jon Favreau.
'Instead of referencing past Star Wars works, I referenced what George Lucas was influenced by—such as Japanese Kurosawa films. I also watched 'Lone Wolf and Cub'.'
I couldn't help but slap my knee in agreement. It is well known that Lucas was deeply influenced by Akira Kurosawa. Favreau went back to that 'source' to try and reconstruct the Star Wars worldview. That is why the Mandalorian has the texture of a samurai film, the desolate atmosphere of a spaghetti western, and a feel that is nostalgically familiar to the generation that knows Showa-era period dramas.
What Shines Because It Is 'Small-Scale'
To be frank, one cannot deny the 'small-scale' feel of the story. The scale is different from the grand space operas that shake the fate of the galaxy, as seen in the successive main Star Wars films.
But I thought that was fine.
What the Mandalorian protects is not the galaxy, but the one person right in front of him. The evil is clear, the good is clear, and the structure of poetic justice is simple and straightforward. However, by combining that 'simplicity' with overwhelming visual beauty and a breathless sense of speed, the two-plus hours fly by in an instant. Unexpected scenes that remind one of Shakespeare—such as the episode of a character struggling with their hatred for their aunt and uncle—are inserted, and the story sometimes shows a more multi-layered face than expected.
Even without telling a grand story, as long as the two of them continue their journey, you cannot take your eyes off the screen. I believe that is the exact same principle that kept viewers hooked on 'Lone Wolf and Cub' every week.
A 'Father and Child' That Transcends Time and Borders
Ittō Ogami and Daigoro, The Mandalorian and Grogu.
One in Edo-period Japan, the other in a galaxy far, far away. Yet, there is something universal in the sight of a clumsy man and a small being walking side by side. Love shown through actions rather than words, deep trust glimpsed in moments of crisis—these things easily transcend time, culture, and borders.
As someone who loves the masterpieces of the Showa era, I want to sincerely applaud Jon Favreau and his production team for their commitment to staying true to the 'source'.
And if there is anyone who has not yet seen 'Lone Wolf and Cub,' I highly recommend you give it a watch. That baby cart and that pod will surely look like they overlap.
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