ANALYSIS
The Tale of Zatoichi is the first film in the immensely popular Zatoichi series, which tells the story of the highly skilled blind swordsman. This first entry is atypical of the series, which is most famous for frequent and well-executed battle scenes in which Zatoichi cuts down large groups of his enemies. The Tale of Zatoichi takes a more gentle and thoughtful approach to deliver its character-driven story.
Interestingly, the Zatoichi series begins with a film that’s much closer to the work of Akira Kurosawa and Hiroshi Inagaki. Director Kenji Misumi delivers some poignant scenes, both beautiful and revealing. In the best of these Zatoichi and Hirate sit at the riverbank fishing; Misumi creates a sense of tranquillity with shots of the two warriors sitting in the sun, intermixed with shots of the still water, disturbed only by their fishing lines. Misumi reveals much about the two characters during this scene. Special mention must be made of the way he handles Zatoichi’s amazing abilities, which require more than a little suspension of disbelief. As Hirate approaches Zatoichi, who sits fishing, Misumi uses a simple technique to show how the blind swordsman’s other senses compensate for his lack of sight. Close-ups of Hirate’s feet falling on the grass are intermixed with close-ups of Zatoichi’s ear, the sound of Hirate’s feet playing across both these shots. This technique is repeated with a shot of Hirate’s sword, which Zatoichi can hear moving in his belt. This sequence makes later scenes, such as the moment when Zatoichi cuts a lit candle perfectly in half, all the more believable.
Minoru Inuzuka creates some beautifully poetic moments in his script, which revolve around Zatoichi’s blindness. When he rescues Tane from the lustful Seisuke, Zatoichi pretends he doesn’t know Seisuke is present. Then, as he leads Tane away, Zatoichi dares Seisuke to attack him, asking if anyone is indeed there. Seisuke is afraid and cowers away, and Zatoichi laughs, seeming to chide himself for the mistake, when in reality he knows exactly what has happened. A similar moment occurs at the end of the film, achieved through Inuzuka’s clever dialogue – but to say more would ruin the moment for anyone who hasn’t seen it.
As always, Shintaro Katsu puts in a great performance as Zatoichi. He’s more restrained here than in later films, but still presents a very likeable, affable hero. The kindness and warmth of Katsu’s Zatoichi has endeared him to fans all over the world.
Though there are fewer of them, The Tale of Zatoichi still mounts some very well-choreographed battle scenes. When Zatoichi slices a lit candle clean in half, his blade moves so fast it’s barely visible. During the sequences in which yakuza gangs fight, a slow pan effectively captures a mass of writhing bodies and flashing blades. A few wonderfully gory moments are scattered throughout the film, most notably when Hirate vomits blood all over his feet. The duel between Zatoichi and Hirate towards the end of the film is particularly adept at conveying the dramatic weight of what has happened. Katsu convincingly portrays Zatoichi’s sadness for having killed his friend, provoking a profound sense of loss.
Shintaro Katsu as Zatoichi. The Tale of Zatoichi directed by Kenji Misumi and produced by Ikuo Kubodera for Daiei Studios.
THE VERDICT
Atypical of the popular series it spawned, The Tale of Zatoichi is still a solid film, and a must-see for anyone interested in Zatoichi’s humble beginnings.
The Tale of Zatoichi Continues (1962)
Japanese Title: Zoku Zatoichi monogatari
Directed by: Kazuo Mori
Written by: Adapted by Minoru Inuzuka from a story by Kan Shimozawa
Produced by: Ikuo Kubodera
Edited by: Koji Taniguchi
Cinematography: Shozo Honda
Cast: Shintaro Katsu (Zatoichi), Yoshie Mizutani (Setsu), Masayo Banri (Tane), Tomisaburo Wakayama – credited as Kenzaburo Jo – (Yoshiro), Yutaka Nakamura (Sanzo), Sonosuke Sawamura (Kanbei), Eijiro Yanagi (Sukegoro)
PLOT SUMMARY
Zatoichi makes an enemy of the Kuroda clan, but Setsu, a woman who reminds him of his first love, Chiyo, helps him to escape them. Unable to find Zatoichi, the Kuroda samurai hire Kanbei, the local yakuza boss, to track him down. Zatoichi escapes Kanbei’s men, and returns to Sasagawa, where he plans to pay his respects to Hirate (see Tale of Zatoichi). Kanbei and his men pursue Zatoichi, and meet with Sukegoro, who agrees to help them. Sukegoro has also been harbouring Yoshiro, a wanted criminal. Sukegoro tells him to leave immediately, but has him followed, planning to betray Yoshiro to the authorities and collect a large reward. Kanbei and his men confront Zatoichi and a violent battle ensues. In an impressive display of swordsmanship, Zatoichi kills all the men, leaving only Kanbei alive. Yoshiro appears and challenges Zatoichi. It turns out that the two are brothers; Chiyo left Zatoichi when she discovered he was blind and married Yoshiro. In his rage, Zatoichi cut Yoshiro’s arm off. Yoshiro now wants to settle the score and nearly succeeds, but Zatoichi is able to deal him a serious wound. Sukegoro and his men arrive, intent on capturing Yoshiro. Zatoichi helps Yoshiro escape, but he dies from his wounds. Zatoichi is enraged. Finding Sukegoro, Zatoichi kills him for betraying his brother.
ANALYSIS
A satisfying sequel to Tale of Zatoichi, this pushed the series forward with the kind of film that would come to dominate the series. Around 20 minutes shorter than the first, The Tale of Zatoichi Continues packs in a lot more of the frenetic fight scenes that would become a hallmark of the Zatoichi films.
And what magnificent fight scenes they are. The sight of Shintaro Katsu cleaving his way through a large number of yakuza thugs is a delight to behold. Although it may seem hard to believe that a man could fight so effectively without being able to see, Katsu’s astonishingly convincing movements make it easy to suspend disbelief. He fights with his head bowed low, clearly concentrating on every sound around him, and strikes only when his opponents move.
Katsu’s performance as Zatoichi is as likeable as ever, but in this film his affable persona is offset by his creepy brother Yoshiro, played by Katsu’s real brother, Tomisaburo Wakayama. As Yoshiro, Wakayama plays a grim and inexpressive man of few words, who murders only for the sake of money. Wakayama’s cold stare is every bit as frightening as Katsu’s chuckle is friendly, and his performance pre-dates his later role as Ogami Itto in the Lone Wolf and Cub series.
Director Kazuo Mori handles the highly charged fight scenes very well. Yet, there are some touching moments between the bloody scenes, which hark back to Tale of Zatoichi. Zatoichi’s brief experience of domesticity with the beautiful Setsu is tender, and made all the more fleeting by the arrival of Kanbei’s thugs. The moment when Zatoichi returns to the lake where he and Hirate used to go fishing, and considers his life thus far, is suitably calm. The moment when Yoshiro dies, just after the two brothers have ended their long feud, is emotionally charged and sensitively handled.
THE VERDICT
With this film, the Zatoichi series found the voice it would use for the next 24 films. Some Zatoichi films contain even more action, but The Tale of Zatoichi Continues founded its reputation for well-executed, and bloody, battle scenes. Essential for Zatoichi fans, this film is worth seeing alone for Katsu and Wakayama’s performances.
The 47 Ronin (1962)
Japanese Title: Chushingura – Hana no maki yuki no maki
Directed by: Hiroshi Inagaki
Written by: Adapted by Toshio Yasumi from the play by Shoraku Miyoshi, Senryu Namiki, Izumo Takeda
Produced by: Sanezumi Fujimoto, Tomoyuki Tanaka, Hiroshi Inagaki
Edited by: Hirokazu Iwashita
Cinematography: Kazuo Yamada
Cast: Koshiro Matsumoto (Chamberlain Kuranosuke Oishi), Yuzo Kayama (Lord Naganori Asano), Chusha Ichikawa (Lord Yoshinaga Kira), Tatsuya Mihashi (Yasubei Horibe), Akira Takarada (Gunpei Takada), Yosuke Natsuki (Kinemon Okano), Makoto Sato (Kazuemon Fuwa), Tadao Takashima (Jyujiro Kan), Takashi Shimura (Hyuobu Chishaka), Toshiro Mifune (Genba Tawaraboshi), Setsuko Hara (Riku Oishi), Yuriko Hoshi (Otsuya)
PLOT SUMMARY
When Lord Asano is appo
inted Head of Reception for an important ceremony, he refuses to bribe Kira, the Grand Master of Ceremonies, a particularly nasty, greedy old man. Despite Kira’s bullying, Asano won’t break from his principles. The strain grows too much for Asano when Kira refuses to tell him how to conduct the ceremony, and he draws his sword, trying to cut down his tormentor. Having drawn his sword in the Shogun’s palace, Asano is sentenced to commit seppuku. Asano’s samurai are displeased, and wish to remain in Asano’s castle and fight the troops sent to claim it. Oishi, the Chamberlain of the Asano samurai, convinces them to leave peacefully, hoping to reinstate the clan with Daigaku, Asano’s brother, as the new lord. When the Shogun banishes Daigaku, Oishi is forced to reconsider his position. He decides on a course of justice, seeking to punish Kira for his crimes. Oishi lives a false life, as a decadent drunk, hoping to fool Kira and his allies. Many of the other ronin make similar sacrifices. They are successful in fooling the authorities, and when the time comes, they assemble in Edo. In a brave assault on Kira’s mansion, the 47 ronin find and behead him. The ronin are then ordered to commit seppuku, a punishment they accept, now that they’ve found justice for their dead lord.
ANALYSIS
The 47 Ronin is a true classic of the samurai film genre, and captures the very essence of the samurai ideal. Based on historical events, which have become legendary through numerous retellings, The 47 Ronin is a story of total loyalty and dedication.
The story of the 47 loyal ronin is a traditional tale in Japan, and one which Japanese audiences in 1962 would have been very familiar with, in much the same way that archetypical stories such as Romeo and Juliet are immediately recognisable to western audiences. As such, The 47 Ronin can be a bit confusing to those unfamiliar with the traditional stories. There are lots of characters and subplots, all variously linked to the central story of the ronin. Don’t be at all surprised if you find it difficult to remember who certain characters are; many are only introduced very briefly. This is not a fault in the film; Japanese audiences would have no problem following the story, simply because they already know it. Don’t be too concerned about following the various subplots first time round; the central story is the most important, and is a rewarding viewing experience all of its own. With subsequent viewings, the subplots become easier to follow, and make The 47 Ronin an even more enriching film.
Having said this, the film’s basic plot is a moving experience, and shows the best side of the samurai’s dedication and loyalty. The hardships the ronin suffer, and the sacrifices they are prepared to make, all for the sake of their dead lord, are truly amazing, and make for compelling viewing. Chamberlain Oishi makes the biggest sacrifice of all: in order to fool his enemies, Oishi divorces his wife and adopts the life of a lazy playboy, much to the scorn and ridicule of many other ronin. It’s particularly moving when Oishi hears of the death of one of the ronin; struggling to contain his emotions he continues to party in a brothel, sad that his friend has died, but unable to show it. Another of the ronin, Okano, makes a similarly difficult sacrifice: he courts Otsuya, the sister of a carpenter, in order to get the plans to Kira’s new house. When Okano realises he actually loves the girl, he grows to despise himself for using her, but does so anyway, and secures the plans. The manner in which these men put aside all their personal concerns to pursue their just cause is a perfect representation of the unwavering loyalty of the ideal samurai.
Director Hiroshi Inagaki gives this story the epic treatment it deserves, taking us inside lush mansions and palaces, and, as always, making use of beautiful Japanese landscapes. Having already told the epic story of master swordsman Miyamoto Musashi, Inagaki has the right experience to make the best of such larger-than-life material. The battle at the end of the film is magnificent; the 47 ronin fight their way through Kira’s mansion in a series of beautifully choreographed fight scenes, which not only look fantastic, but are also extremely convincing.
THE VERDICT
A classic film, although potentially confusing to non-Japanese audiences. Don’t make this your first samurai film; Inagaki’s Samurai Trilogy or Kurosawa’s Yojimbo are much better places to start. However, if you like the genre, and want to see what bushido really meant, then make sure to watch The 47 Ronin.
Hara-kiri (1962)
Japanese Title: Seppuku
Directed by: Masaki Kobayashi
Written by: Story by Yasuhiko Takiguchi, screenplay by Shinobu Hashimoto
Produced by: Tatsuo Hosoya
Edited by: Hisashi Sagara
Cinematography: Yoshio Miyajima
Cast: Tatsuya Nakadai (Hanshiro), Rentaro Mikuni (Kageyu), Shima Iwashita (Miho), Akira Ishihama (Motome), Tetsuro Tamba (Hikokuro), Yoshio Aoki (Umenosuke), Ichiro Nakaya (Hayato), Yoshio Inaba (Jinnai)
PLOT SUMMARY
In recent times many impoverished ronin have arrived at clan mansions, and requested to commit ritual suicide in their grounds, claiming that they can no longer endure their impoverished lifestyles. Yet most have no desire to kill themselves, knowing full well that the clans will give them money simply to be rid of them. This presents a problem for the clans, who see this as a form of extortion. When Motome, a young ronin, requests to commit suicide in the Iyi mansion, rather than simply deny the request or give him money, Kageyu, the clan counsellor, has his samurai force the young man to commit hara-kiri, even refusing his request for a two-day postponement. As if this isn’t bad enough, they make him use the bamboo sword he carries; he is so poor he has sold his blades. This is all done to preserve the honour of the Iyi clan and deter other ronin. Motome had a sick child, and needed money for medicine – he was only driven to performing the hara-kiri scam by the most extreme circumstances.
The film revolves around Hanshiro, father-in-law of Motome. Himself a ronin, Hanshiro realises he is most happy when he has no superiors and is with his family. He praises his son-in-law for his brave actions, and curses his own stupidity for not selling his swords. Hanshiro exposes the hypocrisy of the Iyi by also requesting to commit hari-kiri within their castle grounds. He has previously removed the top knots of the three retainers most involved in Motome’s enforced suicide. According to the samurai code this is a grave dishonour, and can only be atoned by hara-kiri. Hanshiro requests that these men assist with his suicide, but two of them hide in their homes, waiting for their hair to re-grow, demonstrating the same cowardice they accused Motome of. Kageyu has his men attack Hanshiro, and he fights bravely, eventually succumbing to the Iyi’s guns. With Hanshiro dead, Kageyu sets about concealing the entire incident, something he does so well that the Iyi clan is praised for its handling of the ronin.
ANALYSIS
Hara-kiri is a tremendous film, and among the most moving and honest of the samurai genre. Director Masaki Kobayashi, famous for films which explored the downtrodden, makes clear here the potential for the inhumane cruelty inherent in the samurai code. This is in stark contrast to many other samurai films, which portray the harsh lifestyle of the samurai in a positive light.
Kobayashi shows the propensity of the samurai for senseless cruelty through the actions of the Iyi clan. Their inhuman treatment of Motome is done entirely to preserve the good name of their clan, and this, in essence, is the fault in the samurai philosophy that Kobayashi is drawing our attention to; reputation should never be a justification for cruelty, and is far less important than the ethical treatment of human beings. This is also highlighted through the character of Hanshiro, who comes to realise that those he loves are far more important than the social standing he has lost.
The story of Hanshiro and Motome is moving, and the audience cannot help but feel for their plight. Yet, Kageyu and the Iyi learn nothing from these sad events; the hiding retainers are also forced to commit hara-kiri, and the entire incident is concealed in the clan records. The Iyi are even praised for the way they dealt with the situation. This shows the stubborn and unbending nature of the samurai code, which ultimately only history was able to defeat.
This fra
nk and unyielding plot is effectively rendered by Kobayashi’s skilled direction, and some robust performances. The film abounds with memorable scenes and images. The scene in which Motome is forced to cut his stomach open with a bamboo blade is harrowing in its brutality; we see Motome trying to force the blunt object into his chest many times, finally succeeding when he puts his full weight on it. Akira Ishihama convincingly conveys the agony and desperation, which in its gory explicitness conveys the cruelty of the Iyi samurai. The battle between Hanshiro and the Iyi samurai is very well realised, and more realistically than in many other samurai films. It is clear that Hanshiro won’t survive against so many enemies, and he becomes progressively more injured and fatigued as the battle progresses. His duel with Hikokuro is also of the highest quality, filmed in long grass on a windy day with the constantly shifting grass creating a moody backdrop. Many highly evocative and symbolic single frames pepper Hara-kiri, such as the large Iyi clan crest, splattered in blood during Hanshiro’s battle with the Iyi samurai.
Hanshiro (Tatsuya Nakadai) battles the Iyi samurai. Hara-kiri directed by Masaki Kobayashi and produced by Tatsuo Hosoya for Shochiku Studios.
Samurai Films Page 6