Zatōichi (座頭市) Review

Zatōichi (座頭市）

Director Takeshi Kitano has directed some of Japan’s best cinema, with his award winning Hana-bi being one of my favourite films of all time. His manner of directing is one that includes strong violence, drama and dark humour. He also has tended to stay with the Yakuza/ gangster genre of cinema, but has recently out-stretched to drama and comedy, which he was originally infamous for (stand-up comedy). However, here he attempts to retell the ‘Legend of Zatōichi’ which has been continuously portrayed in films, books and television. Though along way away from his ‘comfort zone’, this attempt at a period piece still sees his notorious use of violence and dark humour. The result is a film that is bloody and entertaining. 

The plot follows Zatōichi (Takeshi Kitano), a blind masseur who secretly wields the way of the samurai, and the sword too. Following a traditional ‘samurai genre’ structure and theme, Zatōichi uses his swordsman skills to the defence of local townspeople who are caught up in the local Yakuza war. Meanwhile, two siblings pose as geishas seeking revenge for the massacre of their family, who are the same Yakuza causing the local disarray. The two stories eventually converge, leading to a pulsating showdown with a high and bloody body count. Overall it’s a solid plot that is easily accessible by western audiences, but has no originality.

The acting is a mixed bunch. Kitano’s performance offers nothing memorable or engrossing. Instead he remains the quiet, yet brutal individual who we have seen in most of his films, which probably suits the character. Another famous face from Japanese cinema is Tadanobu Asano. He plays a hired rōnin for one of the Yakuza bosses, and though playing a ‘bad-ass’, falls short of his usual performances. The tragic nature of his character; unemployed, dying wife, never comes through in his acting. The one who stands out is Gadarukanaru Taka playing Shinkichi, the comedy relief of the picture. Providing much of the jokes, his character is well developed and offers a break from the serious dialogue, heavy action and blank characters. 

The cinematography and fight choreography are both well done, and complement each other well. However the CGI’s cheap production values really hinders the scenes and the overall film. Bad CGI has been implemented instead of practical effects; blood splatter, sword impalement etc, which really takes the audience out of the experience. The Japanese have never been able to master computer graphics, which is astonishing with their technological feats in animation and gaming. However, the sound is fantastic. With the plot focusing on a blind samurai, Kitano has clearly focused on the sound and tuneful aspect of his picture. Everything seems to have been amplified, transforming simple fights scenes into epic battles. Various scenes of peasants and workers ploughing fields and hammering nails, create a melodic beat to the picture. Even the last scene, which seems out of place, is a large tap-dancing show with the various surviving members of the supporting cast and numerous extras. 

Overall, Zatoichi isn’t Takeshi Kitano’s best, yet remains entertaining. The samurai genre of Japanese cinema has been over-saturated due to its historical and cultural implications, and Zatōichi offers nothing new to this. However, what it does offer is an enjoyable, brutal and competently acted take on the famous legend. 


7/10 

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13 Assassins (十三人の刺客) Review

13 Assassins (十三人の刺客)

Director Takashi Miike is well know for his Japanese cult, horror/ thriller cinema. Films such as the brilliant Ichi the Killer and Audition have gained a controversial, and taboo breaking nature to his films. Released in 2010, 13 Assassins sees him try his hand at a period samurai piece (Jidaigeki / Chanbara) and take a much more ‘realistic’ approach to his directing. Gone is the craziness, over-the-top violence and the black comedy, for a much more cinematic and action packed picture. Miike delivers a fantastic film that is well acted, well directed and thoroughly entertaining. 

Set in the early nineteenth century, Japan is in a period of malaise and unrest. The story follows the assassination attempt on a tyrant, Lord Naritsugu (Inagaki Goro) who is next in line to be Shogun. His recent acts of rape, murder and his dishonourable nature, have caused unease within the samurai establishment. With many failing to oppose the Lord,  fearing their positions and honor, it is up to Lord Shinzaemon (Yakusho Koji) to launch an attack on Naritsugu. 12 samurai and an forest dweller, join forces to accomplish this daunting and impossible feat. 13 vs 200, let the battle begin. The story is relatively simple in concept and is played out in a well structured and developed manner. The opening scenes contribute to a shocking and brutal impression of our villain, with scenes of rape, mutilation and the murder of the innocence. These play very close to Miike’s grotesque and disturbing directing nature. One shocking scene in particular has a familiarity to Audition ,involving a young women with no limbs and no tongue. From then on, the second act is much more relaxed and calming, giving much needed development to the 13 assassins, and preparing us for the final act, the epic battle. 

The cinematography is gorgeous and realistic. From the atmospheric scenes in the forests, to the 40 minute long battle scene, it is clear that much attention was given to the production values of the film. The final battle alone, has amazing choreography and well organised use of the practical effects. No slow motion and no CGI........YEAH!!! (except in one particular scene, but it’s understandable when you see it). It all leads to a furious and action packed final act that keeps the audiences attention throughout. Praise has to be given to the audio side of the production. From the slices, and movements of the samurai, to the explosive demolition of buildings, the sound is impressive. The opening scene of ‘seppuka’ is simply gut wrenching. The agony of the character as the blade enters into his stomach, slices and sprays, is all off screen, allowing for a much more violent and gory impression from the sound alone. It all contributes a real sense of immersion and atmosphere. 

The whole cast play their roles magnificently, with no actor leaving a bad impression. The main star is Yakusho Koji, playing Shinzaemon. His stern delivery and strong personality, form a very dramatic and well developed character. Inagaki Goro, who plays the tyrannical Lord Naritsugu, is another strong performance. He plays the character with a calm appearance yet a mentally unstable personality. He dreams of an 'era of war', stating that the sight of his men being sliced, decapitated and massacred is ‘stunning’. He has no mercy, and no sense of cruelty or wrong. One scene sees him practise archery on a family of children and women, with his reasoning for his actions being his ‘rank’. Another noteworthy performance is that of Takayuki Tamada. He plays Koyata the 13th assassin/ forest dweller and provides the comedic relief. He has a  ‘young Toshiro Mifune from Seven Samurai’ resonance to him with his excited personality and agile movement. Yet, he brings an atmosphere for mystery and obscurity to his character. Some actors are more memorable than others, particularly Tsuyoshi Ihara who plays the bad-ass Hirayama. But, while the sheer number of characters may be daunting to fully embrace and connect with, Miike gives enough time to satisfyingly develop each of them. 

From reviews I have read, many film critics have criticised the lack of Takashi Miike’s notorious style in the film. Ichi the Killer, Audition and the Dead or Alive series have gained him his cult status. His mixture of violence, comedy and taboo breaking subject matter have been staples of his directing. While, they are all toned down in 13 Assassins I still gained a sense that this was a ‘Miike’ film. His use of violence is constantly in practise in the film, to where it puzzles me how it only received a 15 rating in Britain. However, I find it insulting that critics have seen this as a problem, because it really isn’t a ‘problem’. A director has the freedom to produce any film he wants, in any style he wants. They don’t need to follow a strict pattern throughout their filmography, like Tarantino or Bay. I praise Miike’s bravery in changing his style and moving away from his ‘B-Movie’ compositions to a more mature and well rounded feature. Its a traditional samurai film but has the best traits of an amazing summer blockbuster. 

Overall, 13 Assassins is simply spectacular in every sense. The acting is memorable and natural, the cinematography is some of the best I’ve seen of recent, and the overall direction is brilliant. Many will criticise the length of the final battle scene. However though lasting more than 40 minutes, it still remained engrossing and dramatic. This is Takashi Miike’s most mature, well composed piece and it’s epic. 

8/10 

UK Release Date: 9 May 2011

US Release Date: 26 March 2011 (Video on Demand) 

                                   29 April 2011

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Twilight Samurai

The Twilight Samurai 

Directed and written by Yoji Yamada, Twilight Samurai is a well-acted, well-directed and well-written cinematic piece of art. Akira Kurosawa’s work has cemented Japanese samurai into world cinema, and Twilight Samurai is a deep and beautiful modern addition to this genre of film. It is set in the mid-19th century in Japan, prior to the Meiji Restoration. The film follows the life of samurai, Seibei Iguchi (played by Hiroyuki Sanada) . He is widowed and left to care for two daughters and his senile mother. His work colleagues have given him the tragic title ‘Tasogare Seibei’ (meaning Twilight Samurai) due to his secluded nature and over-commitment to his family, rather than socialising. However, he finds solace and happiness with the arrival of childhood friend and love interest, Tomoe (played by Rie Miyazawa). But she brings more problems for him to deal with.

The acting is fantastic, with Hiroyuki Sanada’s performance as Seibei and Rie Miyazawa’s as Tomoe, both being gracefully handled. The portrayal of their relationship is full of emotion and beautifully played out. The cinematography is excellent, giving a rich and ‘authentic’ atmosphere to the film. The sheer amount of detail that has been added; from the clothing to the recreated buildings is simple amazing, and really gives an ‘immersive’ quality to the film. Twilight Samurai is a truly magnificent piece of cinema that is engrossing and visually superb. 

9/10