The recent interest in purchasing and watching samurai films if just pure coincidence. As it happens, it’s another coincidence that the film Chushingura – Hana no Maki Yuki no Maki is directed by Hiroshi Inagaki.
The very same person who directed the Samurai Trilogy, and like his film about Musashi Miyamoto, is also based on a tragic true story in Japan’s historic past, which resulted in the sad deaths of 47 samurai.
I can’t be certain, but I think this was originally released in two parts. At 205 minutes long, it’s not a short feat. The film is split into two episodes, Episode I: Blossoms and Episode II: Snow. Both are perhaps metaphorical references to the events that take place in the two episodes.
The story is well known, and in some regards the film is like Cameron’s Titanic: you already know the ending, and the events that took place, however, you want to see it happen and unfold before your very own eyes.
With this regard, it’s not giving away the plot to explain the story. Lord Asano is a well respected and noble samurai living in Ako, and is ordered to Edo to carry out his official state duties. He accepts the order gracefully, and wishes to learn of the official etiquette required in order to carry out his duties.
The Grand Master of Ceremonies, Kira, is the person who can instruct Asano on his duties, and is asked to do so. He has already attempted to obtain the secrets of the previous Lord’s farming techniques, which have made Asano quite rich. Asano refuses, and is sent gifts, which he deems to be forms of bribery. Continuing to refuse, it is then apparent to him that he needs the help of Kira in order to carry out his duty. The two are required to work together in order to prepare for the arrival of the Shogun’s envoy.
Performances throughout are brilliant, with the definition between the good and the bad painfully clear
Kira is unhappy at Asano’s cooperation in either taking or giving bribes. He instructs him with a snide attitude to provide “gifts” in order to bring favour with people, and of course himself. Asano refuses to concur, and this angers Kira. In an act of spite, Kira tells Asano that the 500 mats that have been laid out are not worthy, and they need to be replaced. Asano must carry out the request, as the Grand Master is his senior. Kira offers an alternative: to provide a bribe. Asano again flatly refuses this alternative, and is ordered therefore to replace the 500 mats before the morning.
Knowing that the reputation of his clan is at stake, Asano talks to his subordinates who state that they will take charges and hire the mat makers to create 500 new mats by morning. The work is carried out, and much to the rage of Kira himself. Asano visits him in the morning, to be instructed, however, Kira refuses, and in his stubborn greed, he berates and belittles Asano’s background, and his rise to the status of a Lord. Asano, infuriated and enraged by Kira’s words, and constant refusal to help him, unless a bribe is provided, lashes out with his sword, barely injuring the greed obsessed fool.
Sadly for Asano, knowing full well that his clan’s existence would be at stake in the attack, raising a sword in attack against someone else in the Shogun’s palace would result in Seppuku (Hara-Kiri). When a mock investigation is played out, Asano is refused a defence, and the truth about why he attacked Kira is never spoken of. Asano carries out his own punishment, and his clan, now led by the next in command Oishi, is given the option of surrendering the castle, or to die fighting.
Initially wanting to die fighting, Oishi then decides not to, and instead request forgiveness, surrender the castle, and try to restore the clan. When news reaches Oishi that his master Asano’s death had been the cause of a mock trial, which would not even allow him a defence, he decides to keep this secret for himself and his closest allies, in a bid to calm their heads and to prepare for the day that the, now, ronin would take revenge by taking Kira’s head.
What takes places are two parts of one film. The first is the stoical nature of Osihi’s attitude, living the life of a debauched man, and losing favour with his wife. Many months pass, and he is unsure of what to do, until one day one of the 61 samurai that signed up to help Oishi restore the honour of Asano’s clan visits. On the fateful day Asano died, he accidentally killed a woman in his rush to get to Asano. The woman’s son wishes to take revenge, however, the samurai stops him, and requests that he be taken of Oishi’s list in order to commit Seppuku as the samurai code insists. Thus it is done, and Oishi comes to the decision to defy the Shogunate and make preparations to attack Kira’s home and to kill him.
The second part of the film deals with the action, as the first part is rather actionless, instead building the story, creating the situation and building up what would be a finale for the ronin. It’s expertly handled, and the cinematography in the final big battle is nothing short of stunning. 47 ronin travel through the snowy weather, to battle the hordes of bodyguards Kira himself has hired, and to take his head.
The story is well known, and in some regards the film is like Cameron’s Titanic: you already know the ending
Toshiro Mifune plays a good friend to one of the ronin, and wishes to help, but is not allowed to do so. Therefore, he takes matters in to his own hands and stops reinforcements from arriving, in order to let the ronin exact their vengeance upon an evil man. His part is minor, but he does so with aplomb, and it adds a tragedy to the whole story, as is friend sets out to take revenge while signing his own death warrant.
The entire film is a focus on the samurai code above the laws of the land. It’s message is that samurai honour comes before everything, including loved ones, money, rank or anything that can be construed as valuable, for there is nothing more valuable than a man’s honour. They are also painfully aware that carrying out this deed, against the law, will result in their own deaths, in the form of Seppuku.
Performances throughout are brilliant, with the definition between the good and the bad painfully clear. Oishi’s own turmoil with what he must do in order to take revenge, or even if he should, with the lives of 61 men looking to him for guidance is challenging and cruelly displayed. Kira is easily despicable, with no remorse or empathy being felt for him, as he is a coward throughout, even to the point of not having the courage to take his own life.
As samurai films go, this is perhaps one of the best renditions of the story of the 47 Ronin, as well as being a throughly satisfying triumph in film. The 205 minutes disappear without trace, and the film plays more like 90 minutes than over three hours. This is down to the solid performances, the wonderful set pieces and beauty of the locations, managed supremely by the hand of Hiroshi Inagaki.
Verdict: Breathtaking and tragic, a wholly wonderful samurai epic.