I still find it hard to put into words just how raw and commanding a film Gojoe is. The expectation that this was another samurai war epic based around the age of feudal Japan was left intact; it’s execution and potency in direction is what distinguishes this epic film from anything I have seen before.

Based on the folklore tale of the battle of Shoano and Benkei, director Ishii takes the existing story and turns it into a dark, foreboding tale of spiritual intensity and personal conflict, providing a dark philosophy, and piercing anguish of the death and destruction caused by the two main characters in their desire to fight each other. The film is brutal as it is unrelenting in its efforts to make you feel the sheer burden that the main character, Benkei, is under.

When you think of films based on feudal Japan you think of Kurosawa and his favourite lead, Mifune. They’re often glorious in their portrayal of the hero; displaying a sense of accomplishment and pride in their behaviour. With Gojoe, the opposite is true.

Benkei is a monk who lived his life as a butcher of men, women and children. He raped and pillaged, not caring for morals or rules which existed; he was feared as much as he was hated. At some point, Benkei’s life is turned around, and saved by a monk named Ajari. Ajari’s influence is left upon Benkei, who himself turns to being a monk. Unlike his master, however, Benkei is still struggling to control his demons.

Arriving at his master’s place, Benkei confesses to receiving a message in his dreams to slay the demon of Gojoe Bridge – also known as Hell’s Bridge. The bridge has been the concern of much rumour and speculation of supposed demons killing members of the Heiki army. Ajari tries to dissuade Benkei from taking his sword to resolve the bloodshed but to little avail; his bloodlust and demons have been persuaded to seek out the demons and to destroy them.

When it is revealed that the demons are in fact human, led by Shoano (Tadanobu Asano), a man hunt begins, and both Benkei and Shoano find an affiliation to battle one another. Respecting one another’s sword skill and spiritual energy, it’s then inevitable that the two will approach each other in a bid to battle each other to the death. Throughout the film, Shoano prompts Benkei to reveal his demon, just as Shoano has shown his; without which Benkei may not have a chance of survival and those around will perish at the hands of Shoano.

The film’s direction is quite different post-Kurosawa samurai films. Instead of capturing the elegance or beauty of sword play, much of the camera work is filmed within and during the battles taking place. What you get is a raw, harsh glimpse of the panic and the chaos that surrounds the battles. Instead of elegance, we have adrenalin and bloodshed. There seems to be an obvious message of the carnage of fruitless killing, as the fighting in no way seems to glorify death, but show its darkest, horrific aftermath.

Gojoe also touches on several aspects which you won’t see much of in samurai films, and that is the metaphysical & spirituality. There are some mind-bending, yet superbly directed scenes of a spiritual battle between the two main protagonists. This isn’t the same as you what you’ll see in Chinese films where two people face each other throwing eggs at each other and using chickens. There’s a definite macabre essence about the whole experience, showing a very creepy and dark side to the film.

With regards to the fighting itself, this is pretty well choreographed and Shoano is often majestic in his slicing and dicing. However, most of the fighting shows the grim, symbolic fighting – blood being spilled, the agonising screams of the dying, and the reluctance of those that wish to kill.

By comparison, Benkei seems rather warrior-like, almost brutal in his fighting style – he is able to wield a sword, but with every swing you sense his monk teachings holding him back. A further conflict then arises within Benkei – can he survive a battle with Shoano without giving up his beliefs as a monk, or has been denying his true self as that of a demon all this time?

At times Gojoe does lag, but this I would put down to the rather over-extended fight scenes. In some respects I can see this as intentional, as it wears you down, just as the futile attempts of those dying are being worn down by Shoano’s superior sword skills. You feel a dread and expectation of what is to become of everyone, except Benkei.

With the exception of the sometimes laborious fighting scenes, you find that the rest of the film is really beautiful to watch. Performances are downright brilliant, with Daisuke Ryu putting in a great performance as the bitterly torn Benkei. His side kick Tetsukichi (Mastatoshi Nagase) is perhaps not as convincing or as strong a character as the main two; however, his support role is still impressive and adds to the conflict that will continue to haunt Benkei.

Much of the scenes require a little understanding of the period or an open mind, and several scenes may come across as rather abstract or confusing. The film does make sense towards the latter half, with its very interesting ending. Admittedly, the ending left me a touch unsatisfied with its clean break and roll towards the credits – but the final battle is as intense and as symbolic as the rest of the film. Symbolism plays a huge part in much of the film, providing satisfying and intelligent direction from a film which could have been all brawn and no brains.

Overall though, there is no questioning the authority of the film when it comes to portraying the horror of death in a period where betrayal and mistrust was the norm for surviving. This film, much like most foreign films, will not be to everyone’s taste. It is a well paced, but long journey to the dark side of an individuals persona – from his enlightenment to his downfall to face a demon much bigger than the one in himself.

Some may find it boring and lacking in any deep, sophisticated action compared to films now. I would argue that the energy and drive that the film possess is on par with any sophistication that you will find in battle scenes in modern day films, and it’s closest comparison would perhaps be Musa. Both are satisfying accomplishments about individuals who inevitably end up sacrificing themselves to destroy something greater than themselves. Dazzling and sinister in the same instance.

Verdict: An energetic, methodial film with some inventive visuals and ideas