So we have a 2003 rendition of the Zatoichi series of films from the 60s, 70s, and the last film from 1989, this time with Kitano at the helm. Kitano always had a keen interest in making samurai films, his record attests to this.
This is the 27th film based on the character of Zatoichi, the blind samurai. The last film from 1989 tried to resurrect the popularity of Zatoichi, as many as two to three films were released during the 60s annually due to the success, but the last film really failed to live up to expectations or to truly attest to the history of the character.
What you find with Zatoichi films is the majority just place the character in to a situation, without explanation, hence you have to take the film as an individual release unrelated to the others. The same is true of this, as it is very much Kitano’s own version of the character of Zatoichi, played by himself, no less.
The story is slightly more complex, and is explained during the film through some intelligently and well crafted flashbacks. The characters take a moment to pause and reflect, and the flashback is provided. It’s really well done, as it doesn’t confuse the plot as much as it helps to understand it.
Subdued and understated direction, with a slight focus on the slightly darker look provides the melancholy misery that matches the story, which lingers around death. Almost every character that is introduced dies, that is from the bad guys pool of people. The good guys almost always win, but then you don’t quite know who the good guys are. Zatoichi himself is a bit of a rogue, as we know little about his character and this cannot decide if he is actually a hero, or just someone trying to survive. Being blind of course would be considered a handicap, was it not for the fact he had honed his arts as a master swordsman with this handicap increasing his other senses.
Kitano’s performance as Zatoichi is brilliant. He is convincing as the blind old man, with his white hair and frail walk
Kitano’s direction seems to have a Kurosawa flair. The story is paced rather than rushed, the characters developed instead of dumped. Just as the film is understated, so is Kitano as Zatoichi, as there is no over emphasis on Kitano, and equal screen time, perhaps more even, dedicated to the other characters.
Tadanobu Asano plays Hattori, a samurai with skill to match that of Zatoichi, who reluctantly lives the life of a bodyguard, in order to earn enough money for his wife’s medicine. His wife is often pleading with Hattori not to live the life of a yojimbo, in case he returns in a casket. Hattori is stubborn, however, and continues to move from town to town in order to earn his keep. His wife grins and bares as he kills many people for his new masters.
The masters in question are essentially thieves and thugs. Having killed and looted from the Naruto family ten years previously, they failed to eliminate the children, who return seeking vengeance on all those involved in the death of their family and thieving of their fortune.
Still, the bad guys are not stupid and intend to wipe out all competition. Hattori needs a job, and is thus hired to protect the bad guys and essentially becomes a pawn out of circumstance rather than choice.
Talking of sword play, there isn’t actually a lot of it. However, when it does occur it is thoroughly entertaining. Most of the deaths are dealt to unskilled morons who think they’re stronger with a sword. It’s mostly a case of one blow kills, due to the skill of the two main samurai: Zatoichi and Hattori. It’s inevitable that a confrontation will occur, and how it comes about is as entertaining and interesting as how it ends. It was stroke of genius on what takes place between Hattori and Zatoichi and something I have never seen done before. It was very different, and seemed very much Kitano to do things differently.
What you find with Zatoichi films is the majority just place the character in to a situation, without explanation, hence you have to take the film as an individual release unrelated to the others
The fights themselves may put some people off, as there is obvious use of CGI. Now there is a reason for this. Kitano wanted to keep the traditional method of death by sword kept, just like in the samurai films of old, but he also wanted to add a comic book style to the deaths. Thus the blood is all CGI, and it looks very much like a comic at times when deaths are delivered. For me this was no bad thing, as for the most part they come across as great. There are a few notable exceptions where the CGI doesn’t quite deliver, but then you’d have to be a picky bastard like me to spot those. The majority of the deaths are devastatingly satisfying, and deliver what viewers want to see: a samurai kick arse.
Kitano’s performance as Zatoichi is brilliant. He is convincing as the blind old man, with his white hair and frail walk. Yet he turns into the master swordsman in a flash, when the need arises. And when it does, his skill is stunning. He fights, with hesitation, but also the image of someone who is thinking about his opponent. He really puts his all in living and breathing Zatoichi, however, he does so with his typical charm of talking less, and acting more. The man’s a legendary genius.
A film like Zatoichi proves beyond doubt that as fashionable and interesting as Kill Bill is, it is all but an imitator providing cheap thrills the Hollywood way. The Japanese know art, and they execute it better. Tarantino was even lambasted by Kitano and Miike for creating a mediocre film after citing classic Japanese films include the Lone Wolf series as his influence, into commercial pap. Sure it entertains, but then so does a rodent in a wheel. I’m looking forward to the Kitano & Miike collaboration on the next samurai flick, apparently being made to show Tarantino how it should be done. That film is Izo and has recently been completed, though I understand that Kitano himself has little screen time.
Verdict: The best modern samurai film, and a hark back to classic film making with a modern twist. Killer stuff.