all its graphic fight sequences, ultimately delivers a condemnation of violence. Unlike Yojimbo , in Sanjuro , the callous ronin actually meets someone who he can learn from. After rescuing the Chamberlain’s wife, Sanjuro is forced to consider his actions more carefully when she admonishes him for killing too readily. She likens Sanjuro to a sword, saying he is too sharp. Sanjuro is forced to yield to her wisdom, later becoming enraged when the blundering of the young samurai forces him to kill some of the conspirator’s men. Sanjuro is presented at the end of the film as a slightly tragic character; he doesn’t want to kill but frequently finds it necessary for his survival. He is offered a place in the clan, but cannot accept because he’s accustomed to the freedom of his ronin lifestyle; he has no place in civilised society. Kurosawa presents the anti-violent message in his film through a series of clever lines and Sanjuro’s predicament. This message is integrated seamlessly into the film, and loses none of its integrity.
THE VERDICT
Like Yojimbo , Sanjuro is an absolute classic, and a must-see for anyone interested in samurai films, featuring swift battle scenes, humorous and well-crafted characters and a thought-provoking plot.
The Tale of Zatoichi (1962)
Japanese Title: Zatoichi monogatari
Directed by: Kenji Misumi
Written by: Adapted by Minoru Inuzuka from a story by Kan Shimozawa
Produced by: Ikuo Kubodera
Edited by: Kanji Suganuma
Cinematography: Chishi Makiura
Cast: Shintaro Katsu (Zatoichi), Masayo Banri (Tane), Michio Minami (Tate), Shigeru Amachi (Hirate), Eijiro Yanagi (Sukegoro), Ryuzo Shimada (Shigezo), Hajime Mitamura (Hanji), Manabu Morita (Seisuke)
PLOT SUMMARY
Zatoichi, the blind masseur and deadly swordsman, arrives in the town of Iioka. He decides to stay with Sukegoro, a yakuza boss he knows. Sukegoro is preparing for a war with his rival, Shigezo. He hopes to use Zatoichi’s skill on his side, and does all he can to keep the blind man happy, assigning Tate, one of his nastier thugs, to look after him. Zatoichi spends his time in Iioka relaxing, fishing at a nearby lake, where he meets Hirate, a disgraced samurai hired by Shigezo. The two form a strong friendship, realising they may face each other on the battlefield. Zatoichi rescues Tane, Tate’s sister, from Seisuke, a yakuza thug who desires her, and she falls in love with him. The tensions between the two gangs escalate and result in a war. It seems as though both Zatoichi and Hirate won’t participate, but Hirate is manipulated into fighting by Shigezo, which also draws Zatoichi into the fray. Hirate insists they fight, as he wants to die at the hands of a master, rather than thugs. Zatoichi wins the duel, but is sad to have lost his friend. Sukegoro’s men win the battle, and Zatoichi yells at him for the pointless waste of so many men, before seeing to Hirate’s burial. Tate attempts to kill him, but only ends up killing himself. Tane waits on the road for Zatoichi but he avoids her by taking a longer route through the mountains.
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
THE VERDICT
Like Yojimbo , Sanjuro is an absolute classic, and a must-see for anyone interested in samurai films, featuring swift battle scenes, humorous and well-crafted characters and a thought-provoking plot.
The Tale of Zatoichi (1962)
Japanese Title: Zatoichi monogatari
Directed by: Kenji Misumi
Written by: Adapted by Minoru Inuzuka from a story by Kan Shimozawa
Produced by: Ikuo Kubodera
Edited by: Kanji Suganuma
Cinematography: Chishi Makiura
Cast: Shintaro Katsu (Zatoichi), Masayo Banri (Tane), Michio Minami (Tate), Shigeru Amachi (Hirate), Eijiro Yanagi (Sukegoro), Ryuzo Shimada (Shigezo), Hajime Mitamura (Hanji), Manabu Morita (Seisuke)
PLOT SUMMARY
Zatoichi, the blind masseur and deadly swordsman, arrives in the town of Iioka. He decides to stay with Sukegoro, a yakuza boss he knows. Sukegoro is preparing for a war with his rival, Shigezo. He hopes to use Zatoichi’s skill on his side, and does all he can to keep the blind man happy, assigning Tate, one of his nastier thugs, to look after him. Zatoichi spends his time in Iioka relaxing, fishing at a nearby lake, where he meets Hirate, a disgraced samurai hired by Shigezo. The two form a strong friendship, realising they may face each other on the battlefield. Zatoichi rescues Tane, Tate’s sister, from Seisuke, a yakuza thug who desires her, and she falls in love with him. The tensions between the two gangs escalate and result in a war. It seems as though both Zatoichi and Hirate won’t participate, but Hirate is manipulated into fighting by Shigezo, which also draws Zatoichi into the fray. Hirate insists they fight, as he wants to die at the hands of a master, rather than thugs. Zatoichi wins the duel, but is sad to have lost his friend. Sukegoro’s men win the battle, and Zatoichi yells at him for the pointless waste of so many men, before seeing to Hirate’s burial. Tate attempts to kill him, but only ends up killing himself. Tane waits on the road for Zatoichi but he avoids her by taking a longer route through the mountains.
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
Similar Books
