SF: Episode One

The way Samurai Fiction seamlessly blends classic chanbara qualities and contemporary cinema is truly remarkable. The result is an homage/parody that pays tribute to classic samurai cinema in an entertaining manner yet still has its own identity and its own unique feel. The most commendable of which is the strange, yet extremely effective humor. There is also the delicious visual style and the equally delectable and entertaining soundtrack.

The Japanese b/w movie "Samurai Fiction" is neither a typical martial arts movie nor a classical "old school" samurai drama like the ones of Akira Kurosawa. It's rather a collage of different impressions about the life of a Japanese samurai some hundred years ago who becomes involved in a bloody revenge story.

In the beginning the spectators have to get used to the strange mixture of b/w action scenes, narrations, dances, wild editing and a rock and dance music sound track. After a certain time, director Hiroyuki Nakano seems to remember what a story is and tells an interesting plot about a proud samurai struggling between revenge, fight, death and love.

During movie there are always comedy situations such as the witty dialogue between the samurai and his servant or a really beautiful striptease dance Japanese-style by stunning actress Mari Natsuki to an Asian canton pop version of Peggy Lee's hit "Sway".

If you're into Asian hardcore action movies you may be bored by this unusual movie, but if you're open-minded enough for experiments, "Samurai Fiction" is a good and entertaining example for modern Japanese underground cinema.

A very positive movie, with excellent music, on the theme of how to be free as a samurai. Almost all characters are oddballs in some way: a master swordsman who does not want to kill anyone, incompetent ninjas, a son of feudal lord incapable to be a warrior, a bad guy who does not desire any profits of being bad.

There are numerous plays on Akira Kurosawa and Masashiro Shinoda movies, moreover two minor characters bear their names. There will be also a "Zatoichi" blind man who will appear in the midst of the biggest battle to do absolutely nothing.

The title says all: it is what the samurai world could or should be but wasn't; in this sense it is a kind of fable with a good ending for all leading characters (even the bad guy will have his dream fulfilled and will die with a smile on his face). It is a pity that it stayed as "Episode One", though.

This is a well presented movie with very interesting camera work and music.

In late 17th century, a samurai is wrongly accused to be stealing the clan's treasured sword, and has no choice but to kill the accuser on the spot and flee with the sword.

The son of a clan's high official pursues him with 3 friends, to the dismay of his father who sends ninjas to protect them, knowing their swordsmanship is far from being good.

This story uses the traditional Japanese principles of irremediable fate, where the characters are drawn towards actions because of the pressure of duty, sense of righteousness and pride. This contrasts with the American good-vs-bad approach to storytelling.

A lot of subtle Japanese humor with situational comedy, silliness and awkward personalities that you'll appreciate more if you learn Japanese stereotypical behaviors or understand some of their social culture.

"Samurai Fiction": Definitely worth watching - I thought it was a little slow at first (and a little sparse and inconsistent with the humour), but it definitely got better at the end. It won't make you more of a Hotei Tomoyasu fan (boy, he looks weird - almost like a manga character... like "Jei" in Stan Sakai's "Usagi Yojimbo"), and the swordplay won't exactly blow you away, but the adaptation of the black & white (with selective colour, a la "Rumblefish") genre is excellent. Being a Kurosawa fan, I especially liked the general "feel" of the cinematography and the video transfer, as it was digitally modified to add graininess and capture that circa-1950's TOHO ambiance. Critical attention was paid to camera angles, set design, character development and mannerisms, all playing true to the Kurosawa-esque model and at the same time sparing no opportunity for the sight gag and comedic element. Yes, for the Hirosue Ryoko fans-in-denial, the female lead (Ogawa Tamaki) bears a somewhat close resemblance (slightly less boyish), but that's besides the point. The movie felt like it was part of an Ulfuls music video at times (I think it was "Guts Daze"), which was exactly what made it so good. Highly recommended.