El ocaso del samurái

Twilight Samurai exemplifies the commitments of duty and sacrifice to one's children and one's community. The father -Seibei Iguchi- struggles between the honor he owes to his family and the demands of his work & fiefdom in feudal 16th century Japan. His character is not one of superficial envy engaging in many swordfights and long action sequences, instead this story seems to be as realistic as possible and profoundly moving as the viewers heart can help but go out to Iguchi in his struggle. This is an excellent film for any age or nationality to enjoy. I highly recommend Twilight Samurai It is already one of my all- time favorite films.

"Twilight Samurai (Tasogare Seibei)" is a domestic drama and romance set in a very specific historical and cultural setting amidst civil strife, recalling "Cold Mountain."

As in much of the cross-fertilization of samurai movies and Westerns such that one can easily imagine a Westernized version, the opening situation recalls "Unforgiven," where a retired gunfighter just wants to be left alone to farm and raise his children and tries to resist pressures to stop putting his fighting skills under a literal grubby basket.

Hiroyuki Sanada gives a superbly nuanced performance as a rebel against the expectations of being the lowest of a high class in a rigidly caste society by embracing the sarcastic titular sobriquet. He is painfully reluctant that he is ever so circuitously revealed to be much more. World weary yet still proud, he gropes for words to explain to his shocked patriarch why he, as an indebted widower, prefers to come home straight from work to see his daughters grow up day by day than follow the family's dictates and anguishes to his best friend about his marriage prospects.

Gradually, surprising people around him are revealed to be as equally complex and frustrated with the roles their society insistently demands even as small step by suffocating step political and social webs inexorably ensnare them tighter and tighter. The flashes of their assertions of their individuality in unexpected moments make for quiet, gripping moments of tension and relief. As his returning childhood friend, Rie Miyazawa has a beautiful, spirited feminity that makes Sanada seem even more of a macho hunk in contrast.

A kind of Jane Austen action flick, it is the kind of movie where antagonists' stares make you hold your breath in suspense and the touch of a hand brings forth your tears.

The translator made a policy decision of just transliterating many traditional Japanese terms, from "sensei" to various styles of sword-fighting, etc. rather than try to find English equivalents. While their meaning can be pretty much inferred from context, it did help that post "Kill Bill" I've been making up for a benighted education that lacked samurai movies and Japanese history.

I found the voice-over narration by the younger daughter a bit schmaltzy and unnecessary. The closing song seemed jarringly period-inappropriate; if it wasn't a Japanese cover of Bob Dylan's "To Make You Feel My Love" then it was a real close imitation with the only clue in English that it was used with permission of EMI.

This is the first of novel adapter/director Yoji Yamada's 77 films that I've seen and I certainly now want to see more.

I approached director Yoji Yamada's period film anticipating the usual brew of flashing blades, unfathomable codes of honour and majestic arterial sprays but found instead a gently melancholic and beautifully played story of unspoken love and ethical struggle.

Seibei (a mesmerising less-is-more turn from Hiroyuki Sanada) is a low-ranking widowed samurai with a senile mother and two daughters, working in the castle's stores and taking in piecework to get by.

Grief at his wife's death has led him to turn his back on violence but he is confronted with it nonetheless, firstly as a result of the return of a childhood friend for whom he has strong feelings and who is fleeing her abusive marriage and, finally, when the politics of the day overtake his clan and he is ordered to carry out an assassination.

Seibei's struggle is not for outward respect but to find integrity within a social order over which he has no influence, making the bursts of violence all the more jarring.

Yamada's film is rightly compared to Kurosawa's work and its thoughtful, lyrical tone and themes resonate powerfully.

The settings and photography in this film are not "grand" but give the impression of realism and the grittiness of life in feudal times. The storytelling devices and attention to detail are core to the feeling I took away from this film, which was one of dipping into a tiny slice of time but seeing a myriad of ageless issues (honour, duty, grief, non-ambition, family priorities). However, what really impressed me was the way the main part (played by Hiroyuki Sanada) grew through the film. At the beginning of the film he seemed physically smaller, his whole demeanour and features were weak and insignificant. Having never seen him act before, I felt I was going to struggle to relate to this man as a lead role. It was incredible to see him (partly through acting and partly through subtle directing) grow into the figure we see at the end; he's taller with wide shoulders and strong features, yet remains a gentle and humble man. This is a very touching film and one which I could definitely watch over and over.

I had been waiting a very long time for this movie to be released in my area, so when the time came I was fairly excited. Often, when I expect a lot out of a movie I am disappointed and end up hating something that may not deserve it. In this case, however, it lived up to and exceeded my expectations. The story line, character development, framing, pacing and action were all absolutely top-notch in my opinion. The film stands as a stark contrast to many other movies set in the same time period in Japan and beyond that it also possesses a very universal appeal. It reminded me of other good dramas in its tone (at times even a bit like the film "In America") and it had funny moments as well as heart-wrenching sadness throughout. It was effective without being too melodramatic, and did a wonderful job of enticing the viewer to empathize with the main character. From a martial arts standpoint I thought that the techniques used were very realistically applied and not at all outside of the realm of what samurai in this time period would have been doing. The fights were tense but very realistic. The last duel was stylized to a greater degree, reminding me of certain moments in Kurosawa's films and by extension certain Kabuki influences. All in all it was a very strong film. It's deep enough that it could stand up to repeated viewing, and in the way of subtititled films it would actually get better each time. Even if the story doesn't interest you it would be worthwhile to see it for the natural beauty of the location and the shots anyway. One of the finest films about feudal Japan that I have seen, and one of the best films I've seen at all.