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As far as jidaigeki (Japanese period drama) goes Samurai's Promise is more akin to Yamada Yoji's trilogy of Love And Honour, The Hidden Blade and The Twilight Samurai than 13 Assassins or Miyamoto Musashi. That is, the film has an emphasis on human relationships, feelings and settings than action sequences. Indeed, the original title for the film, Chiri Tsubaki, refers to the scattered blossoms of the Japanese camellia flower, which are present in the garden of a family in the film. The swordplay and swordsmanship of the protagonist, and those associated with him, is both depicted and impressive, but that is not where the crux of this movie lies. Director Kimura Daisaku had worked with Kurosawa Akira multiple times as a cinematographer and holds his grip on the latter role here to beautiful effect.
Lead by Okada Junichi, the all-star cast features Nishijima Hidetoshi as his friend-cum-rival, Aso Kumiko as his wife and Kuroki Haru as his sister-in-law and these, among others, probably comprise the most in-demand actors and actresses in Japan today. It is quite an ensemble and they put in an impressive performance. Exiled for his sense of justice and unwanted meddling, samurai Shimbei and his wife are outcasts until upon the latter's death he proceeds to fulfill his final promise to her to protect a friend and former colleague in their home fiefdom. His return is unwelcome by both the seat of power and former friends who see the man as a traitor, murderer and potentially both. It is only his sense of justice and faithfulness to his wife and the promise he made to her that keeps the former samurai steady and resolved to remain and do right. His sister-in-law - played progressively by Kuroki - believes she harbours the spirit of her dead sister and anchors the man's turbulence. It ensues that the intrigue runs deeper than anyone had thought and to cover up the betrayal and maintain wealth and power death, deception and destruction are tools used with abandon.
The story of the man and his clan politics is heavy on the melodramatic and the deployment of beautiful scenery whether mountains, rivers, the titular falling petals, the rain, the passage of time and seasons or even swordsmen practicing in the snow by Kimura is occasionally too obvious and even heavy-handed. It becomes an obvious ploy soon enough, but that the cinematography is beautiful is evident and quite a sight to behold regardless. Shot on location at Hikone castle and Nagano Prefecture the western-style music score is reminiscent of Love Story and almost dissonant given Samurai's Promise's setting of Japan in the eighteenth century. It is obvious that the director deliberately set out to make a handsome movie. Indeed, the program manager introducing the film called it "a deeply moving movie." Elsewhere, the title in English bears a fallacy. Having been driven from the fiefdom and no longer in the employment of the lord of the domain, by definition the man is not a samurai, but a ronin. When the need for action arises, or the backstory is unfurled, bushido and action fans will find a lot to enjoy. The swift movements and slayings are impressive and the director is not shy about letting blood flow either, but those elements are in sharp contrast to where the heart of the novel-turned-movie resides. At its core A Samurai's Promise is a dignified romance first and samurai film second.
Lead by Okada Junichi, the all-star cast features Nishijima Hidetoshi as his friend-cum-rival, Aso Kumiko as his wife and Kuroki Haru as his sister-in-law and these, among others, probably comprise the most in-demand actors and actresses in Japan today. It is quite an ensemble and they put in an impressive performance. Exiled for his sense of justice and unwanted meddling, samurai Shimbei and his wife are outcasts until upon the latter's death he proceeds to fulfill his final promise to her to protect a friend and former colleague in their home fiefdom. His return is unwelcome by both the seat of power and former friends who see the man as a traitor, murderer and potentially both. It is only his sense of justice and faithfulness to his wife and the promise he made to her that keeps the former samurai steady and resolved to remain and do right. His sister-in-law - played progressively by Kuroki - believes she harbours the spirit of her dead sister and anchors the man's turbulence. It ensues that the intrigue runs deeper than anyone had thought and to cover up the betrayal and maintain wealth and power death, deception and destruction are tools used with abandon.
The story of the man and his clan politics is heavy on the melodramatic and the deployment of beautiful scenery whether mountains, rivers, the titular falling petals, the rain, the passage of time and seasons or even swordsmen practicing in the snow by Kimura is occasionally too obvious and even heavy-handed. It becomes an obvious ploy soon enough, but that the cinematography is beautiful is evident and quite a sight to behold regardless. Shot on location at Hikone castle and Nagano Prefecture the western-style music score is reminiscent of Love Story and almost dissonant given Samurai's Promise's setting of Japan in the eighteenth century. It is obvious that the director deliberately set out to make a handsome movie. Indeed, the program manager introducing the film called it "a deeply moving movie." Elsewhere, the title in English bears a fallacy. Having been driven from the fiefdom and no longer in the employment of the lord of the domain, by definition the man is not a samurai, but a ronin. When the need for action arises, or the backstory is unfurled, bushido and action fans will find a lot to enjoy. The swift movements and slayings are impressive and the director is not shy about letting blood flow either, but those elements are in sharp contrast to where the heart of the novel-turned-movie resides. At its core A Samurai's Promise is a dignified romance first and samurai film second.