Samurai Fiction

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.

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.

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.

Style and Substance. That's what Samurai Fiction is about. I was surprised at the many MTV-ish stylistic shots incorporated into the movie, without a blatant disregard for the storyline, incorporating very modern rock into its soundtrack.

The Inukai clan had their family sword stolen by a renegade samurai Rannosuke Kazamatsuri. Swearing to get it back, Heishiro Inukai embarks on a journey to hunt down Kazamatsuri. However, his skills are no match for a seasoned warrior who has killed many, and almost had his life ended until he is saved by a hermit Hanbei Mizoguchi.

It's a tale of 3 very diverse samurais, each carrying a theme. The peaceful Hanbei Mizoguchi, highly skilled, but abhors the use of violence. The cool and violent killer without remorse Rannosuke Kazamatsuri, who becomes obsessed with challenging Hanbei to a duel. The inept Heishiro Inukai, who defies his father's wishes to embark on a solo quest to regain their family honour. Thrown into the fray are 2 ninjas on a quest to protect Heishiro and carry out his family's orders on his behalf, and Koharu Mizoguchi, the adopted daughter of Hanbei, with whom Heishiro falls in love with.

The storyline might be pretty ordinary, on one end, the revenge theme, the other, love and peace. But I suppose these are themes that are quite universal, especially in martial arts stories.

The fights are all done very simply. Stylish, but kept uncluttered. Shot in black and white, colours are used sparingly, except for the coating of entire frames in red when someone gets killed. You don't see blood, but you see plenty of varying shots and angles of the fight sequences, done mostly with the help of a crane.

What works for me are the comedic characters like Heishiro's friends, early in the beginning, in their run up (pardon the pun) to catching Kazamatsuri. Also, the soundtrack is totally awesome, unlike the use of traditional music to spice up the fights. You might also know that Ronnosuke Kazamatsuri is played by real life rocker Tomoyasu Hotei, who also did that excellent track Battle Without Honor or Humanity, used in the Kill Bill Vol 1 movie.

It's weird to notice that this movie is actually billed as Episode 1. It's been 8 years and I'm not aware of a sequel or continuation in place. But I guess Samurai Fiction has already told the story it wants to tell, and there shouldn't be a need for a follow up.

Code 1 DVD contains the movie and a making of documentary, and a separate disc containing bloopers, cast biographies, how two scenes actually looked in colour, the trailers, and an entire 1 hour feature on the making of the Samurai Fiction, which showed that a simple movie also has its fair share of difficulties, and Mother Nature did its best to stall production.

I think the title of this review sums up SAMURAI FICTION. It doesn't approach the heart of samurai cinema (and I doubt that was among its intentions) but it transforms the form in new and interesting ways.

Whether or not the title is a direct reference to PULP FICTION, the fact remains that SAMURAI FICTION tries to be the same hip, cool and stylish update of the classic chambara genre that Tarantino's movie was for the gangster genre. Whether or not it succeeds or that it's SF's intention for that matter is up for debate and down to personal taste I guess, but either way SF is every bit the fresh breath the stagnant genre is in desperate need of for years now.

As a big fan of both chambaras and jidai-gekis I find myself torn between my purist self that wants to dismiss SF as having only a cursory resemblance of the genre and being too cool and slick for its own good, and my escapist self that enjoys kicking back with an unashamedly entertaining movie. The truth of the matter is that chambara has always been a dynamic genre, one that evolves in cycles that begin with movies that venture outside the mold: movies like SF. YOJIMBO in the early 60's made the traditional period dramas of the 50's obsolete overnight. Ditto for Kenji Misumi's LONE WOLF AND CUB in the early 70's. Even if SF didn't have the same power to motivate change in the genre, I applaud it for trying.

SF is very open about what it is and what it's not from the credits sequence alone. Dark silhouettes practicing fencing in front of red-lit screens. I wouldn't be surprised if Tarantino lifted the sequence verbatim for KILL BILL vol. 1, he has that "homage" tendency after all. It is with this heavy stylization that SF opens and our genre expectations are instantly shifted to this conscious capsule where the samurai style meets a western form.

The rest of the movie plays on this same motif. A traditionally eastern genre delivered with a very western approach. Whole sequences and all the swordfights are edited like a music video, from the tight editing to the music to the frequent use of wide angle lenses and effect shots to the actual music that is as far removed from Toru Takemitsu and his scores for Kobayashi and Shinoda as one could imagine.

SF is content to take risks but they don't always pay off. The misuse of music is enough to give Dario Argento's choice of Motorhead for the soundtrack of PHENOMENA (a horror movie) a run for his money. Techno beats, heavy metal guitars and double-bass drumming are all mixed in a hodge podge of western sounds adding to the anachronism SF aims for. It's not out of purism that I didn't like them, they just didn't feel appropriate for the mood and scene although the music video-ish editing did its best to accommodate them. However the black and white photography is solid good work, the acting is nice and the comedic timing spot on. SF balances neatly on both the serious and comic with an emphasis on the latter but it works quite well on both fronts. Add to that the good swordfighting and the fact it manages to pull off the "hip" style relatively well without feeling phony and you've got a quite good neo-chambara that deserves major points for at least trying to push the envelope of a stagnant genre in different ways.

Ever since the late 70's samurai cinema has hit a dead end and various attempts at cross-genre mixes tried to revitalize it to no avail. Maybe the halcyon days of the 60's are over and the chambara genre is a thing of the past as much as the American western, with the only option left being revisionism (which has also been done to death – I guess re-revisionism is due next). Maybe it will take another YOJIMBO to pull it off its legs and usher it in a new direction. SF is not quite the genre messiah and frankly I can see fans of Tarantino and Guy Ritchie enjoying it more than Mizoguchi loyalists but it's perhaps the best entry point to the genre for modern audiences with no prior experience (especially for young people who usually gravitate to the "cool" and "hip") . That's a success in itself.