La légende de Zatoïchi - L'odyssée finale

Zatôichi returns, older but with his samurai attributes better than ever.

This, incidentally, is one of the most criticizable aspects of this film: never has Zatôichi killed so many enemies at the same time as in old age. And by the way, never has so much blood been spilled in a Zatôichi film as in this last one, with Shintarô Katsu, who also writes, produces and directs it. No one expects realism in a martial arts film, but Tarantino was not to be anticipated either.

On another level, it also seemed inappropriate to use a song in English, in a style very from the 80s (slap bass and electronic drums) in the soundtrack of a film set in feudal Japan.

Nevertheless, it is a good film in the series, with a solid, interesting and action-packed plot. And Shintarô Katsu showed himself at an excellent level this last time he dressed the skin of the character he played for 27 years.

This 26th also the last of the Zatoichi series indeed is the worst one among the 26 episodes. Shintarô Katsu in 1989 looked fat with natural gray short hairs, he directed and produced this one, added lot of modern stunts, his katana sword's ghost-like flashing cuts now got crimson blood splashed out of his opponents' bodies, unlike the early episodes, only cut but no blood coming out. we got chopped off hands, arms, legs even heads rolling on the ground. we saw him cured the sword in a hotel room. then we saw at the first time he finally got the chance to make love to a beautiful Yakuza local chief in a hot spring.

Yeah, these are the new stuff he put into this last episode. but some of the scenes were overly used again and again in former episodes so many times, such as gambling scene, purposely letting two dices littered outside of the cup, cutting fake dices, etc., etc. but the scene that he stumbled into a dirt pit on the road is too much and too lazily copied from one of the earlier episode, simply is not quite good either.

One of the worst arrangements of this series is repeatedly used so many same actors played so many different roles in different episodes. although their names or titles might not be the same, but these repeatedly showed actors were just killed by him in last episode, then same actors with the same faces showed up right in the next episode. this careless arrangement had seriously caused some viewing problems. a serious franchised series should not use so many same actors to repeatedly showed in different episodes; it's just stupid and ridiculous.

This 26th episode actually should never been made in the first place. it looked just so tiresome and spiritless. by making one like this only meant that Shintarô Katsu just wanted to cash in the last time.

Due to this series' popularity at that time, he even put some songs and sang by himself in the last several episodes, but the song in this last one was simply stupid, we got an English song! was it just because he sold this episode to some unknown American TV channel, so he got to put an English roaming samurai song in it for the American TV viewers? Well, the stupidity always amazed me.

Looked forward to seeing this last version by the original actor. But, aside from the color photography, violent swordsmanship, and invocations of past films, which deserve praise (if you recall the bloodless b&w films of the 60's), I really had trouble with the plot lines and trying to follow along the meandering trail of who was who, what was what, and why they were doing what they were doing.

There were a lot of characters featured here, and the connections among them were not very clear. A scar faced villain appears early on, and then shows up toward the end to complete the circle. A woman who seems to have unexplained authority seduces the hero and then drops completely from sight. A minor character shows off his remarkable skill in effecting a kill and then dies rather unexpectedly and without fanfare at the end.

The sword fighting in this movie explodes with unexpected suddenness, after long scene setting or mood setting intervals, in various parts of the film. The depiction of violence is pretty good, but some scenes are absurd, such as the one in which a leader who has donned a make shift suit of armor made up of metal coins (ryo pieces)is stabbed repeatedly and spurts blood all over, like that braggadocio knight in the first MONTY PYTHON picture.

You have to suspend your disbelief that a blind man can survive against 30 or 40 or 50 to one odds, especially in one case where the bad guys have guns. Is the hero gifted like the Marvel Comics hero Daredevil with extraordinary hearing? And extra sensory perception? Well, that is the only explanation for his survival. Or the absolute incompetence of his enemies in being able to formulate a plan of attack against him.

So many plot lines, so many unresolved issues. Zatoichi is like a tornado who comes to a village, gambles a bit, massages a bit, plays with kids, makes friends here and there, and then sweeps away many lives, leaving death and destruction, and then goes his lonely way down a dirt road. Ordinary folks may come out and cheer (as at the end of this film) for the presumed end of some oppression, but you are left wondering where were these people throughout the movie. What happens after he leaves? Finally, there is so much ethnic tradition being depicted here that many people may have a hard time understanding what is happening. So, I can't recommend this film highly -- unless a film goer has a lot of familiarity with the previous films featuring Zatoichi and can tolerate some of the problems I referred to above. Maybe the color photography may make things bright. "Painting the Clouds with Sunshine," as that old song goes. Here, though, it's blood red.

If you're not familiar with the Zatoichi series, it's the samurai equivalent of "Godzilla". From the 60's to early 70's, twenty five films were made about a blind swordsman who gives a good massage, gambles like no other, and of course, cuts down lots and lots of bad guys. Unlike the "Godzilla" films (fan as I am of them), the Zatoichi films were typically well plotted, albeit formulaic. They were generally light hearted affairs with little sprinklings of darker subject matter. "Zatoichi in Desperation" was the first time the star took the director's chair, and it was a bleak as hell, psychedelic film unlike any other in the series. With this twenty sixth film, he took the director's chair once again.

Many have commented on the, shall we say, dense plot. Rival gangs fighting over guns, over women, a rebel who becomes Zatoichi's hesitant rival, a group of children, a gambling prostitute- even at near two hours, it's a lot to take in. It's a departure from the other films which were generally very well plotted. The thing though is those films generally paired it down. This has so much going on and the way it all wrapped up seems an after thought.

For me, this isn't enough to sink this film. "Zatoichi in Desperation", the previous directorial effort of the man himself, showed a visual flare and atmosphere completely unique to the series, and he seems to be building on it here. The colors and soundtrack are for the most part, exceptionally well done and do so much for the mood.

That's exactly what this entry is: a mood film. The other Zatoichi films are all about building up bad guys for an eventual catharsis when Zatoichi either strikes down or humiliates them. In this we get the bleakness of "Desperation" mixed in with a tenderness and bittersweetness "Conspiracy" had but much more. It's more comparable to a film by Antonioni in that regard, where feeling and mood carry more weight than the plot and characters (though this comparison is superficial: this movie is nowhere near as masterful or in depth as the masterworks of Antonioni) Many seem to complain about the bleak tone and graphic violence. First off, violence and bleakness are not flaws, they are choices, and simply saying "gore, dark, bad" is not valid criticism. Secondly, why would someone watch a samurai movie if such things are a turn off to them? With that said, I can certainly see valid reasons why someone would dislike this film. If you go into this wanting an action film (and really, why wouldn't you expect that from a Zatoichi movie?), while the action scenes themselves are well done, they are very few and far in between. There's also not a whole lot of momentum in the film. Part of being this kind of mood film is a lack of such, which is somewhat at odds with an action piece. and there is no denying that the characters and plot are, well, not quite nonsensical but lacking. I found Zatoichi's political minded friend to be fairly interesting, but his plot mostly stays under the radar and it's popping up towards the end seemed random. Nothing ever quite comes fully together. It's definitely a fragmented film, which is something of a double edged sword in this context. Also strange are the cheap fade to black transitions often used. Considering this is supposed to be the high budget Zatoichi film, this is a very strange choice for me.

and as has also been mentioned, many elements are repeated from previous films. Just in terms of plot and character, it comes off as what you would get from putting a handful of other entries into a blender.

However, when all is said and done, I did enjoy this movie. It's what I call a "trip", a movie that carries me on it's mood and leaves an impression equivalent to that of a dream: near unexplainable in impact, but an impact none the less.

If you go into this with the expectations of an exciting action film, you'll get it in small doses, like a full course meal handed to you in small servings at a time. However if you go in without expectations, you might end up liking it. After twenty five Zatoichi films, most following the formula, I'm glad that we got something a bit different.

The following review is an extract from the book "Shintaro Katsu´s Zatoichi: Complete guide to all movies", which is now available on Amazon. Highly recommended for all Zatoichi fans!

"After "Zatoichi in desperation", Shintaro Katsu got "behind and in front" of the cameras again at the same time for this last film in the saga about the adventures of the swordsman and blind masseur. Katsu directs and stars in this 1989 "Zatoichi", as well as having written the script, and financed it as a co-producer. His son Ryutaro Gan impersonates the young oyabun Goemon.

Apart from seeing a very mature Ichi, around sixty years old and in the twilight of his days, the plot brings practically nothing new to what has already been seen in the 25 previous films. The same schemes are repeated, old details and stories are recycled, we see the same strategy of Ichi in the dice game, and the blind masseur continues to fully retain his faculties with the sword. In this, years have not passed for him.

(...)

The film lasts two hours, much longer than the most of the other movies (Only "Zatoichi meets Yojimbo" has that extension as well).

Although this last film may disappoint some, one thing is for sure: Zatoichi is Shintaro Katsu and Shintaro Katsu is Zatoichi. Later attempts to bring the blind hero back to the big screen with other actors may be respectable (as is the case with Takeshi Kitano's "Zatoichi" in 2003), but they don't reach the quality of Katsu's 60's and 70's Zatoichi films (directed by Kenji Misumi, Kimiyoshi Yasuda or Kazuo Ikehiro among others).

Good soundtrack with ambient touches by Takayuki Watanabe, except for one song in English, which is quite out of place in that context.

There was a tragic accident during the shooting of this film: Actor Ryutaro Gan (son of Shintaro Katsu), who plays Goemon, killed an extra with a katana while filming a combat scene."