Zatôichi

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.

Zatoichi is a very strong film from the man himself, Shintaro Katsu. I won't say too much in this review, but this is a very strong entry to the Zatoichi series. It has its faults, but most of the time it is a beautifully shot piece that connects extremely will to the viewer.

The fights are great, and really make me kind of sad that Takeshi Kitano decided to go the CGI route in his version of Zatoichi. Here, the arterial sprays are real. And it is one amazingly blood-stained opus. Evidently, Shintaro's sun (the main villain) actually killed an extra during shooting! A crime or total dedication to one's character, you be the one to decide.

Some of the film's major problems: That wretched 80s English song. It's horrible. Whenever it plays, you drop out of Katsu's world. Why it is in there, I'll never understand. It's possible that the song alone (played twice) keeps this film from being great. Another problem: Zooms. I have no problem with snap zooms or very deliberate zooming shots, they can be great especially in older films, but here, the zooming is sloppy. It's as if the DP doesn't know what shot he wants, so he messes around with it as he goes. This problem only occurs maybe three times, but when it does, it stood out to me.

Otherwise, a great film. The faults I find with it are relatively minor quibbles.

Kitano's 2003 update is a better film, but this is arguably more fun and more fulfilling to Zatoichi fans.

The Media Blasters DVD is great! Surprisingly nice anamorphic transfer, good original Japanese audio with very legible English subtitles. Not much as far as special features go, but the film alone is enough to make this a worthy purchase.

Shintaro Katsu is an actor who needs no introduction. Having played the rascal Zatoichi, the Blind Swordsman, in 26 films, he knew exactly what made those films so indelible. Though he had directed a few smaller films in the past (including Zatoichi in Desperation), this was his largest budgeted and most personal work.

Zatoichi: Darkness is his Ally, is a breathtakingly beautiful film, shot with almost totally natural lighting. In fact, the photography of the film is near brilliant in it's lighting and set-up. Katsu's handling of the action scenes is absolutely top-notch. Kudos must be given to the final set piece, which I dare-say may be one of the best sword battles in Chanbara film history.

But it is Katsu's moving, final performance as the wandering swordsman, that gives this film it's weight. His mere presence is so compelling, and his carrying of even the smallest of scenes so capable, that you wish the film would just continue forever, just to bask in a master actor's radiance that much longer.

Some people may balk at the slightly episodic (and convoluted) storyline, but there are so many beautifully handled scenes, you can easily forgive any of the films flaws. Samurai film fans, take note, this is one movie you don't want to miss.

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.

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.