L'ultimo samurai

Tom Cruise and Ken Watanabe are an unlikely pair, but they are great together in this beautiful look at the Samurai's way of life. Tom Cruise performance is this film is brilliant, but for some reason the academy chose to ignore him. I think he at least deserved a nomination, but this role was not your average Tom Cruise role. It was risky and he pulled through. Ken Watanabe got the nomination instead of Tom, which I was very happy with. He was excellent and very convincing. In my opinion, he steals the show as Katsumoto. I love Samurai films, so I enjoyed it very much. Not a lot of people favor Samurai films, but it's not your average samurai movie. It's deeper and more emotional. I thought this film was great and I know that this film won't be everyone's cup of tea, but its worth a sip.

9/10

"The Last Samurai" 2003 and "The Last of the Dogmen" (1995 d: Tab Murphy, with Tom Berenger and Barbara Hershey in the lead) are both films with the theme of the 'last' of warrior spirits (one is Samurai, one is Cheyenne). The production of The Last Samurai is well worth seeing - the glory of a large-scale Hollywood production it is. From the research of the historical Japanese Meiji period, the mannerisms, the way different classes of people dress, the settings, the battle weapons and armory, how the Samurai train and fight, to the study and appreciation of the Art of War - where men of honor and integrity in service to the Emperor is the thing to die for. The film title in three Kanji characters means The Way of the Warrior (Samurai). The one character shown on screen at the very beginning (romanization: Sze) meant in the service of the King. Hence the definition of Watanabe's Samurai lifelong one true goal - to serve his Emperor, one and only, and to die in the service of the Emperor would be an honor.

The film, directed by Ed Zwick, is truly a combined labor of love of everyone involved. From the producer-lead actor Tom Cruise and Zwick's film-making partner Marshall Herskovitz, cinematography by John Toll and film score by Hans Zimmer, to the costuming details, diverse casting, location scouting all the way to New Zealand and training of the supporting cast - even the official Web site with extensive production notes - all provide enhanced appreciation of this remarkable film. The storyline and drama of "The Last Samurai" evoke various level of emotions, pulling the heartstrings of the audience with high emotional energy - suspense, sadness, smiles, empathy, joy.

"Kagemusha" by Akira Kurosawa, of course, is the ultimate grandeur of a historic Samurai epic. "The Last Samurai" is comparable in drama and treatment if not with equal passionate efforts all round. Both are available on DVD with special features of audio commentary and the making of 'featurette' and more.

This movie is filled with such excellent performances, beautiful cinematography, well choreographed action scenes, that me not understanding the movie, still liked it anyway.

I don't know much about Japanese culture or about the history of Japan during the late 1800s, so I could not fully understand what was happening in this movie. What impressed upon me is that Nathan Algren, a disallusioned, alcoholic American soldier who went to Japan to train the emperor's troops, was able to find friendship and respect the great samurai, Katsumoto. These two men, from different countries and cultures, were able to become friends because they are both warriors under their very different exteriors.

Tom Cruise is so good in this movie, but it is easy to overlook his performance and just think, wow, this man is so hot! He's even sexy as an alcoholic! This guy is so good looking that it took me awhile to see him as Nathan Algren, and not just Tom Cruise, sexy superstar actor. But once I got use to seeing him in this character, I believed him totally. But Ken Watanabe's emotionally, intense performance, totally blows away Tom Cruise's performance. One can't help but grow to respect this samurai who opposes the western influence in Japan and wants to retain the samurai way of life. This japanese actor is terrific! I hope to see him more in American movies. Even if you don't care for historical movies, you should still go just to see the performance of Ken Watanabe and Tom Cruise.

I won't go into the plot. I think everyone has a pretty good idea of what the plot is. I just have to say, I don't see anything wrong with the japanese emperor trying to modernize Japan by associating with the Western powers, and I don't understand why Katusomoto is so against that. That's the one major problem I have with this movie, is that I don't understand enough of the politics during that time in Japan. Otherwise, this is a pretty great action flick and I enjoyed it immensely.

Powerful, well-crafted epic set in 19th century Japan about a disillusioned American soldier who's hired to train a group of fledgling soldiers and lead them into battle against a rebellious samurai. Having been defeated and held captive by the enemy, he gradually begins to understand and develop a great respect for the man who should be his adversary. Long, but faultlessly performed and richly detailed with compelling battle scenes and vivid, breathtaking scenery. Cruise—sporting authentic Japanese tongue—is outstanding, but Watanabe steals the film in a moving and forceful performance as the fierce but honorable samurai warrior. Only letdown is the finale, which seems a bit too conventional, but it's still a remarkable tale of life, honor, and courage. ***½

With `The Last Samurai', director Ed Zwick appears to be aiming for an epic on the scale of a David Lean or Akira Kurosawa film. He couldn't possibly aim higher, and if he is not entirely successful he has nevertheless produced a film which will leave audiences grateful for the ways in which he is.

Impressively, Zwick never forgets that a great epic is based in equal parts on quiet moments of personal growth as well as on spectacle, and the two are in proper balance throughout `The Last Samurai'. Furthermore, this film never falls into the trap of presenting its American hero as the savior of a group of savages. It's presentation of the Japanese culture as represented by both the government forces and the Samurai warriors is informative, entertaining and never less than three dimensional.

The film's opening (and, later, closing) moments are its weakest. Simply stated, Tom Cruise is completely unconvincing as an embittered and alcoholic Civil War veteran. Watching him deal with stock characters (such as the photographer played by Timothy Spall), we are reminded of school-level productions in which a young cast can not possibly understand much less convey the life experience we are supposed to believe they have had.

Fortunately, things pick up considerably when Cruise finds himself in the hands of the Samurai warriors he has come to Japan to train the soldiers against. Not only is the actor convincing in the physical daring-do we have come to expect of him, but he is able to project a subtle variation on a theme he has explored before. His characters always seem to exist for the purpose of getting some form of comeuppance. Here it comes not in the form of a big emotive scene, but gradually, over the course of time, as he gives himself over to a world based on ritual, respect and honor. These quiet moments, juxtaposed with his learning the ways of the warriors, are the heart and soul of this film. Cruise is greatly abetted by the excellent actors Ken Watanabe and Koyuki in these sequences, as well as by the boys who play Koyuki's sons. Indeed, the greatest example of Zwick's skill in piloting this film can be found in the ease with which the film alternates between two languages, with none of the clunky feel too often associated with joint international ventures.

Not surprisingly, the film leads up to a spectacular battle sequence which, if anything, is even more impressive than any found in `Braveheart' or `Gladiator'. "The Last Samurai" can not help but recall "Dances With Wolves", with which it has a great deal in common, as well.

There is, however, a hokey quality to the film's final half-hour which brings it back to the level of its opening, with an unrealistic coda that its title portends to. There are, in fact, too many endings, and none of them are on the level of the film's best moments.

But if `The Last Samurai' sometimes falls short of its epic aspirations, it nevertheless is far more successful than many of its recent peers. It will be interesting to see how it holds up with time.