Kakushi ken: Oni no tsume

While this movie is set in a samurai period, it's definitely not all sword fights and battle. In fact, there is little to none (sorry all you samurai-anime fans!). But if you would like to get a very good insight into the ideals of Japanese romance and love, I recommend this. It may move slow for people who aren't too in to romance in general, but both men and women can enjoy the relationship that unfolds between the two main characters, with the political sub-plot and climatic fight scene blending in perfectly, and not overrunning the love story. I would also like to add that while younger audiences can enjoy this movie, the fight scene is a bit gory...

I had to see this movie because I am a huge fan of director Yoji Yamada. The man puts out amazing films!!! For example, his previous film, Twilight Samurai, was nominated for the Best Foreign Language Film at the 2003 Academy Awards, and it was awesome!! I don't know if Hidden Blade is as great as Twilight, but on its own it still is a great movie, and should be seen by anyone who likes epic films! Here's what it's about: There is this samurai (honest and low ranking) who is trapped in a state of both personal and professional imbalance. For example, he is secretly in love with his family's maid, and despite the fact that he knows the relationship is impossible, he begins an uneasy courtship with the woman. Then there are his professional issues. He has always been raised to respect the traditions from the past, but suddenly, circumstances have forced him to master a new art; the western art of artillery. Can you imagine? A samurai from the East trained to master the arts of the West? Awesome! And then, to top it all off, he is ordered to find and kill a former friend, who he knows is so dangerous that his skills with both the sword and the gun will not be enough. So, he enlists the help of his old teacher, who entrusts him with --- the secret of The Hidden Blade. Great acting, great story, great movie!!! A must see in my book!

Munezo is a samurai who serves closely with friends and peers Samon and Yaichiro. When Yaichiro goes far overseas to serve for the clan, Munezo is left with Samon, who becomes closer as he marries Munezo's sister Shino, leaving him at home with his aged mother and maid Kie. The years go by and when his mother dies, Munezo struggles with his studies of new Western weaponry and battle techniques and misses Kie – who has long since married into a merchant family befitting someone of her caste. A man of tradition and respect – Munezo is forced to act against inherited wisdom and practice when he learns of Kie's mistreatment and also of the dishonourable imprisonment of Yaichiro.

Some have warned caution of this film to those expecting an action film and they are right to do so, but to me the opposite applied. Screened late at night on BBC4, I recorded this film thinking it sounded interesting but could easily be a very dry film full of its own importance and depth, delivered with long shots for the sake of, stilted dialogue and every single bit of it screaming "restrained!" like the audience is an idiot. Suffice to say, I have been hurt before when it comes to such films! I needn't have worried though because The Hidden Blade manages to be about the restrained traditions of feudal Japan without making the telling or the film be dry and withdrawn into itself. Nor does the film labour the point in the way some similar works have, indeed it does give the audience food for thought in regards the pros/cons of both tradition and progress – neither of which is an entirely good or bad thing but has bits of both. To me this made it more worthy of my respect and interest but what made it so engaging was the amount of ground it covered. I am surprised to read that some found this film "boring" because to me the narrative is surprisingly packed with threads that cover friendship, relationships, loyalty and tradition across many aspects – all of which work really well. OK, I will give you that the final ten minutes could have been done with a bit more certainty but even this was only a minor thing because mostly there is plenty to watch. What surprised me most about it was that it did also have a good vein of humour running through it, my favourite moment of which was the men trying to catch a chicken with a basket – great little throwaway gag.

The script is the starting point for it as it builds conflicted characters with as much attention to them as to the world they inhabit. The visual construction of the film matches this as it feels very much in the period and I was quite surprised to find it was made as recently as it was because of how of its time it felt. The cast come good mostly even though I didn't think anyone really nailed it or dominated proceedings. Nagase is a strong actor with almost what the character needs in terms of expression and inner thought processes. He was not quite as distinctive as I would have liked the odd time but mostly he is a firm lead. Matsu overplays the "sweet little maid" role just a tad but the script is strong enough to make it work regardless and she does come over as charming and a character we care deeply for. The supporting cast around these are mostly good with turns from Ozawa (not given enough time though), Ogata, Yoshioka and Tabata among others.

The Hidden Blade may not be what you think it is going to be but, whether you assume it is action-packed or dry as a bone, it doesn't matter because the film performs really well at what it sets out to do. The plot builds the world and characters really vividly, providing thoughts on progress and tradition while also laying out both in terms of the relationships, positions and lifestyles of the main characters. It has humour, sadness and intelligence all delivered with professional direction and atmospheric design and cinematography. It is well worth seeing and rewarding with only a little patience required.

"The Hidden Blade (Kakushi-ken: oni no tsume)" is filmed in a deceptively old-fashioned and leisurely style to make pointed observations of Japanese society, much as "Far From Heaven" did for the U.S.

Director/co-writer Yôji Yamada again adapts Shuuhei Fujisawa stories as he did so beautifully in "Twilight Samurai (Tasogare Seibei)". Taking place just a few years before Hollywood's "The Last Samurai", this feels like a rebuke and response to that very Westernized interpretation of some of the same issues of how changes in military technology impacted feudalism and imperialism, as well as visually referencing many classic Japanese samurai films, but from a more individualized point of view then Kurosawa, Kobayashi or Inagaki

The first half of the film establishes the complicated domestic life and frustrating work of the struggling samurai (a solid and sympathetic Masatoshi Nagase, channeling Toshirô Mifune). The broadly comic scenes of fumbled rifles and cannon training recall similarities with the "Sharpe" TV series of the just a bit earlier Napoleonic wars. Particularly lovely are household hearth scenes of warmth between generations and between master and servants.

But this is not the idyllic village where Tom Cruise sojourned, as darker abuse is revealed and the samurai flaunts rigid social protocols to do right by those he cares for, especially the young maid "Kie" (Takako Matsu channeling the three little maids from "The Mikado" a bit too much). He is slow to reveal emotions or take action (the romance goes beyond Jane Austen in its cross-caste sidling and very slow resolution), suppressing vivid childhood memories we see very briefly in flashbacks in contrast to his voluble friend who rebels, including against traditional suicide.

The emphasis throughout the film is on generational conflict, as elders who are to be venerated are constantly shown to be fools or much worse -- old uncles complain about younger people (whose names they can't keep straight) using the new Western weapons, but place a higher priority on eating; a mother-in-law viciously mistreats her daughter-in-law to increase profits; a corrupt senior retainer (the feudal titles do not seem well-translated in the subtitles) lies and manipulates while enjoying geishas and complaining about his prostate problems. But a teacher derided as a "crazy old man" who can still best the young swordsman passes on more useful stealth techniques than the martinet drill sergeant who has inherited the honorific "sensei" with his British guns.

While as usual in such films, I simply cannot follow the Byzantine shogun politics even with a superfluous narration, as I've never studied Japanese political history, the second half ironically builds on the iconography of the genre with unusual sights and sounds. Macho conflicts are filmed voyeuristically, with sidling camera angles that indicate a passing from mano a mano duels to the anonymity of modern weapons, and thus justifying the use of the titular vengeance.

The exquisite cinematography and sound design create a special environment. With a look of faded epic cinematography like the passing of an age, we see snow falling on parasols, cherry blossoms on the path and rain fall on unrequited love. We hear them too, as the breezes, wind, crickets, birds, rain and the household sounds of tools and crackling fire punctuate long silences and dominate more than the conventionally soaring score that is used judiciously. But a prison and eventual bloody fights in a heavily symbolic fog are not minimalized.

The production design is much more elaborate in showing us traditional architecture than most such Japanese films.

I'm sure some of the social and historical commentary just goes by a Western audience unfamiliar with particulars, but the themes of individuals caught up in social proscriptions who rebel and seek love, respect, peace and, most of all, control over their lives is universal and very involving.

The Hidden Blade The Hidden Blade refers to a dreaded samurai sword skill, which you will see only towards the end of the film. Folks, who like me initially thought that this is one of the usual samurai slugfest, may be disappointed that it's not. But like mentioned in the movie, killing is only a last resort, and even samurais themselves are fearful of death in duels.

But hey, don't jump the gun (pun not intended) just yet. This film has a story to tell, and a poignant one at that. Simply put, it tells of a story about a small town samurai whose village is caught in the transition period of Japan's modernization and introduction of western arms (guns and cannons) and fighting tactics. While struggling to understand the rapid changes taking place in the nation, he has to deal with relationships of the heart with his family's maid, whom he adores but afraid to own up to, and the dilemma of being ordered into a duel with one of this long time friends, whom has gone off the right track.

This film explores many themes, one of which is the samurai code of honour, where committing suicide via disembowelment (hara-kiri) is widely accepted as a practice of maintaining that honour. We also see the bastardization of this honour, of corruption, which brings to mind George Orwell's Animal Farm, where some animals are created more equal than others. The protagonist samurai Munezo often put his head on the line while maintaining that code, even when all else around (including his superiors) put pressure on him into making compromises. How many of us will rigidly uphold our values and principles when faced with adversity? Or will we bow to that pressure and be apologetic for it?

We are also shown the caste system in feudal Japan, which proved to be a stumbling block between the relationship of Munezo and his family maid Kie. The village clan frowned upon and gossips about Munezo's rescue of Kie from her abusive marriage. While the motive may seem justifiable, we all know Munezo's real reason - that he loves her and cannot bear to see her being abused, and ultimately losing her life. Both know that with the caste system, they can never be together. Or can they?

The caste system doesn't only apply to relationships of the heart. Even within samurais, this system applies. Munezo is a small samurai in a small village, and is given little respect by samurais belonging to larger clans and cities. Think of it like the army, where foot soldiers have to "Yes Sir" every officer's instructions - even when it means given the order to kill an old friend who has gone fugitive. Munezo again struggles with this, but knows that as long as he's a samurai, orders are to be obeyed.

Change and modernization is central to the story. And in this film, there are numerous hilarious moments as the samurais in training as a modern army come to grips with strange rituals like foot drills, the handling of modern weaponry, and even the way they run. It's something like Tom Cruise's Last Samurai, only that the training's more comical here, and subtly highlights the dangers losing of one's cultural values when the world moves rapidly in change.

And finally, for those really waiting for a slugfest, there are 2 fight scenes in the entire movie. One is when Munezo seeks his old master for new guidance, and is being taught a new skill / trick. The other is when Munezo meets his longtime friend for a final showdown. Do not expect "wuxia" styled swordfights. Think Star Wars: A New Hope, the duel between Darth Vader and Obi-wan Kenobi. The duel happens with measured strokes and strategy, rather than fast paced action everyone's used to these days.

But again, the emphasis here is not on violence. It's a simple tale with powerful themes, and you will applaud when The Hidden Blade is finally used, justly.