Zatoichi, o Fugitivo

Masseur Ichi, the Fugitive (1963)

*** (out of 4)

The blind swordsman Ichi (Shintaro Katsu) angers a large yakuza after defeating them in a wrestling match, which will lead to a bigger fight. Directed by Tokuzo Tanaka. This here was my second film in the series and while I enjoyed most of the first one, this one here just doesn't cut it. There's way too much talking going on and none of it is even mildly interesting. Even worse is that the actual swordfights are rather lame as well. The concept of a blind swordsman is really the only thing that keeps this film (and perhaps series?) afloat.

Zatoichi, the Fugitive is the fourth entry in the franchise and the second film to be shot in color. It's the second of three films released within the same year. The movie starts with Zatoichi being attacked by an inexperienced yakuza who wants to earn the bounty on Zatoichi's head. Zatoichi easily kills his opponent and wants to find out who wants to pay the reward for seeing him dead. The blind masseur travels to a nearby town where he confesses to the bounty hunter's mother that he killed her son. While the mother pardons Zatoichi, a group of samurai wants to avenge the bounty hunter's death. As if that weren't enough, Zatoichi also has to deal with the weak inheritor of a local yakuza who seeks Zatoichi's help but who is also pressured to kill Zatoichi by his peers to prove his strength. In addition to this, Zatoichi meets Otane again, a woman he carried passionate feelings for in the first two films. He realizes she is unhappily married to a quick-tempered ronin and decides to challenge him. Soon, Zatoichi has to face a group of vindictive samurai, a mean ronin and an untrustworthy inheritor all at once.

The main problem with this film is that the plot is at times tough to follow with its numerous characters. It's not always clear why and when the inheritor changes his mind and is Zatoichi's partner, just to become his opponent and to end up supporting him once again. The numerous yakuza bosses and their motives for wanting Zatoichi dead are also quite confusing. Even the return of Otane is somewhat strange as she seems to be torn between Zatoichi and her husband. In one scene, she almost romantically walks around with Zatoichi and opens up to him about how her life has changed for the worse and the next day she apparently tries to trick him in order to kill him and get the bounty on his head. The movie would have been much more enjoyable with less characters who have clearer objectives. This film's epic proportions made me feel lost at times.

On the positive side, the wild Japanese landscapes and colourful towns are still fascinating to watch and especially the abandoned house in the meadows where the final showdown happens is a gorgeous location. The final fight sequences are beautifully and cleverly choreographed. The entertaining last twenty minutes save the movie from being just average or worse.

In the end, Zatoichi, the Fugitive is the weakest film of the franchise so far but it's saved by a fast-paced closing twenty minutes and the charming use of traditional rural Japanese locations. Fans and followers of the franchise can give this film a try but occasional fans of Chanbara or samurai films can skip this entry without any regrets.

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

"(...) Zatoichi agrees to be transported in a jinrikisha (a type of proto-taxi in Japan of the Tokugawa era, and other Asian countries). Persecutors who want to kill the blind man see how he rides the vehicle, as they keep a close watch on him. At the edge of the road, Zatoichi and his carriers meet a woman with a baby who feels unwell. Chivalrously, Zatoichi proposes to the mother to get into the car in his place; he will continue on foot. A few meters ahead, the jinrikisha is attacked, the killers strung the person inside thinking that it is Zatoichi ... and killing instead the young mother (...).

(...) Zatoichi, who feels responsible for the tragedy, decides to take the baby to the town of Miyagi to give it to her father Unosuke, the husband of the deceased.

(...) This issue is the eighth sequel to the excellent "Zatoichi monogatari" (Kenji Misumi, 1962). The director of every film about the adventures of the blind swordsman is not always the great Kenji Misumi, but this is the case in this "Zatoichi kessho-tabi" that we are dealing with today, and whose international title in English comes to be, without much sense, "Fight, Zatoichi, fight". We say without much meaning because that title is not necessarily descriptive of the film (Zatoichi fights in all his films), and we are inclined to think that it is not the literal translation from Japanese either.

By this point, the 'Zatoichi' series has slipped into full-on episodic territory, which isn't necessarily a bad thing. In essence, it's a bit like 'James Bond'; each outing takes place within a vague continuity but doesn't require any pre-existing knowledge to be enjoyed. It's perhaps surprising that the series didn't get an official television show until 1974, though that probably has more to do with the landscape of entertainment media at the time than anything else. 'Zatoichi The Fugitive (1963)' sees its eponymous blind masseur with a price on his head after he defeats a local yakuza gang in a wrestling tournament, eventually finding himself caught in the middle of an underhanded gangland coup. Our protagonist inserts himself into this issue seemingly in an effort to aid a pair of sweethearts whose love it inhibits, perhaps because he doesn't want them to be affected by the same problems that plagued his past - spurred on by the return, in what's basically an extended cameo, of his first love, Otane (last seen in 'The Tale Of Zatoichi Continues (1962)'). As he continues to run afoul of the local mob, the price on his head grows larger and larger, attracting the attention of a rough samurai whose very first appearance almost silently promises a final showdown between the pair. The piece is as character-focused as you'd expect from the series, with themes of love and honour pusling through its veins. Though Zatoichi is almost constantly opposed to killing and even goes out of his way to fulfil the final wishes of those he has to dispatch, the flick has a rather high body count. Its action alternates between suspenseful and exciting, especially in its aforementioned climactic face-off. The feature is also surprisingly funny. It moves at a decent pace and does a good job of keeping you invested in its proceedings. It does occasionally get a tad confusing (there are a lot of names thrown around and it isn't always clear exactly who everyone is) but this isn't a major issue. Overall, it's an enjoyable affair throughout. 7/10.

I recently rewatched Zatoichi: The Fugitive (1963) on a random streaming service. The story follows our hero, Zatoichi, who is framed for a crime by the local Yakuza-leading to a bounty hunter being hired to track and kill him. Meanwhile, an old flame resurfaces at a most inopportune time...

Directed by Tokuzô Tanaka (The Demon of Mount Oe), the film stars Shintarô Katsu (Hanzo the Razor), Miwa Takada (Yokai Monsters), and Masayo Banri (The Depths).

The cinematography is top-tier-from the stunning backdrops to the framing of each character and the dynamic execution of every action sequence. The film does a remarkable job of showcasing the culture organically, without making it the focus. The opening sumo wrestling scene is a standout: an unexpected and entertaining way to reintroduce our hero. It's also a treat to see a youthful Shintarô Katsu in these early entries.

The sword fights are sudden, stylish, and brilliantly choreographed. The buildup to the final showdown is strong, and the duel itself delivers. As for the romantic subplot-true to form for Zatoichi-it's bittersweet, and he remains a heartbreaker.

In short, Zatoichi: The Fugitive is a masterclass in filmmaking, cultural texture, and heroic storytelling. I'd give it an 8/10 and strongly recommend it.