Comando Samurai

I have a pre-cert copy of this film, which is under the title 'time wars' and it runs at an even shorter time than the 110mins version mentioned here by other users. My copy barely hits 60 mins and the hacked editing shows in a very obvious way. There is little explanation of what is going on; the prostitute from the past seems to be still working at the brothel in the late 1970s; a Samurai appears riding a horse down the street in the 1970s for NO reason and while the ending is reminiscent of Macbeth there is a much a much stronger feeling of MacDuff to the whole finished product. I would like to see an unedited version of this in relation to what people are saying about it as my memory of it is as an instigator of Family arguments

BO!

GI Samurai was a great movie. Fans of Sonny Chiba should love this movie as did I. Basically, its about this platoon that is sent back in time to feudal Japan. Sonny Chiba plays the platoon's captain. The platoon is forced to fight the samurai clans, its cool to see the army weaponry going up against spears & catapults. Forget plot, this movie doesn't need it, its chock full of war carnage & some unbelievable special effects. The film ultimately turns anti-war with an unexpected ending that will stay with you for days.

Apart from controversial acting, directing, plot etc. there is one particular aspect of this movie thats is actually bad unconditionally.

If one would judge by "Sengoku Jieitai", one would conclude that JGSDF is the worst disciplined and trained army in the world, assembled by drafting idiots with criminal tendencies.

Samurai tactics against modern soldiers, shown in the movie, is remarkably decent to my surprise. It might even work IRL - well, if modern soldiers were indeed that stupid and untrained. Modern soldiers' tactics is just plain ridiculous - "WTF are they doing?!!" was all I could think about watching the otherwise spectacular final battle.

In my opinion, this movie creates a very bad image of JGSDF.

It also seems that there's not even single one positive character - anyone who's not an extra is either plain bad or just repulsive person. Even Lt. Iba (Sonny Chiba) - being badass - is also bad and an ass.

Well, at least we have two badass guys here.

What if a platoon of G.I.'s from the Japanese army were to be send back in time 400 years right in the middle of the feudal wars that led to the formation of the Tokugawa Shogunate? Great pitch right? The movie does exactly what it says on the tin.

Thankfully the writers didn't bother to explain the, usually ridiculous in sci-fi movies, scientific mumbo jumbo of time transport. No how's or why's. They just did. However the time transport sequence itself is trippy as hell and quite beautiful, if not a bit dated. Not as silly as one would imagine.

The rest of the movie follows the premise to a T. But while it loses a bit of steam with the various subplots that follow the G.I.s arrival to medieval Japan, it picks up with a devastating battle sequence. Undoubtedly it's the main order of the day. The whole concept and by extension the movie itself, was probably originated from this simple pitch: what if G.I.'s equipped with the latest in modern warfare were to fight samurais? And boy does it deliver.

The main battle sequence that spans more than half an hour is probably one of THE best of its kind in 70's action/war movies. Not only is it relentless and exhausting in pace and length, it's also a terrific mish-mash of styles and techniques that only unique premises like G.I. Samurai can deliver. I mean, where else would you get the chance to feature tanks, ninjas complete with shuriikens, a helicopter and samurais in the same shot? The G.I. platoon led by lieutenant Iba tears literally through hundreds of extras, gunning them down with machine guns, mortars, grenades and tanks.

This mish-mash of styles is with one foot firmly rooted in the sprawling jidai-geki epic of Kurosawa's Kagemusha or Hiroshi Inagaki's Samurai Banners, while the other is in western action and war movies. There are stylistic touches (like the wonderful slow-motion shots and bloody violence) that bring Sam Peckinpah or Enzo G. Castellari circa Keoma to mind. Japanese cinema has always been influenced by westerns and other Hollywood works and vice versa, and G.I. Samurai effortlessly turns this east-meets-west melting pot into an exciting film.

The film-makers thankfully take the whole thing seriously and the movie benefits immensely from it. Not that tongue-in-cheek mentality is completely absent, it's just that it doesn't try to pander to so-bad-it's-good audiences that enjoy laughing at their movies. The budget was probably hefty, as it is evident in the hundreds of extras, elaborate costumes (very decent for a production that is not a traditional jidai-geki) and special effects. The camera-work and editing are all top notch, almost better than a movie with no higher artistic ambitions deserves.

It's not withouts its flaws either of course. There are many "song" scenes, where all sorts of 70's Japanese rock, disco and country songs play over montages (there's a bonding scene, a love-interest scene, a "war is hell" scene etc). The songs themselves are pretty lame and corny and detract from the whole thing. Although it clocks at a whooping 140 minutes, it flies like a bullet for the most part. Still some scenes, flashbacks and subplots in the first half could have been clipped for a tighter effect.

The cast also deserves a mention, featuring such prominent names as Sonny Chiba, Isao Natsuyagi (Goyokin, Samurai Wolf), Tsunehiko Watase (The Yakuza Papers) and Hiroyuki Sanada, all of them hitting the right notes.

"Who is Sonny Chiba? He is... he is bar none, the greatest actor working in martial arts movies today". So explains Clarence Worley in True Romance, a man who clearly knows his shizzle when it comes to Asian action stars. G.I. Samurai is the third flick I've seen from the dirt-cheap, 4-film Chiba box-set I bought from ebay, and it's the third winner in a row, a hugely entertaining sci-fi tinged action/adventure that ploughs through its 139 minutes like a 50-calibre machine gun through an army of warring-era Japanese soldiers.

Chiba plays Lt. Yoshiaki Iba, leader of a Japan Ground Self-Defense Force squadron that 'slips' through time, arriving in feudal Japan, where they join forces with a power hungry samurai planning to become the country's next ruler. The script doesn't concern itself with the whys and wherefores of the squadron's predicament, quickly glossing over the time travel nonsense in order to concentrate on the job at hand: pitting the modern-day soldiers, with their powerful weaponry, against hordes of warriors armed with swords, arrows, spears and throwing stars (oh yes, there will be ninjas!).

A couple of quieter moments do allow for that other all important staple of exploitative Japanese cinema—gratuitous female nudity—as several of Iba's men go AWOL for a rape and pillage spree, while a few others pay a visit to an obliging local widower; for the most part, however, it's loud, relentless, and bloody stuff, with Chiba proving Clarence to be right on the money with his assessment of the star: whether suspended from a helicopter firing a machine gun, riding a horse while firing a bow and arrow, or taking on a warlord with a broken sword, Sonny kicks serious ass.