Zatoichi: A Escuridão é sua Aliada

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.

This 26th also the last of the Zatoichi series indeed is the worst one among the 26 episodes. Shintarô Katsu in 1989 looked fat with natural gray short hairs, he directed and produced this one, added lot of modern stunts, his katana sword's ghost-like flashing cuts now got crimson blood splashed out of his opponents' bodies, unlike the early episodes, only cut but no blood coming out. we got chopped off hands, arms, legs even heads rolling on the ground. we saw him cured the sword in a hotel room. then we saw at the first time he finally got the chance to make love to a beautiful Yakuza local chief in a hot spring.

Yeah, these are the new stuff he put into this last episode. but some of the scenes were overly used again and again in former episodes so many times, such as gambling scene, purposely letting two dices littered outside of the cup, cutting fake dices, etc., etc. but the scene that he stumbled into a dirt pit on the road is too much and too lazily copied from one of the earlier episode, simply is not quite good either.

One of the worst arrangements of this series is repeatedly used so many same actors played so many different roles in different episodes. although their names or titles might not be the same, but these repeatedly showed actors were just killed by him in last episode, then same actors with the same faces showed up right in the next episode. this careless arrangement had seriously caused some viewing problems. a serious franchised series should not use so many same actors to repeatedly showed in different episodes; it's just stupid and ridiculous.

This 26th episode actually should never been made in the first place. it looked just so tiresome and spiritless. by making one like this only meant that Shintarô Katsu just wanted to cash in the last time.

Due to this series' popularity at that time, he even put some songs and sang by himself in the last several episodes, but the song in this last one was simply stupid, we got an English song! was it just because he sold this episode to some unknown American TV channel, so he got to put an English roaming samurai song in it for the American TV viewers? Well, the stupidity always amazed me.

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.

There's a lot that's great about the final film in the Zatoichi series, with some small disappointments on the side.

The action is great, it's really well shot, Shintaro Katsu is as good as ever, and the gore is all out in this one. It gives you a lot of what you want out of the series, and calls back to enough things that the reviews calling this something of a Zatoichi's Greatest Hits are right on the mark.

Unfortunately, I didn't like how little the title character was actually featured in his own finale! Felt a bit like Godzilla in one of his movies just rocking up every now and then, but overall quite seperate, at times, from the other less interesting characters.

And as for the story: it's a little convoluted. It's not as sleek and seamless as the narratives presented in some of the best Zatoichi films.

Also: I wish they did more with Zatoichi's age, here. A little more melancholy about getting old could have gone a long way to making this hit more emotionally.

But for its strengths alone, it's still a good entry in the franchise, and works as a fun- if far from perfect- send off.

And let's face it: if you've made it through the first 25, you're already sold on watching this one.