O Último Samurai

Although the central character is American mercenary Tom Cruise, the story of The Last Samurai is about the little known to occidentals event of the Samurai revolt of 1877 led by Saigo Takamori who operates under a different character name and is played flawlessly by Ken Watanabe. Changing his name much like the way Clarence Darrow and William Jennings Bryan were under different names in Inherit the Wind allowed for some dramatic and historic license.

Japan was undergoing a tremendous transformation at this point in time. The United States had with Commodore Matthew Perry's voyage in 1853 opened Japan and cracked her isolationist policy. Over 200 years before the Japanese government had instigated a policy of isolationism in regard to the countries of Europe. It seems as though they looked askance at the Christian missionaries and their activities. They put an almost total embargo on trade or contact of any kind with the west.

The Dutch who had very specifically not sent any missionaries to Japan were allowed some extremely limited trading rights in the city of Shiminoseki during this period. So in a limited sense the Japanese kept up with western technological developments. Firearms in fact unlike in the film were in some use in Japan even at the time of Perry's voyage. The Samurai did make some use of them.

Cruise is an American Civil War and Indian War hero who's making a living shilling for the Winchester Rifle company. He gets an offer to go to Japan to train a modern army for a whole lot of money and he accepts.

In between Perry's voyage and the events of this film, a new Emperor came on the throne. The Emperor Meiji was anxious indeed that his country catch up with the rest of the world and not become a colony of some modern technologically advanced western country. He also did not want to lose sight of old traditions. Duelling advisers competed for his heart and mind in the film and in real life.

Cruise's trained troops the first time they're in battle with the professional samurai turn and run. He's taken prisoner, but while in captivity grows to respect and admire Watanabe and what he represents. He also falls in love with a Japanese woman and I have to say his romance made a whole lot more sense than the one John Wayne had in The Barbarian and the Geisha.

The final battle scene is impressive, the samurai's own Alamo to put it in American terms. In defeat Saigo Takamori though a rebel became a folk hero in Japan.

The Last Samurai is a great story and Americans should see this story about a Japan they only know from World War II films, both good and bad. Tom Cruise should be given a lot of credit for using his star power to bring this story to American audiences.

"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.

The Last Samurai is a strictly by-the-numbers samurai epic set in 1876-1877 Japan. All the necessary ingredients are here - beautiful Japanese landscapes and costumes, larger than life battlefield sequences, and eastern philosophy.Although the pageantry is not as beautiful as such samurai epics as "Heaven and Earth", it is more than adequate.

Do not, however go into this film expecting "Kill Bill", grindhouse type swordplay nor the poignancy of a Kurosawa piece. Instead, "The Last Samurai" occupies the middle ground; a human story of one Westerner learning to embrace another culture kind of a mixture of "Dances With Wolves" and "Shogun", films from which it derives almost directly. And this is the films greatest flaw. It is utterly predictable. No spoilers here, we all know what happens to the samurai. If not, the title ought to give you a clue. Every scene is one that you were expecting to see. And the ending is the ending you expect.

But Zwick and co. still manage to weave an engaging story with panache, and a climactic (despite it's predictability) ending, and that is why "The Last Samurai" is such a great film. As the Zen saying goes, "Success is a journey, not a destination". It is equally applicable to the samurai in the film, and the film itself. A success. 8/10.

The Last Samurai is a brilliantly crafted aesthetic pleasure, studded with supernal performances from Ken Watanabe and Tom Cruise. In fact, Tom Cruise unarguably gives his best ever performance, surpassing his portrayal of Jerry Maguire in the eponymous flick. His plaintive portrayal of Nathan Algren, not only evokes pathos but also seeks sympathy of the contemporary viewer, who can vicariously relate to Algren's disconcertion, owing to his inner conflicts of patriotism vis-à-vis humanity.

However, it is Ken Watanabe, who steals the show with his mesmerizing and poignant portrayal of Katsumoto, the leader of the last clan of Samurai. His screen presence and delivery is truly amazing and even outshines that of Tom Cruise, which is a compliment in itself. The scenes between Watanabe and Cruise are pure gold, depicting fluctuating feelings of hostility, compassion and camaraderie.

Watanabe's intense and powerful performance in which he displays a wide range of emotions, is definitely worthy of the coveted statuette, but the academy never fails to disappoint. Watanabe's brilliant portrayal, not only mesmerizes the viewers, but also convinces the critics of his acting abilities. The tacit adoration between Algren and Taka (subtly played by Koyuki), enormously adds to the beauty of the movie. All this coupled with some brilliant cinematography and a mesmerizing score, makes it a treat to watch and a truly surreal experience.

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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