Read Online Samurai Films by Roland Thorne - Free Book Online Page B
Authors: Roland Thorne
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challenges Zatoichi. It turns out that the two are brothers; Chiyo left Zatoichi when she discovered he was blind and married Yoshiro. In his rage, Zatoichi cut Yoshiro’s arm off. Yoshiro now wants to settle the score and nearly succeeds, but Zatoichi is able to deal him a serious wound. Sukegoro and his men arrive, intent on capturing Yoshiro. Zatoichi helps Yoshiro escape, but he dies from his wounds. Zatoichi is enraged. Finding Sukegoro, Zatoichi kills him for betraying his brother.
ANALYSIS
A satisfying sequel to Tale of Zatoichi , this pushed the series forward with the kind of film that would come to dominate the series. Around 20 minutes shorter than the first, The Tale of Zatoichi Continues packs in a lot more of the frenetic fight scenes that would become a hallmark of the Zatoichi films.
And what magnificent fight scenes they are. The sight of Shintaro Katsu cleaving his way through a large number of yakuza thugs is a delight to behold. Although it may seem hard to believe that a man could fight so effectively without being able to see, Katsu’s astonishingly convincing movements make it easy to suspend disbelief. He fights with his head bowed low, clearly concentrating on every sound around him, and strikes only when his opponents move.
Katsu’s performance as Zatoichi is as likeable as ever, but in this film his affable persona is offset by his creepy brother Yoshiro, played by Katsu’s real brother, Tomisaburo Wakayama. As Yoshiro, Wakayama plays a grim and inexpressive man of few words, who murders only for the sake of money. Wakayama’s cold stare is every bit as frightening as Katsu’s chuckle is friendly, and his performance pre-dates his later role as Ogami Itto in the Lone Wolf and Cub series.
Director Kazuo Mori handles the highly charged fight scenes very well. Yet, there are some touching moments between the bloody scenes, which hark back to Tale of Zatoichi . Zatoichi’s brief experience of domesticity with the beautiful Setsu is tender, and made all the more fleeting by the arrival of Kanbei’s thugs. The moment when Zatoichi returns to the lake where he and Hirate used to go fishing, and considers his life thus far, is suitably calm. The moment when Yoshiro dies, just after the two brothers have ended their long feud, is emotionally charged and sensitively handled.
THE VERDICT
With this film, the Zatoichi series found the voice it would use for the next 24 films. Some Zatoichi films contain even more action, but The Tale of Zatoichi Continues founded its reputation for well-executed, and bloody, battle scenes. Essential for Zatoichi fans, this film is worth seeing alone for Katsu and Wakayama’s performances.
The 47 Ronin (1962)
Japanese Title: Chushingura – Hana no maki yuki no maki
Directed by: Hiroshi Inagaki
Written by: Adapted by Toshio Yasumi from the play by Shoraku Miyoshi, Senryu Namiki, Izumo Takeda
Produced by: Sanezumi Fujimoto, Tomoyuki Tanaka, Hiroshi Inagaki
Edited by: Hirokazu Iwashita
Cinematography: Kazuo Yamada
Cast: Koshiro Matsumoto (Chamberlain Kuranosuke Oishi), Yuzo Kayama (Lord Naganori Asano), Chusha Ichikawa (Lord Yoshinaga Kira), Tatsuya Mihashi (Yasubei Horibe), Akira Takarada (Gunpei Takada), Yosuke Natsuki (Kinemon Okano), Makoto Sato (Kazuemon Fuwa), Tadao Takashima (Jyujiro Kan), Takashi Shimura (Hyuobu Chishaka), Toshiro Mifune (Genba Tawaraboshi), Setsuko Hara (Riku Oishi), Yuriko Hoshi (Otsuya)
PLOT SUMMARY
When Lord Asano is appointed Head of Reception for an important ceremony, he refuses to bribe Kira, the Grand Master of Ceremonies, a particularly nasty, greedy old man. Despite Kira’s bullying, Asano won’t break from his principles. The strain grows too much for Asano when Kira refuses to tell him how to conduct the ceremony, and he draws his sword, trying to cut down his tormentor. Having drawn his sword in the Shogun’s palace, Asano is sentenced to commit seppuku. Asano’s samurai are displeased, and wish
ANALYSIS
A satisfying sequel to Tale of Zatoichi , this pushed the series forward with the kind of film that would come to dominate the series. Around 20 minutes shorter than the first, The Tale of Zatoichi Continues packs in a lot more of the frenetic fight scenes that would become a hallmark of the Zatoichi films.
And what magnificent fight scenes they are. The sight of Shintaro Katsu cleaving his way through a large number of yakuza thugs is a delight to behold. Although it may seem hard to believe that a man could fight so effectively without being able to see, Katsu’s astonishingly convincing movements make it easy to suspend disbelief. He fights with his head bowed low, clearly concentrating on every sound around him, and strikes only when his opponents move.
Katsu’s performance as Zatoichi is as likeable as ever, but in this film his affable persona is offset by his creepy brother Yoshiro, played by Katsu’s real brother, Tomisaburo Wakayama. As Yoshiro, Wakayama plays a grim and inexpressive man of few words, who murders only for the sake of money. Wakayama’s cold stare is every bit as frightening as Katsu’s chuckle is friendly, and his performance pre-dates his later role as Ogami Itto in the Lone Wolf and Cub series.
Director Kazuo Mori handles the highly charged fight scenes very well. Yet, there are some touching moments between the bloody scenes, which hark back to Tale of Zatoichi . Zatoichi’s brief experience of domesticity with the beautiful Setsu is tender, and made all the more fleeting by the arrival of Kanbei’s thugs. The moment when Zatoichi returns to the lake where he and Hirate used to go fishing, and considers his life thus far, is suitably calm. The moment when Yoshiro dies, just after the two brothers have ended their long feud, is emotionally charged and sensitively handled.
THE VERDICT
With this film, the Zatoichi series found the voice it would use for the next 24 films. Some Zatoichi films contain even more action, but The Tale of Zatoichi Continues founded its reputation for well-executed, and bloody, battle scenes. Essential for Zatoichi fans, this film is worth seeing alone for Katsu and Wakayama’s performances.
The 47 Ronin (1962)
Japanese Title: Chushingura – Hana no maki yuki no maki
Directed by: Hiroshi Inagaki
Written by: Adapted by Toshio Yasumi from the play by Shoraku Miyoshi, Senryu Namiki, Izumo Takeda
Produced by: Sanezumi Fujimoto, Tomoyuki Tanaka, Hiroshi Inagaki
Edited by: Hirokazu Iwashita
Cinematography: Kazuo Yamada
Cast: Koshiro Matsumoto (Chamberlain Kuranosuke Oishi), Yuzo Kayama (Lord Naganori Asano), Chusha Ichikawa (Lord Yoshinaga Kira), Tatsuya Mihashi (Yasubei Horibe), Akira Takarada (Gunpei Takada), Yosuke Natsuki (Kinemon Okano), Makoto Sato (Kazuemon Fuwa), Tadao Takashima (Jyujiro Kan), Takashi Shimura (Hyuobu Chishaka), Toshiro Mifune (Genba Tawaraboshi), Setsuko Hara (Riku Oishi), Yuriko Hoshi (Otsuya)
PLOT SUMMARY
When Lord Asano is appointed Head of Reception for an important ceremony, he refuses to bribe Kira, the Grand Master of Ceremonies, a particularly nasty, greedy old man. Despite Kira’s bullying, Asano won’t break from his principles. The strain grows too much for Asano when Kira refuses to tell him how to conduct the ceremony, and he draws his sword, trying to cut down his tormentor. Having drawn his sword in the Shogun’s palace, Asano is sentenced to commit seppuku. Asano’s samurai are displeased, and wish
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