Zatoichi And The Chest Of Gold Review

Zatoichi And The Chest Of Gold

Year: 1964

Director: Kazuo Ikehiro

Writer: Shozaburo Asai, Akikazu Ota (based on a short story by Kan Shimozawa)

Starring: Shintaro Katsu, Shogo Shimada, Machiko Hasegawa, Tomisaburo Wakayama, Tatsuya Ishiguro, Matasaburo Niwa, Hikosaburo Kataoka, Mikiko Tsubouchi,

 

This 6^th outing for the blind swordsman took on new writers and a new director, and it wouldn’t be the only time these three worked on the franchise. This new blood also allowed for a more adventurous and artistic approach to the formula we had come to expect. This is evident from the opening credit sequence, where we see Zatoichi (Katsu) battling a number of assailants against a pitch black backdrop. Only the people are illuminated, conveying Zatoichi’s world of darkness, but also in ability to ascertain where his foes are. It’s a gorgeous opening with a very theatrical feel and it is far from the only time that the style of this film impresses.

Style means nothing though, unless there is some substance to go with it, and we also have lashings of that as well. The story sees Zatoichi mistaken for a thief when a town’s taxes go missing. Zatoichi makes it his personal mission to track down the titular chest of gold and clear his name. Fairly simple, but a number of complexities and subplots are also introduced, but work to add weight to the overarching story, rather than smother it. One such side story focuses on Zatoichi repenting for murdering a man who in turn mistook Zatoichi for a warrior during a battle. We see Zatoichi’s tender side, which is also reflected in his refusal to turn to violence when the townsfolk accuse him if stealing their gold. They even go so far as to smash a bottle over his head, causing him to bleed, but Zatoichi knows he could easily kill them all. Violence is not his immediate go to, even though he is a magnet for such cruelty.

Katsu is once again joined by his real life brother Wakayama, this time taking on a different role to the one he played in THE TALE OF ZATOICHI CONTINUES. Wakayama makes his antagonist slimy and evil, but still retains integrity and respect towards Zatoichi. The real star of the film is Ikehiro’s dynamic use of the camera. He buries it in the ground to allow slow motion armies to charge over it, he does single tracking shots through wooded areas as Zatoichi slices his opponents, and he continuously makes each shot feel alive. If he isn’t using the camera to its full extent, then it’s the composition of shots that blows you away. As a group of samurai leave their lord’s manor at night, each carries a lantern which can be seen for miles. Ikehiro loves showing off the neverending sea of lanterns against gigantic backdrops such as mountains, and we love watching it.

Zatoichi And The Chest Of Gold is a sprawling adventure of 82 minutes that completely engrosses and satisfactorily explores every avenue. Whether it’s the nature of fast spreading rumours, corrupt government officials, or the honour of a man trying to do right by himself and no higher power, nothing feels rushed nor slow. Despite being six films in, we’re learning more and more about this character who searches for purity but never seems to find it, leading him to the most gruelling showdown so far.

Will I enjoy it?

It needs no further knowledge to jump in on this film and experience everything great about Zatoichi. The character is an easy one to pick up and journey with on an adventure. The violence is heightened this time around and the fight sequences still hold up today, as long as you suspend disbelief at the thought of a pretty much super heroic samurai. If you love your action melded with deep characterisation and fine plots, then you should certainly give this a try. It’s the best in the series since the original.

 

 

New Tale Of Zatoichi Review

New Tale Of Zatoichi

Year: 1963

Director: Tokuzo Tanaka

Writer: Minoru Inuzuka (based on a short story by Kan Shimozawa)

Starring: Shintaro Katsu, Mikiko Tsubouchi, Seizaburo Kawazu, Fujio Suga, Tatsuo Endo, Mieko Kondo, Yutaka Nakamura, Kanae Kobayashi,

 

New Tale Of Zatoichi signified that Daiei Studios were now taking the franchise very seriously, and splashed out on shooting the third instalment in colour. Best of all though, is that the colour doesn’t arrive as a gimmick. Nothing is overplayed in terms of set design, costumes, or garish looking blood, but instead the cinematography remains dark in keeping with Zatoichi’s demeanour. You even begin to forget that the first two films weren’t in colour due to its natural use here, thanks to cinematographer Chishi Makiura. The colour does add extra artistic emphasis to a beautifully shot world, and unlike some franchises (most notably Godzilla) the colour doesn’t begin to draw attention to the film’s age. But then again, Zatoichi doesn’t have giant monsters portrayed by men in suits…unfortunately.

The plot is more complex than the previous two entries, as it gives us a follow on from the second instalment, as well as tying things back to Zatoichi’s past. Kanbei’s brother, Yasuhiko (Suga), looks for revenge for the murderer of his brother, but this isn’t any normal revenge. Yasuhiko doesn’t particularly care about his brother’s death, but is just insulted that a family member was slain by a blind man. Yasuhiko is also not exactly a great swordsman as many of Zatoichi’s rivals are, meaning that Yasuhiko is kept safe by Zatoichi’s calm and disdain for violence. Meanwhile Zatoichi meets his old master, Banno (Kawazu), who takes him in and reminisces over old times.

The relationship between Zatoichi and Banno is key here and is also beautifully written. From the outset of the film we are shown that these are tough times for all involved, and so it is Banno’s corruption that gradually becomes a tragic story element. He is the wise old master that we have come to assume means he is respectable, loyal, wise, and overall good. Unfortunately for Banno and Zatoichi, pride drives Banno’s behaviour in the wrong direction. Zatoichi on the other hand is trying desperately to give up the life of a sword wielding masseur, but trouble always finds him as his past catches up with him again and again. Although he considers his blindness as his punishment, the truth is that Zatoichi must roam the earth in search of wrongs to set right.

New Tale Of Zatoichi sticks close to the formula of the first films, but adds enough new directions to maintain the enjoyment and engrossment. In some respects it gives us almost too much of Zatoichi’s past, but at the same time it gives him the drive he needs to realise his place in the world. Another failed romance, made extra tragic by Zatoichi’s willingness to settle down, also runs throughout in a film which shows good men turn bad and bad men try and turn good, with a society that works as a catalyst for both outcomes. Another triumphant entry.

Will I enjoy it?

Those against black and white are now catered for with the use of colour. It is slower than the previous two films, and also focuses a lot more on Zatoichi’s past. The action still exists though. The film could, theoretically, stand on its own as all major plot points are at least discussed here. Fans of the series shouldn’t have any problems, unless it’s the actual mystery behind Zatoichi that they found most appealing.

 

 

The Tale Of Zatoichi Review

The Tale Of Zatoichi

Year: 1962

Director: Kenji Misumi

Writer: Minoru Inuzuka (based on a short story by Kan Shimozawa)

Starring: Shintaro Katsu, Masayo Banri, Shigeru Amachi, Hajime Mitamura, Ryuzo Shimada, Eijiro Yanagi, Michiro Minami,

What better way to start off a film blog than a look back at one of my all time favourite films? And by that, I mean it would be placed somewhere in my Top 50 films of all time. The Tale Of Zatoichi is a wonderful examination of a peculiar character, and aren’t those always the best? The blind masseuse turned yakuza for hire is a huge bag full of complex contradictions, but always wrapped in the elegant humbleness of star Katsu. The simplest way to define Zatoichi is a Japanese samurai version of Marvel’s Daredevil. With his sight gone, Zatoichi wanders the land looking for work, gambling, and –for those foolish few-being underestimated.

He enters a small town where yakuza war is on the brink of eruption, and Zatoichi is coerced over to one side as an ailing samurai suffering from tuberculosis, Hirate (Amachi), joins the opposing team. Zatoichi plays to others’ preconceptions, evident in the opening in which Zatoichi tricks a group of gamblers by taking advantage of their greed. Katsu is so perfect in the role it’s no wonder that 25 films and a TV series followed this superb film. Katsu’s voice is always dominant but calm and considering that his eyes are closed for 99.9% of the film, it truly is amazing how much his face conveys. Being so complex allows The Tale Of Zatoichi to never once be boring, despite the fact that fighting is more talked about than engaged in. During an attempted rape Zatoichi makes his presence clear, and although he could easily dispatch with the assailant, he instead walks in very calm and gives both the victim and the attacker an exit from the situation.

The supporting cast is also something to be celebrated, with Amachi’s role one of quiet strength that matches Katsu. Both leads are tragic characters and the early discussions, fishing, and drinks the two share enrich the film with a sadness that their inevitable fates are unavoidable. Minami plays a sociopathic yakuza member who becomes the aid of Zatoichi. Usually this role is given to a young upstart who learns from the protagonist and forms a bond. This simple change gives the film so much more flavour as we see a truly despicable creature fail to set his life straight. Again, Zatoichi never lectures the man, but instead makes dry quips that give us and the character food for thought.

With a stunning score from Godzilla composer Akira Ifukube, and striking black and white cinematography from Chikashi Makiura, the entire story is housed in a wonderfully constructed film. The set designs and costumes lend themselves well to a deep and unrelenting tale of the cruelty and absurdity of fighting, without preaching an obvious message. Zatoichi may be a man for hire, but he also understands every scar and wound left on his conscience and soul. He’s the kind of guy you’d be wary of, but never afraid to settle down with him for a meal or chat. When the violence does arrive it’s handled with a great sense of panache and confidence, going for a less is more approach.

Will I enjoy it?

With quick pace, numerous characters to love and hate, and a good balance of violence and comedy, A Tale Of Zatoichi really should immerse all audiences whether or not they are biased towards subtitles or black and white features. You should have fun working out you feel about the characters, as well as entertaining the ideas of what Zatoichi and other characters must be going through. It’s a serious film that, like Zatoichi himself, doesn’t take itself too seriously. Enjoy it as a samurai romp, or look deeper into the motivations and themes.