Gamera Vs. Zigra Review

Gamera Vs. Zigra

Year: 1971

Director: Noriaki Yuasa

Writer: Nisan Takahashi

Starring: Yasushi Sakagami, Gloria Zoellner, Isamu Saeki, Koji Fujiyama, Reiko Kasahara, Mikiko Tsubouchi, Eiko Yanami, Arlene Zoellner,

Technically the final Gamera film from the Showa era as the next effort, Gamera Super Monster,was comprised of stock footage from previous films. Gamera Vs. Zigra indicates a real stunted lack of ideas for the franchise, but most upsettingly this isn’t even so bad it’s good. There’s hardly any sense of humour for this film, which would be the only Gamera film not picked up for US distribution until Home Video. Recycled plot, recycled characters, this may as well have been made from stock footage for what it adds to the franchise, which is nothing.

Zatoichi Challenged Review

Zatoichi Challenged

Year: 1967

Director: Kenji Misumi,

Writer: Ryozo Kasahara,(based on a short story by Kan Shimozawa)

Starring: Shintaro Katsu, Jushiro Konoe, Miwa Takada, Yukiji Asaoka, Mikiko Tsubouchi, Mie Nakao, Takao Ito, Asao Koike, Midori Isomura,

Zatoichi Challenged returns to the tried and tested waters of previous films and perfecting these familiar story patterns rather than trying anything too new. It doesn’t always seem like this though, as when it starts you may be expecting Zatoichi The Musical, as we are treated to an opening monologue that coincides with the music, and later pop-star Mie Nakao also bursts into song. Both songs are wonderful in their own right, but you can’t help but wonder if this will continue throughout the film. It doesn’t, which is neither good nor bad.

Zatoichi’s Revenge Review

Zatoichi’s Revenge

Year: 1965

Director: Akira Inoue

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

Starring: Shintaro Katsu, Norihei Miki, Mikiko Tsubouchi, Takeshi Kato, Fujio Harumoto,

Zatoichi has had 9 adventures preceding this one, so you would be forgiven for thinking that he must have engaged in all the revenge one man can handle. Zatoichi’s Revenge shows us that that is certainly not the case in a film with a very dark and unforgiving plot. Zatoichi returns to his hometown in order to visit his old masseuse master who taught him the tricks of his non-sword wielding trade. What he discovers is a corrupt town where officials embezzle taxes and force young daughters to work in a brothel in order to pay off loans. The film itself opens with bright sunlight and Zatoichi appreciating the weather, with the very next scene showing a greyer and more derelict viewpoint.

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.