Zatoichi In Desperation Review

Zatoichi In Desperation

Year: 1972

Director: Shintaro Katsu,

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

Starring: Shintaro Katsu, Kiwako Tichi, Kyoko Yoshizawa, Yasuhiro Koume, Katsuo Nakamura, Asao Koike,

Probably the most apt title for a Zatoichi film so far, Zatoichi In Desperation is exactly that. The film is grim and dark in such a relentless fashion that many may find disturbing. This was Katsu’s second shot at directing for the franchise and it is clear that the man wanted to push himself in terms of a visionary as well as forcing the character to adapt to some of the darkest events in his history. As the penultimate film in the original run of films, this may have been considered as the original ending point for the franchise.

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’s Flashing Sword Review

Zatoichi’s Flashing Sword

Year: 1964

Director: Kazuo Ikehiro

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

Starring: Shintaro Katsu, Naoko Kubo, Mayumi Nagisa, Takashi Edajima, Tatsuo Endo, Yutaka Nakamura, Bokuzen Hidari, Ikuko Mori,

 

Ikehiro returns to the director’s chair for the 7^th instalment in the Zatoichi franchise and refuses to rest on his laurels. Despite being one of four Zatoichi films released on 1964, this is every bit as fresh as any offering. Ikehiro’s style is noticeable from the outset, with Zatoichi about to be taken advantage of by a gang, before he quickly kills three flies with his flashing sword. Ikehiro even incorporates a POV fly shot to this sequence that perfectly captures Zatoichi’s character. He obviously knows what the men are up to, but uses his skills to deter them and avoid trouble rather than punish them from the outset.

This time Zatoichi starts off being shot and floating down river. The young would be assassin is actually the son of a generous and kind gang boss who currently holds the land used as a river crossing. Of course, a more unscrupulous boss wishes to take control of the land by any means necessary. Zatoichi, having been cared for by the kind boss’ daughter, Okuni (Kubo), finds himself getting involved in all the affairs that this complex rivalry has to offer. It’s a simple story with a few complications thrown in that work wonders. Having a brother and sister of very different qualities both threaten and heal Zatoichi helps weave the tapestry of hate and kindness that our hero finds himself questioning throughout the film.

Heavy on comedy it may be, but this entry uses each comical moment to elaborate on a serious point. Zatoichi is warned of an upcoming hole in the road by a group of youngsters, but ignores their advice assuming they are trying to trick him. It may be played for laughs, but Zatoichi’s loss of faith is both saddening and important. He’s bought them some candy, but still fails to trust them. At the river crossing he takes one journey and demands his change (quite uncharacteristically), only to return another day and ask for the same carrier to see what his response will be. It’s these little moments that allow Katsu to come alive. We also get a glimpse at Zatoichi’s need to feel normal, as he peeps in on a bathing woman despite his lack of eyesight.

The humorous tone is dropped in the latter part of the film, where violence and darkness seep in in beautifully dynamic ways. This film seems like a huge influence on the works of Park Chan Wook of Oldboy and Sympathy For Mr Vengeance fame, with two sequences being echoed in those pieces of work. Zatoichi leads a group of samurais into the water where he then goes underwater and dispatches them. It’s beautifully shot, with each man fainting into the water, and Zatoichi rising like a mythological seabeast. The finale is very brutal, and drops us into Zatoichi’s dark world. It becomes a horror with Zatoichi as the monster and Ikehiro acts as though he has yet to reveal the menace. A sword through a door, seeing kills represented in shadow, and Zatoichi’s arms creeping out from behind pillars are just a few of the techniques incorporated to take this film from being the funniest to evolving into something actually quite scary.

Will I enjoy it?

At first it is the most accessible Zatoichi film of the bunch. The humour is international and delivered with great timing. This makes sequences between the fights a lot more enjoyable. The action sequences are also very well constructed, and obviously still hold influence over films of today making them seem less dated than other films from the 60s. If you’re unsure of whether or not you wish to view the entire series, check this one out first as it has some of the funniest moments and some of the darkest, making it a balanced representation of the entire franchise.

 

 

Zatoichi On The Road Review

Zatoichi On The Road

Year: 1963

Director: Kimiyoshi Yasuda

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

Starring: Shintaro Katsu, Shiho Fujimura, Ryuzo Shimada, Reiko Fujiwara, Matasaburo Niwa, Yoshio Yoshida, Sonosuke Sawamura, Shosaku Sugiyama, Yutaka Nakamura, Gen Kimura,

Zatoichi agrees to meet with a yakuza boss, but that is all. As always for Zatoichi, trouble soon finds him, as a rival gang believes Zatoichi intends to join their competitors in an upcoming battle. Despite being blind, Zatoichi’s legend precedes him, and it is decided to try and take out the blind swordsman with a penchant for gambling. However, Zatoichi isn’t the only one targeted by such thugs, and he also decides to protect a young woman hunted for spurning the advances of her lord.

The plot is most certainly rather complex, as Zatoichi finds he continuously attracts trouble from a number of antagonists. The fact that Zatoichi can never, and will never, escape his past mistakes becomes even more tragic here and the more he fights against his past, the bigger legend he becomes. Being a fifth entry, screenwriter Inuzuka puts a different twist on the character by showing him beginning to become frustrated with his situation. Heroine Omitsu (Fujimura) is unsure whether or not she can trust Zatoichi, and after she takes off he becomes very upset and almost angry.

Katsu handles such emotional jumps very well, and continues to perfect his performance that captures both a hard worn killer and a lovable and childish rogue. His reponse to eating a bitter persimmon after singing their praises is a quick glimpse of comedic gold. Yasuda may set his sights too high, as he brings in a number of rival gangs and a plot that changes focus more than once, but he also presents us with beautiful location shoots and a keen eye for detail in the glorious costumes. When not displaying a fantastic aesthetic, he’s also giving us development of even minor characters. One of the yakuza heavies questions whether to follow an order just because it’s an order, but he is then quickly dispatched by our hero in the next scene. This simple addition adds to the sadness of violence, as Zatoichi would have no idea that man he’s just killed had good characteristics.

Zatoichi On The Road weaves a simple story of our favourite blind swordsman into a rich and complicated world. The escalation leads us to a finale in which Zatoichi becomes the most important piece on the board as we flirt with an all out battle. All connections from the previous 4 instalments go unacknowledged, making this a fresh start. Unfortunately, there’s a little too much going on this time to maintain the attention, as the audience tries desperately to fit the pieces together.

Will I enjoy it?

This is probably most suited towards the converted. Having previous knowledge of the character, his gambling habits, and how trouble seems to find him, does add to the enjoyment. Although certainly not essential to enjoy the film, many of the reactions to Zatoichi are implicitly linked with his previous adventures. If you love a main character who you can easily connect to, and seeing him take down villains who have no idea what they’re getting themselves in to, then this could be a must see.

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 Continues Review

The Tale Of Zatoichi Continues

Year: 1962

Director: Kazuo Mori

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

Starring: Shintaro Katsu, Masayo Banri, Jo Kenzaburo, Yaeko Mizutani, Yutaka Nakamura, Sonosuke Sawamura, Shosaku Sugiyama, Mitsuemon Arashi,

 

Rushed out faster than you can say “A sequel in the same year that wasn’t shot at the same time?!?!?!” The Tale Of Zatoichi Continues was pushed into production after the surprise hit that was the original. This accounts for the shortest running time of any Zatoichi film, clocking in at 72 minutes, but the film is surprisingly very solid. Katsu returns in the role, as his blind masseur is hired to massage a young lord. During the massage, Zatoichi discovers that the lord is mad, and rather than asking for Zatoichi to keep the secret the powers that be decide to have Zatoichi killed.

It’s a simple plot that gradually becomes more complex as the plot is also intertwined with Zatoichi’s return to the village from the first film where he plans to pay respect to Hirate, the samurai and friend he sadly had to murder. The plot also ties in with the character and there is a certain element of tragedy to proceedings as we are fully aware that Zatoichi is not the kind to spread rumours. Like all violence, the painful outcomes are avoidable but arrogance and reactionary mindsets lead to bloodshed.

While the plot moves along very quickly, the film also finds room for a lot of character development. Zatoichi’s past is elaborate don, with talk of past loves and family conflict. Zatoichi’s amorous side also comes out as he befriends a prostitute who is a dead ringer for his lost love. The love he’s lost is also a fascinating exploration of the character, as we don’t doubt his feelings, even though his descriptions do not paint her in the best light. Once again a terrific folly (though not exact villain) is set against Zatoichi in the form of Katsu’s real-life brother Tomisaburo Wakayama (credited as Jo Kenzaburo), as a one-armed swordsman wanted for thievery, murder and rape, we once again see a mirror image of Zatoichi had he followed a darker path.

With great fight sequences and more emotional pull, as well as drawing on the passion of the first film, The Tale Of Zatoichi Continues very well could have excelled its predecessor. Unfortunately, the running time does hinder some aspects, with certain relationships not garnered with satisfying conclusions. Even the ending is sudden, although arguably gets its point across. Making Zatoichi both more human and darker at the same time is what makes the character continuously entrancing, and probably why a further 24 sequels followed this very decent effort.

Will I enjoy it?

Only thing that may upset fans of the first film is the running time. Those who moderately enjoyed the first instalment, but found some of the slower moments harder to get through may very well appreciate the faster pace and bigger and longer swordfight sequences. The humour and heart remain, and little additions will make Zatoichi more relatable to those that found him a bit of an enigma.

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.