Fight, Zatoichi, Fight Review

Fight, Zatoichi, Fight

Year: 1964

Director: Kenji Misumi

Writer: Seiji Hoshikawa, Tetsuro Yoshida, Masaatsu Matsumura,(based on a short story by Kan Shimozawa)

Starring: Shintaro Katsu, Hizuru Takachiho, Nobuo Kaneko, Gen Kimura, Shosaku Sugiyama, Ikuko Mori,

 

Misumi returns to the series for the first time since the film that started it all. Although his presence isn’t as noticeable as when some director’s came in and added stylistic flourishes, what is easy to notice is how restrained the ironically titled Fight, Zatoichi, Fight is. Despite that title, the film is the least violent of the efforts so far, mostly due to the main plot which sees Zatoichi trying to deliver a baby home to its father. This story means that Zatoichi must avoid fights in order to complete his mission, but the declarative title is how his adversaries (and perhaps the audience) feel. Violence doesn’t leave Zatoichi alone, he is a violence magnet despite his calm and caring nature.

The calm and caring aspects of the blind swordsman are what are really on show here. He comes into possession of a baby after he offers a ride in a palanquin to a struggling young woman. Unfortunately a gang of hired assassins have already seen Zatoichi in said palanquin and run it through assuming they have struck their target. This kind of cruel fate constantly haunts Zatoichi, and so he decides to take a road trip with the child. It’s a slower tale than others, but one that fully allows Katsu to show off his comedic talents. The bonding between Zatoichi and the baby has none of the mawkishness or sentiment that would be so easy to attribute to such a film. Instead, it’s displayed as a learning process, as Zatoichi begins to understand the child. It also brings out Zatoichi’s playful side, and it’s nice to see that he never once plays the role as a gruff cold hearted Grinch.

The villains are kept very simple in this 8^th adventure, and it works very well. Having generic villains can work when they are not necessary to the plot. The sense of threat is always out there, but watching Zatoichi grow is far more important. His character is also defined in scenes such as when he protects a young female pickpocket from one of her victims. He refuses to cover up for the lady’s indiscretions, but also aids her enough to avoid any violence. Despite the legend behind the man, and the reason we all flock to a Zatoichi film, he is not gung-ho and would probably give up his sword at the first available chance.

The scene builds nicely towards its inevitable conclusion, which sees a beautifully constructed showdown that utilises fire. As his enemies surround him, Zatoichi once again comes across as a mythical monster who inhabits the nightmares of evildoers. It shows that Misumi has not lost his touch, and his later adventures in the Sleepy Eyes Of Death and Lone Wolf And Cub franchises would prove this should it have needed proving. This is a stripped down Zatoichi experience that shows that despite Hollywood’s insistence to “go big or go home” as far as sequels go, sometimes a deep breath and bit of patience can go a lot further.

Will I enjoy it?

This will certainly appeal to fans of the character more than fans of samurai action features. There’s a strong maternal vibe that flows through the film and results in a lot of heart. The bonding sequences far outweigh the fights, although those are worth the wait if that’s what you’re mostly interested in. Anyone who’s ever laughed at a Zatoichi film before will probably enjoy the slower sections.

 

 

Zatoichi The Fugitive Review

Zatoichi The Fugitive

Year: 1963

Director: Tokuzo Tanaka

Writer: Seiji Hoshikawa (based on a short story by Kan Shimozawa)

Starring: Shintaro Katsu, Miwa Takada, Masayo Banri, Jutaro Hojo, Toru Abe, Koichi Mizuhara, Yasuhiro Mizukami, Sachiko Murase, Junichiro Narita,

 

For the fourth outing chronicling the adventures of the blind swordsman Zatoichi, things are simplified in terms of Zatoichi’s character development and past, but complicated via an intrigueing plot. Zatoichi unknowingly encourages the wrath of a yakuza gang after defeating them in a sumo-wrestling match, which leads to a failed assassination attempt and one of the yakuza being killed. As always there is a strong focus on a bad man turned good who can’t help but attract the danger and death that surrounds a cursed lifestyle.

The last film may have introduced colour to the franchise, but Zatoichi The Fugitive utilises it to great effect, mostly thanks to sweltering on location shoots. The film opens with extraordinary cinematography thanks to Chikashi Makiura. Even though the beads of sweat running down Zatoichi’s face are a big clue, there’s something in the way the light levels are balanced that get across the fact we are in the middle of a heat wave. We’re then given examples of wonderful editing and sound design, with quick cuts to different market stands and sellers with lowered levels of volumes. We get to experience the sights that Zatoichi is deprived of, while also having our senses muted.

After Zatoichi slays his would be assassin, he visits the man’s home to apologise to his mother. It’s a scene in which we learn a lot about Zatoichi without being told. A kind and considerate man that respects even the lives he takes, Zatoichi The Fugitive gently fleshes out the character thanks to some terrific writing and Katsu’s note-perfect performance. The final scene sees Zatoichi dancing into the distance in a silly manner so as not to upset those around him, but his face gradually displays all the pain and inner turmoil going on inside.

Once again Katsu is surrounded by an excellent supporting cast that are mostly allowed to portray similarly conflicted characters. Most notably of all though, this is where we see the action elements become huge centrepieces. Zatoichi taking on an endless sea of combatants may seem unbelievable in hindsight, but like all great films, you believe it as it unfolds, especially when Zatoichi turns his rage to 11. Tanaka shoots the fights like a ballet, but retains a certain amount of gritty nastiness. The final fight between Zatoichi and a drunk but talented samurai is the most emotionally charged yet, and also offers as Zatoichi’s biggest challenge. Beautifully constructed in its handling of human emotions, as well as being a furious action epic, rather than losing steam or thinking outside the box, Zatoichi The Fugitive perfects its recipe.

Will I enjoy it?

With the most action so far this is certainly the most accessible of the Zatoichi films from the first four. In saying that though, the plot is also quite convoluted as it deals in numerous relationships, arguments over territory, and references to past events. If you like your films to feel big in scope, then this also branches the franchise out from mere sets and matte paintings with swordfights you kind of hope don’t start so you can enjoy the scenery. If only someone had invented a pause button..