Zatoichi And The Doomed Man Review

Zatoichi And The Doomed Man

Year: 1965

Director: Kazuo Mori

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

Starring: Shintaro Katsu, Kanbi Fujiyama, Eiko Taki, Masako Myojo, Kenjiro Ishiyama, Koichi Musihara,

It’s about time Zatoichi ended up in prison and that’s exactly where this 11^th feature film takes place. Luckily for him it’s on teh charge of gambling and nothing more serious than a few lashings is his punishment. However, he also encounters a man in the cell next to his who claims to be innocent and is facing the death penalty. He begs Zatoichi to travel to his hometown and find a man who will vouch for him. It’s a simple and effective set-up for yet another fun and entertaining adventure, which also switches things up a bit in terms of setting and characters, but only slightly.

Adventures Of Zatoichi Review

Adventures Of Zatoichi

Year: 1964

Director: Kimiyoshi Yasuda

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

Starring: Shintaro Katsu, Eiko Taki, Miwa Takada, Mikijiro Hira, Kichijiro Ueda, Akitake Kono, Koichi Mizuhara, Ikuko Mori,

Once again our blind swordsman finds himself wrapped up in a dark caper he probably would have rather avoided. This time he even laments towards the end how he thought this would just be a pleasant journey. Adventures Of Zatoichi is actually just a single adventure, but suggests that this is Zatoichi’s life. The word ‘adventure’ also underplays all the pain and suffering brought about by the complexities with which Zatoichi gets entangled with. This time he is asked to pass a letter to a lady in an inn. Of course, a simple message delivery doesn’t exist for Zatoichi, and he is forced to protect the recipient (Taki) after she is targeted by a gang.

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 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.