The Tale of Zatoichi Continues (1962) review

THE TALE OF ZATOICHI CONTINUES 1962 aka ZOKU ZATOICHI MONOGATARI

Shintaro Katsu (Zatoichi), Tomisaburo Wakayama (Yoshiro), Masayo Banri (Tane), Yaeko Mizutani (Setsu), Eijiro Yanagi (Sukegoro), Sonosuke Sawamura (Kanbei of Seki), Fujio Harumoto (Lord Kuroda)

Directed by Kazuo Mori

"...For the sake of a meaningless war between gangster clans, I lost a man it took me forever to find...a man I could call a friend."--Ichi ponders the previous years duel with Hirate Miki

The Short Version: This lesser sequel follows the popular trend of a fast follow up riding the coat tails of a box office success. At 72 minutes, the script suffers despite some fascinating character angles and exposition. Katsu and his real life brother Wakayama face off the first of two times (again in ZAT #6) and Zatoichi savors and suffers through an unusually high amount of lust and love. A fine sequel, but could have been a bit better. The series would find a lovably formulaic comfortability with its next entry.


Zatoichi returns to Sasagawa one year later to pay his respects at the burial site of Hirate Miki in Joshoji Temple. While he's there, he's invited to lend his massage skills to the lord of the Kuroda household. Learning that the wealthy lord is quite insane, his subordinates can't let this information be revealed so they send killers after Ichi. Meanwhile, Sukegoro, the Yakuza gangster that survived the previous years massacre, learns the blind swordsman is back in town. Around the same time, a wanted man with only one arm appears. Both he and Ichi share a bond and a tragic secret from their past that is soon to come to a head.


Unlike many of the later movies, this sequel has a direct link to the previous picture. Most of the series has no set order, but the first few films followed a sequence to lend continuity to the character and those he interacted with. This is the shortest entry of the entire series running a brisk 72 minutes. It also ends rather abruptly giving the impression that either the studio still didn't have complete faith in the casting of Katsu as the lead (considering how little audiences thought of him in such heroic roles) despite the success of the first picture, or the film was hampered with production problems. However, the plentiful box office receipts ensured that more movies would follow and oftentimes three to four in the same year. From here on out, the remainder of the series would be shot in color.

Katsu and Wakayama--surrounded and outnumbered...big deal

A lot is revealed about Zatoichi in this movie, particularly in the realm of L'Amour--past, present and future. Love (both lost and found), sex and desire are the dominant themes here. This preoccupation with lust and romanticism elevate this fairly average film to another level. Uncovered and explored is Ichi's romantic background involving a past relationship with a woman named Chiyo and his possible romance with the returning character, Tane, who professed her desire to marry Ichi in the previous movie. It was a rare occurrence to see the kindly masseur relishing the company of a woman and this is one of those few and far between occasions. The addition of Katsu's real life brother, Tomisaburo Wakayama (billed as Kenzaburo Jo) was a novel touch as well as having them play brothers onscreen, too. It brought a whole other level of tension to the climactic duel scenario that would become an enjoyably recurring theme throughout the series.


Their character arc is a love triangle as both loved the same woman and it was a woman that put a sharp wedge between them; so sharp that Yoshiro lost an arm to Ichi's sword in a fight over her affection. Ichi passionately and angrily explains to Setsu--who bears a resemblance to Chiyo--that she was the love of his life and that she left him upon discovering he was blind. Personally, it's difficult to understand how someone could overlook such a handicap, but then the script doesn't go into great detail and doesn't really need to. What's also intriguing is that Chiyo left one man because of an impediment and through her treachery, caused the crippling of another; even more tragic in that both men were brothers.

Setsu, attracted to Ichi, desires to spend the night with him as opposed to the gruff, one armed swordsman who also desires her attention.

This is also the most fascinating portion of this relatively short little movie. When both Ichi and Yoshiro enter the Inn, it's discovered that Setsu looks very much like their long lost love. It also rekindles the enmity and past jealousy both brothers share between them. Yoshiro wishes to spend the evening with her, but she favors the more jovial masseur. The brothers are inadvertently forced to relive this past tragedy. This is also one of the few occasions where we see Ichi casually entertain the prospect of a sexual dalliance. In other films, he would brush such an offer off, or display reluctance, or apprehension at the thought of partaking in sex. In later films, it would seem Ichi is afraid of love. Well here, he accepts it with open arms!

Tane warns Ichi of Sukegoro and his men trailing him while paying respects for the fallen Hirate Miki.

While the script from frequent ICHI writer, Minoru Inuzuka excels in traversing a side of the blind masseur not normally traveled, this is also to the films detriment. The character of Setsu, who acts as something of a catalyst for the brothers prior female troubles, is summarily dropped from the film after her two day tryst with Ichi. Then, much is made of the return of Tane, yet the film fails to capitalize on her participation leaving her scenes looking like little more than an afterthought. It's possible that scenes were cut considering the shorter running time and the strange, HK cinema style abrupt ending is sloppy in execution. This, too, appears tacked on.


Kazuo Mori directed three ZAT movies and none of them were spectacular experiences, instead being serviceable, workman-like affairs. His best of his trilogy would have to be the comically centered ZATOICHI & THE DOOMED MAN from 1965. His other ICHI outing was ZATOICHI AT LARGE from 1972, an entry produced by Toho following Daiei's bankruptcy the previous year. Mori also directed the third, and weakest of the DAIMAJIN films, WRATH OF DAIMAJIN (1966).


This film is also the first of two Wakayama appearances, the second being the superb ZATOICHI & THE CHEST OF GOLD (1964) where Wakayama plays the main villain in a seething performance that's one of the most imposing of the entire run of Zato pictures. As Yoshiro, Wakayama is playing something of a tragic figure. He's wanted for being a robber, a rapist and murderer, although his roguish behavior stems from his tumultuous past with his brother. In a surprise moment, we don't learn of the two characters brotherly bond till the end of the film. We also learn that Chiyo is still alive and well (Yoshiro claims to have killed her), and while one would expect Ichi to run into her at some point in the series, this plot point is never heard from again.

The brothers duel during the action packed climax

Mori's movie has a lot more action than the predominantly drama-centric material present in its predecessor from famed director Kenji Misumi. This increase in sword action will likely be an attractive proposition to samurai fans as will the participation of the future Itto Ogami, the Lone Wolf himself. Furthermore, with its combination of action and a shorter running time, there's very little dramatic punch here. The filmmakers do manage to tie up the plot strands left open from part one and some of these carry over to the third production, too. The B/W photography may put off some viewers, but dedicated fans to this brand of genre won't mind at all. This was the first of four scores Ichiro Saito would contribute to the ZAT series. It's a standard sounding score especially when compared with any of the 11 the magnificent Akira Ifukube graced the series with.


This is a steady, occasionally rocky entry in the series. The script presents some splendid ideas, but fails to fully expand on some of these. Still, it's the most lovelorn of all the ICHI tales. The ZAT pictures would only improve and become far more melodramatic from here, piling on cliffhanger and suspenseful moments for many of the succeeding entries. The fact that it's Katsu and Wakayama together (the latter with only one arm!) and doing battle with one another is reason enough for both the curious and the casual fan to give this one a spin.

ZAT STATS:

1. We learn Zatoichi is from Kasama in Joshu province. Kasama is located in Ibaraki, Japan. Surrounded by mountains, stone quarries are a lucrative venture there. Ichi returns to his hometown in the last of the 70s entries, ZATOICHI'S CONSPIRACY (1973) wherein he finds conflict with a now wealthy childhood friend attempting to extort a vital stone quarry from villagers.

2. Ichi and his brother, Yoshiro, both vied for the affection of the same woman--Chiyo--who crushed the hearts of both men. Ichi's brother is never mentioned again during the series.

3. Ichi gets a lot of love in this movie, more than in any other entry. We learn of the blind swordsman's failed romances from the past, see his affairs in the present and the marriage possibility of the future. In a rare turn, Ichi jumps at the chance for sex with a tavern girl. In most of the films, he shies away from such encounters.

4. In the previous movie, Ichi leaves his sword at the grave of Hirate Miki. At the start of this movie, he has his sword back prior to paying his respect at the burial temple.

5. There are no gambling sequences in this film; a plot device that would become a major staple of the series.

6. There are no demonstrations of Ichi's sword skills (the amazing 'Ichi Sword Draw') outside of his lightning fast swordsmanship during the duel sequences.

7. The remainder of the series is in color and a formula is established that remains mostly unchanged for the rest of the films.

Feature running time: 1:12:14

This review is representative of the Home Vision DVD.

NEXT TIME IN ZATOICHI #3, THE BLIND MASSEUR MEETS HIS OLD SWORD MASTER, TANGLES WITH THE TENGU GANG, IS PURSUED BY A VENGEANCE SEEKING SWORDSMAN AND TRIES TO KEEP HIS DISTANCE FROM A YOUNG GIRL WHO FALLS FOR THE SENSITIVE CHARMS OF SWORDSMAN ICHI! DON'T MISS IT!!!

The Tale of Zatoichi (1962) review

THE TALE OF ZATOICHI 1962 aka ZATOICHI MONOGATARI (LEGEND OF ZATOICHI)

Shintaro Katsu (Zatoichi), Masayo Mari (Tane), Ryuzo Shimada (Shigezo Sasagawa), Gen Mitamura (Hanji), Shigero Amachi (Hirate Miki), Chitose Maki (Yoshi), Eijiro Yanagi (Sukegoro Lioka), Michiro Minami (Tatekichi)

Directed by Kenji Misumi

"Sukegoro...you said it would be a sight to see a match between me and Sasagawa's samurai. But let me tell you...my life doesn't come cheap."

The Short Version: Kenji Misumi, one of Chambara cinemas finest directorial hands got this vastly celebrated series off and running with this B/W entry that introduced us all to the wonders of Zatoichi. This gritty, yet dramatic feature is light on fights, but strong on characterization that makes what little action there is all the more poignant and powerful. The building of one of cinemas finest creations was a work in progress and would blossom and bloom for years to come. Misumi's milestone is an auspicious beginning and one of many amazing performances by the one and only Shintaro Katsu.

Zatoichi prepares to demonstrate his lightning fast sword draw

Zatoichi, a blind and wandering, low ranking yakuza stumbles upon a gang war between two rival syndicates in the province of Sasagawa. After moving in on his gambling rackets, Sukegoro decides a bloody all out battle is the only way to settle things. The smaller of the two factions led by Shigezo, has master ronin, Hirate Miki under his employ. The lowly blind swordsman is courted to side with Sukegoro, but refuses and instead strikes up a friendship with Hirate, who turns out to not only be a heavy drinker, but also seriously ill. As the turf war heats up between the two gangsters, both Ichi and Hirate know they will have to inevitably fight one another.


Kenji Misumi, most famous here in America for his spectacularly gory LONE WOLF & CUB series, took the reigns of this first film in the wildly popular and classic Japanese samurai series. Spanning 26 official pictures between 1962 and 1973 and one last entry in 1989 directed by lead star Katsu himself (Katsu would also direct 1972's ZATOICHI IN DESPERATION), all of the stories are the work of novelist, Kan Shimosawa. The name Zatoichi has arguably accrued a popularity unlike any cinematic character before or since anywhere in the world.


Aside from the movies, there was also a 100 episode television series that also featured Katsu as the title blind swordsman. Interestingly enough, Katsu wasn't deemed leading man material and it wasn't until his lead as the sadistic and murderous blind masseur in THE BLIND MENACE (1960) that the blueprint for Zatoichi was ironically laid down.

The first and only time in the series where Ichi looks intently at another person with his eyes wide open.

Some of that character is ported over to this new, kinder incarnation. Katsu kept the clean cut lack of facial hair (for the first and only time, we see Ichi getting a shave) and crew cut as well as a nuance or two, but jettisoned the duplicitous cruelty of what could be classified as "Zatoichi's evil alter ego". The biggest difference between Ichi and Suginoichi, the Menace of the earlier picture, is that the former is a superlative and undefeated swords master.

The first of many gambling sequences.

The mannerisms of this soon to be famous film character were in the infant stages here, but would be quickly augmented by the time the third film rolled around. For instance, Ichi shows no reluctance in showing off his sword skills as he would in many later films. From the very beginning, we see Ichi's excellence as a gambler--just one of many skills where his handicap heightens instead of hinders his capabilities. Incidentally, the gambling trick Ichi pulls off here would crop up two more times--again in the elusive and excellent ZATOICHI'S PILGRIMAGE (1966) and once more in the gloomy ZATOICHI IN DESPERATION (1972).

Hirate (Shigero Amachi at left) and Zatoichi (Katsu at right) meet for the first time while fishing.

While the level of action varies from one entry to the next, this inaugural production saves the bulk of it for the fairly brutal and moderately bloody finale. The accent here is on the dramatics of the characters. A good deal of time is spent between Ichi and Miki, the top fighter whom has been hired by rival boss, Shigezo. They become fast friends as they both enjoy fishing. The two formidable sword slashers also acquire a great deal of respect for one another. This integrity shines on more than one occasion such as when Hirate, bedridden from his illness, decides to join the fight when he learns Shigezo is planning on using a rifle to oust Ichi, even though the sightless, and at this time, former masseur (former as stated by Ichi in this film) has no plans of partaking in the skirmish. Of major interest to Spanish horror fans, Shigero Amachi (who plays Hirate) would later co-star with Paul Naschy in the amazing THE BEAST & THE MAGIC SWORD (1983).

Masayo Mari as Tane. She would return for parts 2 and 3. There will be a shocking reveal about her character in the color third entry, NEW TALE OF ZATOICHI (1963).

This picture plants the popular seed of our lovable anti hero having to eventually duel with an unlikely opponent, or one that Ichi doesn't wish to do battle with. This would reach an emotional apex by the third film and would become a frequent plot device from here on out. There's also a subplot about a woman named Tane (Masayo Mari who reprised the role for a few more entries) and Tatekichi, her gangster brother who contributed to a local girls suicide after he had taken advantage of her. The ZATOICHI series is often one about poetic justice and this film concludes with a bit of it in regards to Tane's less than honorable sibling. Also of note, the character of Tane (pronounced Tah-nay) falls in love with Ichi; this, too, is a recurring theme in many of the movies that our blind anti-hero has no shortage of suitors.

The ten minute action sequence that closes the film is ferocious in its violence and brutal for its time.

The film was a sizable success for Daiei and a sequel was ordered. Misumi didn't return for the sequel, but did direct Katsu in a few other ZAT movies and also in the outrageous first entry of the HANZO, THE RAZOR trilogy which was produced between 1972 and 1974. Misumi was one of the greatest filmmakers the Chambara and Jidageki genre ever had lording over it. Having guided the two titans of Chambara, Shintaro Katsu and his real life brother, Tomisaburo Wakayama, Misumi also worked with another Jidageki swordplay giant, Raizo Ichikawa famous for the long running SLEEPY EYES OF DEATH series and also such films as KENKI (1965) and THE BETRAYAL (1966).

Ichi uses his almost superhuman skill level to slice a candlestick in two halves. This would be the first of dozens of similar stunts, with each one frequently more spectacular than the last.

Misumi dabbled briefly in the supernatural genre with his own interpretation of the oft filmed 'Yotsuya Kaidan' tale in 1959 (not to be confused with Nobuo Nakagawa's version from the same year) and also combined samurai cinema with the supernatural by way of the Kaiju style with the second film in the somber DAIMAJIN trilogy; released as RETURN OF MONSTER MAJIN (1966) here in America. Misumi's last directorial effort before his death in 1975 was the epic and aptly titled THE LAST SAMURAI (1974).


At 96 minutes, TALE OF ZATOICHI (1962) is one of the longest films in the original 60s-70s run. It benefits from a fine script by writer Minoru Inuzuka who contributed his pen to a quarter of the films in the series mostly during the Daiei years. The score by Akira Ifukube is a magnificent composition and his majestically melancholic themes would grace nearly half the films in this iconic series. Ifukube's signature style would inarguably be most famously recognized in Toho's GODZILLA series as well as other movies dealing with giant, rampaging monsters. Ifukube's musical styling was pure sonic brilliance and of a distinct quality not unlike that of Italian composer Ennio Moriconne. Just like Kenji Misumi, Ifukube said 'Sayonara' to Chambara cinema with Misumi's THE LAST SAMURAI in 1974.


While it's not the best film in the long running and wildly popular series, it's still a great samurai picture rife with compelling characters and situations. TALE OF ZATOICHI (1962) got the kindly champion of the poor, the abused and the oppressed started on his long journey of discovery emblazoning an odyssey of indelible entertainment for fans of Japanese cinema all around the world.

ZAT STATS:

1. Ichi's gambling skills are introduced here although his super-hearing that enables him to win much of the time would be displayed in later entries.

2. For the first and only time, Ichi is seen receiving a full massage of his own.

3. It's stated by Ichi that he was a legitimate masseur three years prior to when the film takes place. He also states he took up sword training so that he would be treated with respect.

4. Shigero Amachi would return to the series for episode #13 as another nemesis for Ichi. Throughout the series many other actors would return in varying capacity.

5. The popular plot device of introducing a powerful samurai that, despite befriending the blind man, is destined to duel with him by films end begins here.

6. The recurring plot point of gang warfare seen here involves two gangs vying for control of gambling rackets with each side attempting to steal customers from one another. Future films would generally feature two yakuza factions battling for various reasons.

7. The first two sequels maintain a link with this first film, but after that, there's no discernible continuity.

8. Throughout the series, Ichi is given assorted love interests. The young girl, Tane professes her love for the blind swordsman in this series opener. Her character returns for the next two pictures.

9. For the first and only time, you actually see Ichi's eyes during the closing moments as he lashes out at boss Sukegoro for his disrespectful nature. From here on out, you only see the whites of his eyes when he happens to crack open his eyelids.

Running Time: 1:36:05

This review is representative of the Home Vision DVD

At the Movies With Zatoichi, the Blind Swordsman

ZATOICHI THE FUGITIVE (1963); insert: ZATOICHI'S PILGRIMAGE (1966)

INTRODUCTION TO THE ZATOICHI FILM SERIES

"I was so absorbed in drawing swords and killing people that I entered the Yakuza. This is my punishment. I did some things I shouldn't have done...cut those I shouldn't have...killed those I shouldn't have. The grudges against me are piling up. It's time I started regretting things."

To fully enjoy the life and times of Zatoichi, the blind traveling masseur par swordplay excellence featuring one of cinemas most enduring characters, one needs to embrace two important facts. Samurai films differ greatly from their Hong Kong counterparts in that they are not generally built around intricately choreographed action sequences. Also, the bulk of Chambara movies do not feature the spectacular displays of sanguinary arterial emissions made internationally famous in the six pack of LONE WOLF & CUB films. If you can come to grips with those two statements, you should do just fine here. Granted, it took me a long time to finally break down and enjoy Samurai movies outside of the LONE WOLF spectrum and I'm so glad I did as I would be missing out on a lot of great entertainment. This article is an introduction to the character (as well as a precursor to the upcoming reviews of the entire series) for those either unfamiliar, or new to the series, or simply curious about what one of Japan's most famous exports has to offer.

BLIND BRILLIANCE

NEW TALE OF ZATOICHI (1963)

The character of Zatoichi, the Blind Masseur (his name references the lowest rank among the blind academy of civic duty and entertainers) is a household name in his native Japan, but has an immense popularity all around the world including a healthy following in America. The utterly brilliant acting ability of Shintaro Katsu owes to the lingering popularity the character continues to enjoy some 50+ years later. One could write a cinematic dissertation on Katsu's performance alone what with the realism he brought to this iconic persona amidst the low social status such individuals had during the time period. Ichi's personality spoke volumes to the common man, or anyone who had been oppressed or vilified by a stronger force. This no doubt delighted thousands of filmgoers who flocked to the theaters to see the new adventure of Ichi.

ZATOICHI & THE CHEST OF GOLD (1964)

Over the course of the 26 film series (from 1962 to 1973 then a stand alone feature in 1989 not counting a few remakes in recent years), we learn many things about the character--he's a low level yakuza, an adept gambler, an undefeated swordsman, his heartwarming comprehension of humility and dignity, his unlucky relationships and many other details that are revealed from one film to the next. The first few movies follow some form of chronology with overlapping characters while the remainder aren't necessarily connected to a previous movie, but sometimes do reference characters from films past. It's not necessary to watch the films in order as there are several fabulous films that make good starting points for the curiosity seekers.

AN ENTERTAINING ICHI

FIGHT, ZATOICHI, FIGHT (1967); insert: ZATOICHI & THE FUGITIVES (1968)

A number of plot devices would crop up from one film to the next that would sometimes feel a bit monotonous. More times than not, though, the filmmakers are able to put a fresh spin on these familiar trappings. A prime example of commercialization in a cinematic film series, if many of these movies lacked their most prime ingredients, they'd be far less tasty. Many times Zatoichi is tasked with protecting a small child or fragile female while en route to a far off location. One near constant is the onslaught of punishment, both verbal and physical the blind masseur would take in any given movie. This would only enhance the payback that comes during the conclusion. Gambling sequences are also a recurring bit of business and fluctuate between being comedic in nature or suspenseful in execution. Another classic Ichi ingredient is the 'Zato Sword Draw' wherein Ichi is pressed into giving a demonstration of his sword skills. Sometimes he's forced into it, paid for it, or does so to strike fear into some slimy yakuza boss.

ZATOICHI'S FLASHING SWORD (1964)

Comedic touches are also a welcome and lively addition to any number of Zato productions. Some films are far more humorous than others. One of the most lively and emotionally charged entries is ZATOICHI'S FLASHING SWORD (1964). It's generously peppered with numerous touches of Katsu's comic timing as well as his unique ability to instill an incredible amount of heartbreaking pathos in his performance. It's one of the joys of there being so many of the movies in that you get to take the journey with this fascinating character who is essentially the thoughtfulness, the naivety, the anger, the sadness and the joyousness of society all rolled up into one.

THE INDEFATIGABLE MASSEUR, SHINTARO KATSU

ZATOICHI'S FLASHING SWORD (1964)

The key ingredient to falling in love with these pictures is Shintaro Katsu himself. Even if you don't find yourself attracted to the less outrageous examples of the genre, the allure and likability of Katsu as the sword wielding anti hero is undeniable. He says and does things we all would love to do and his ability to ultimately come out on top is a satisfying feeling even if the endings are sometimes somber ones. While he's a strong individual, Ichi represents the common man and his uncanny abilities are one of his attributes that's most appealing to audiences. Katsu IS the series. Without him, the films would be nothing.

ZATOICHI ON THE ROAD (1963)

The ZATOICHI movies were so popular, the line was also spun off into a successful 100 episode television series that also starred Katsu as the eponymous blind masseur cum swordsman. He was an incredibly busy man during the 60s and 70s displaying a frenetic, conveyor belt pace on both the big and small screens. Up to ten productions a year wasn't out of the question for the popular, and controversial actor. The ZAT character will always be his most successful. In addition to Katsu's own media blitz, the blind masseur was everywhere. Comic books and various merchandising soon followed as well as numerous copycats and other movies capitalizing on the popularity of the franchise.

ON THE ROAD WITH ZATOICHI & AT THE MOVIES

ZATOICHI CHALLENGED (1967)

For anyone who is serious about delving into one of cinemas most celebrated string of films, starting at the beginning would be choice in terms of being able to grow with the character over the course of the series. Still, one need not start at the beginning to become immersed in all that the ZAT films have to offer. Thankfully, many of them (particularly early in the series) have a fine balance of drama, action, suspense and comedy.

Katsu and his real life brother, Tomisaburo Wakayama (left) in THE TALE OF ZATOICHI CONTINUES (1962)

These are all formula productions and despite that, they're very good at maintaining viewer interest even when some of the episodes are nearly identical from what you may have seen in the previous picture. The script, direction and music play a key role in whether a ZATOICHI film lives or dies. For the benefit of those who love the series, the filmmakers were far more successful than not. Action scenes may be limited, but some films have more action than others. Most have at least two major action sequences and maybe one or two minor sword scuffles. Furthermore, this series is all about the character as opposed to oodles of swordplay. Below is a small, random list of titles that make for essential Blind Swordsman viewing for anyone new to the films or a casual fan.

ZATOICHI 3-NEW TALE OF ZATOICHI (1963)--Very little action, but one of the most exemplar samurai films period. Extremely dramatic, the performances are all top notch as is every other aspect of the production. This is the first entry in color and also lays down a lot of what defined the character for the remainder of the films.

ZATOICHI 6-ZATOICHI & THE CHEST OF GOLD (1964)--With the level of violence steadily increasing in ZATO 5, this one features the first blood spray. It's also one of the more linear of the series and features Katsu's real life brother, Tomisaburo Wakayama (LONE WOLF himself) as one of the most formidable of Ichi's foes.

ZATOICHI 7-ZATOICHI'S FLASHING SWORD (1964)--Near perfect all around, this film goes the distance in audience identification with Ichi. The lovable, low level gangster gets numerous chances to show off his playfully sarcastic demeanor. The villains are suitably sadistic and as weasely as they come.

ZATOICHI 8-FIGHT, ZATOICHI, FIGHT (1964)--One of many examples where Ichi is the walking representation of 'Murphy's Law'. Also, this is the first of a few films where the blind masseur is tasked with returning a child to his home battling enemies along the way. The finale is extraordinary.

ZATOICHI 14-ZATOICHI'S PILGRIMAGE (1966)--The holy grail of ZATO fans, this is the only movie of the run not available legitimately in America on DVD. Unusual in that it's incredibly gloomy throughout. Also, a horse has a major role! Shaw Brothers of Hong Kong somewhat remade the film as THE MAGNIFICENT SWORDSMAN in 1968.

ZATOICHI 15-ZATOICHI'S CANE SWORD (1967)--A thoroughly unique entry in that Zatoichi gives up his sword upon the discovery that his legendary blade has but one strike left before it breaks. Of course, Ichi doesn't stay swordless for too long. A dream sequence wherein Ichi dreams of his death is a memorable moment.

ZATOICHI 18-ZATOICHI & THE FUGITIVES (1968)--This is one of the most violent of the ZATO run and easily one of the bloodiest. Ichi takes a bullet, fights while losing a massive amount of blood and even becomes 'Evil Ichi' during the conclusion. Takeshi Shimura (GODZILLA) has a role here, too.

END OF AN ERA

ZATOICHI MEETS THE ONE ARMED SWORDSMAN (1971)

The series, in an apparent bid to keep things fresh, would follow suit with what Universal had done with their lucrative monster franchises from the 1940s. The studios had Ichi 'Meet' other popular swordsman characters such as 1970s ZATOICHI MEETS YOJIMBO (costarring Toshiro Mifune) and 1971s ZATOICHI MEETS THE ONE ARMED SWORDSMAN (costarring Jimmy Wang Yu). Incidentally, another famous Japanese star, Tatsuya Nakadai (GOYOKIN [1968]), costarred with Katsu in the unusual series entry ZATOICHI & THE FESTIVAL OF FIRE from 1970.

The familiar Daiei company logo

One of Japan's biggest production companies, Daiei (who were also famous for the GAMERA Kaiju series) produced 22 of the original movies distributing the bulk of them. The last three of those 22 (not counting ZATOICHI THE OUTLAW from 1967; the first such co-pro between Katsu and Daiei) were co-production deals with Shintaro Katsu's own company, Katsu Productions. When Daiei went bankrupt in 1971, Toho stepped in and acquired the series and produced the remaining three entries in a partnership with Katsu Productions. The two companies also produced the world renowned LONE WOLF & CUB series.

PRETENDERS, CLONES & REMAKES

ZATOICHI'S CANE SWORD (1967); insert: ZATOICHI & THE CHEST OF GOLD (1964)

Evidence to its popularity, there were also spin offs such as the late 60s CRIMSON BAT series that showcased a blind swordsWOMAN. The character would also be featured in at least two painfully low budgeted Chinese productions including the beyond obscure ZATOICHI & THE FLYING GUILLOTINE (1976?) and the beyond wacky THE DRAGON LIVES AGAIN (1977). Incidentally, the Shaw Brothers and Cheng Kang incorporated much of the Zatoichi mythos for a 1968 production, the ultra violent THE SWORD OF SWORDS starring Jimmy Wang Yu. Indonesia also got in on the act with THE WARRIOR & THE BLIND SWORDSMAN (1983) combining the personification of the Katsu character with the locally popular Jaka Sebung character essayed by international star Barry Prima in the popular THE WARRIOR series.

ZATOICHI'S PILGRIMAGE (1966)

Italy also got in on the act with 1971s BLINDMAN, a spaghetti western starring Tony Anthony as the lead and featured Ringo Starr as one of the main villains. Highly regarded in America, too, the United States adapted the blind swordsman archetype for the 1989 fan favorite BLIND FURY starring Rutger Hauer; a movie that also featured a late appearance by 80s action star Sho Kosugi. Katsu himself returned to the role that made him world famous in the troubled production of the simply titled ZATOICHI THE BLIND SWORDSMAN also in 1989.

Katsu (left) once more shares the screen with his brother, Wakayama (right) in ZATOICHI & THE CHEST OF GOLD (1964)

Over a decade later, popular Japanese icon Takeshi Kitano did his own interpretation of the irreplaceable Katsu character with the self titled ZATOICHI, a version that divided many fans with its preponderance of CGI blood and a final scene that plays an ambiguous card in reference to the chief selling point of the character. In 2008 another version was released to Japanese theaters entitled ICHI. This time the legendary blind masseur takes a lesser role and plays the teacher to a likewise blind female student. Most recently, ZATOICHI THE LAST (2010) emerged and was heralded as a return to the essence of the original series, but it wasn't well received and will likely be THE LAST for some time.

THE BLIND MAN SEES EVEN WHEN THE SUN SETS

ZATOICHI ON THE ROAD (1963)

Even with all the flash and CGI enhanced action of the newer productions, nothing quite replicates the quaint and more down to earth humanistic approach that Katsu brought to this critically lauded and audience cherished character. Focusing far more on story and character arcs, the ZATOICHI series (and other Chambara films in general) are a natural progression for kung fu fans and those seeking something decidedly different from the more fast paced cinematic candy the mainstream craves today. If you're willing and have the patience required, this is one series of motion pictures that rewards the viewer some 26 times over.