Zatôichi

If you're not familiar with the Zatoichi series, it's the samurai equivalent of "Godzilla". From the 60's to early 70's, twenty five films were made about a blind swordsman who gives a good massage, gambles like no other, and of course, cuts down lots and lots of bad guys. Unlike the "Godzilla" films (fan as I am of them), the Zatoichi films were typically well plotted, albeit formulaic. They were generally light hearted affairs with little sprinklings of darker subject matter. "Zatoichi in Desperation" was the first time the star took the director's chair, and it was a bleak as hell, psychedelic film unlike any other in the series. With this twenty sixth film, he took the director's chair once again.

Many have commented on the, shall we say, dense plot. Rival gangs fighting over guns, over women, a rebel who becomes Zatoichi's hesitant rival, a group of children, a gambling prostitute- even at near two hours, it's a lot to take in. It's a departure from the other films which were generally very well plotted. The thing though is those films generally paired it down. This has so much going on and the way it all wrapped up seems an after thought.

For me, this isn't enough to sink this film. "Zatoichi in Desperation", the previous directorial effort of the man himself, showed a visual flare and atmosphere completely unique to the series, and he seems to be building on it here. The colors and soundtrack are for the most part, exceptionally well done and do so much for the mood.

That's exactly what this entry is: a mood film. The other Zatoichi films are all about building up bad guys for an eventual catharsis when Zatoichi either strikes down or humiliates them. In this we get the bleakness of "Desperation" mixed in with a tenderness and bittersweetness "Conspiracy" had but much more. It's more comparable to a film by Antonioni in that regard, where feeling and mood carry more weight than the plot and characters (though this comparison is superficial: this movie is nowhere near as masterful or in depth as the masterworks of Antonioni) Many seem to complain about the bleak tone and graphic violence. First off, violence and bleakness are not flaws, they are choices, and simply saying "gore, dark, bad" is not valid criticism. Secondly, why would someone watch a samurai movie if such things are a turn off to them? With that said, I can certainly see valid reasons why someone would dislike this film. If you go into this wanting an action film (and really, why wouldn't you expect that from a Zatoichi movie?), while the action scenes themselves are well done, they are very few and far in between. There's also not a whole lot of momentum in the film. Part of being this kind of mood film is a lack of such, which is somewhat at odds with an action piece. and there is no denying that the characters and plot are, well, not quite nonsensical but lacking. I found Zatoichi's political minded friend to be fairly interesting, but his plot mostly stays under the radar and it's popping up towards the end seemed random. Nothing ever quite comes fully together. It's definitely a fragmented film, which is something of a double edged sword in this context. Also strange are the cheap fade to black transitions often used. Considering this is supposed to be the high budget Zatoichi film, this is a very strange choice for me.

and as has also been mentioned, many elements are repeated from previous films. Just in terms of plot and character, it comes off as what you would get from putting a handful of other entries into a blender.

However, when all is said and done, I did enjoy this movie. It's what I call a "trip", a movie that carries me on it's mood and leaves an impression equivalent to that of a dream: near unexplainable in impact, but an impact none the less.

If you go into this with the expectations of an exciting action film, you'll get it in small doses, like a full course meal handed to you in small servings at a time. However if you go in without expectations, you might end up liking it. After twenty five Zatoichi films, most following the formula, I'm glad that we got something a bit different.

Zatôichi returns, older but with his samurai attributes better than ever.

This, incidentally, is one of the most criticizable aspects of this film: never has Zatôichi killed so many enemies at the same time as in old age. And by the way, never has so much blood been spilled in a Zatôichi film as in this last one, with Shintarô Katsu, who also writes, produces and directs it. No one expects realism in a martial arts film, but Tarantino was not to be anticipated either.

On another level, it also seemed inappropriate to use a song in English, in a style very from the 80s (slap bass and electronic drums) in the soundtrack of a film set in feudal Japan.

Nevertheless, it is a good film in the series, with a solid, interesting and action-packed plot. And Shintarô Katsu showed himself at an excellent level this last time he dressed the skin of the character he played for 27 years.

Zatoichi is a very strong film from the man himself, Shintaro Katsu. I won't say too much in this review, but this is a very strong entry to the Zatoichi series. It has its faults, but most of the time it is a beautifully shot piece that connects extremely will to the viewer.

The fights are great, and really make me kind of sad that Takeshi Kitano decided to go the CGI route in his version of Zatoichi. Here, the arterial sprays are real. And it is one amazingly blood-stained opus. Evidently, Shintaro's sun (the main villain) actually killed an extra during shooting! A crime or total dedication to one's character, you be the one to decide.

Some of the film's major problems: That wretched 80s English song. It's horrible. Whenever it plays, you drop out of Katsu's world. Why it is in there, I'll never understand. It's possible that the song alone (played twice) keeps this film from being great. Another problem: Zooms. I have no problem with snap zooms or very deliberate zooming shots, they can be great especially in older films, but here, the zooming is sloppy. It's as if the DP doesn't know what shot he wants, so he messes around with it as he goes. This problem only occurs maybe three times, but when it does, it stood out to me.

Otherwise, a great film. The faults I find with it are relatively minor quibbles.

Kitano's 2003 update is a better film, but this is arguably more fun and more fulfilling to Zatoichi fans.

The Media Blasters DVD is great! Surprisingly nice anamorphic transfer, good original Japanese audio with very legible English subtitles. Not much as far as special features go, but the film alone is enough to make this a worthy purchase.

The best of the Zatoichi series, with Shintaro Katsu appearing very spry for someone who was almost sixty at the time. If you watch expecting non-stop swordfight pyrotechnics, you're going to be disappointed -- although there are several spectacularly choreographed swordfights, especially the massacre at the climax as well as some surprisingly bloody gore (it should be remembered Katsu produced the Lone Wolf and Cub movies starring his real-life brother, Tomisaburo Wakayama). This is very much a saga type picture, with blind masseur Ichi approaching elderly status but still wandering the backroads of 1860's Japan, gambling and being pursued by bounty hunting yakuza and lone wolf killers. One of the rewarding things about the film is that Katsu encounters old friends like beachcomber Norihei Miki. He also befriends a destitute artist samurai (Ken Ogata) who is conflicted by the bounty on Ichi's head but dismayed because fatalistic, wisecracking, warmhearted Ichi is the only person he can relate to! There are many other great character actors here such as pockmarked Yuya Uchida as one of the craven yakuza bosses. Katsu's real-life son, Takanori Jinnai appears as the scarfaced young upstart rival boss out to take control of the whole territory. A beautiful film that is very poetic and poignant as well as being exciting. Very evocative of the period, unlike many other samurai films made since the mid-80s, and, in my opinion, far superior to Akira Kurosawa's final samurai pictures, KAGEMUSHA and RAN. Contrary to one of the other reviews here, this is anything but a mishmash of elements from earlier entries.

The following review is an extract from the book "Shintaro Katsu´s Zatoichi: Complete guide to all movies", which is now available on Amazon. Highly recommended for all Zatoichi fans!

"After "Zatoichi in desperation", Shintaro Katsu got "behind and in front" of the cameras again at the same time for this last film in the saga about the adventures of the swordsman and blind masseur. Katsu directs and stars in this 1989 "Zatoichi", as well as having written the script, and financed it as a co-producer. His son Ryutaro Gan impersonates the young oyabun Goemon.

Apart from seeing a very mature Ichi, around sixty years old and in the twilight of his days, the plot brings practically nothing new to what has already been seen in the 25 previous films. The same schemes are repeated, old details and stories are recycled, we see the same strategy of Ichi in the dice game, and the blind masseur continues to fully retain his faculties with the sword. In this, years have not passed for him.

(...)

The film lasts two hours, much longer than the most of the other movies (Only "Zatoichi meets Yojimbo" has that extension as well).

Although this last film may disappoint some, one thing is for sure: Zatoichi is Shintaro Katsu and Shintaro Katsu is Zatoichi. Later attempts to bring the blind hero back to the big screen with other actors may be respectable (as is the case with Takeshi Kitano's "Zatoichi" in 2003), but they don't reach the quality of Katsu's 60's and 70's Zatoichi films (directed by Kenji Misumi, Kimiyoshi Yasuda or Kazuo Ikehiro among others).

Good soundtrack with ambient touches by Takayuki Watanabe, except for one song in English, which is quite out of place in that context.

There was a tragic accident during the shooting of this film: Actor Ryutaro Gan (son of Shintaro Katsu), who plays Goemon, killed an extra with a katana while filming a combat scene."