Samurai Banners

Samurai Banners (1969) is Hiroshi Inagaki's, know for The Samurai: Musashi Miyamoto trilogy, crowning achievement-a nearly three hour historically based epic starring Toshiro Mifune as a ronin determined to achieve greatness in his new clan by uniting Japan under one ruler. The story is based on a novel adapted by Shinobu Hashimoto (Rashomon and Seven Samurai) and takes place in the Sengoku warring period 1500-1600. At the time it was the most expensive Japanese film produced with several massive fight scenes that must have been expensive to stage. It immediately calls to mind Akira Kurosawa's two late samurai epic masterpieces Kagemusha and Ran. I wonder why he wasn't involved in the project that was made with his former leading man and the script writer of his greatest triumphs. Nonetheless, Inagaki with cinematographer Kazuo Yamada has created a stylish, colorful, and dynamic film.

I find myself a little surprised, and taken aback. There is an unsubtle directness in the writing that's actually kind of jarring and off-putting as bare-faced dialogue and scenes advance the plot in a blunt, stilted, and almost forceful manner. Despite the presumed complexity of characters who would scheme, stand opposed in various ways, and find themselves in complicated relationships, these figures feel flat and maybe even uninspired as they present, as if they weren't fleshed out any more than the dialogue and scenes seem to be. Just as the narrative at large is impacted, I believe these sensibilities also extend to the direction of Inagaki Hiroshi - confounding, coming from the man behind such stellar, refined classics as the "Samurai trilogy" of the mid-50s. In orchestrating scenes and guiding his cast Inagaki here lacks the patient polish and finesse he has demonstrated elsewhere, and 'Samurai banners' is prone to a brusqueness that's frankly unseemly when stood next to the many esteemed jidaigeki that came from the 50s, 60s, and 70s in particular. The thoughtful, deliberate craftsmanship and storytelling is diminished if not absent, further observed in instances of cinematography, editing, gawky on-screen text and graphics, and even the acting; icon that he remains, even Mifune Toshiro seems bound and restricted by such traits.

It's hardly that this picture is bad. Yet while it was surely fashioned with the same skill and intelligence as its kin, the same level of care was plainly not applied, and the relative weaknesses and shortcomings are plainly evident. The story has potential on paper but is shortchanged in realization, and is not as strong as it might have been; the writing is sometimes altogether troubled, and the direction and acting struggle to impress. Scattered moments that are unquestionably more sure-footed (e.g., in a short scene between Princess Yu and Yamamoto a bit after the one-hour mark) only get us so far, and likewise the contributions of those operating behind the scenes. The filming locations are lovely, and the sets as well; fine attention went into the costume design, hair, and makeup. Even if it sometimes feels out of place, I greatly appreciate Sato Masaru's score in and of itself. Where stunts, effects, fight choreography, and action sequences are employed they broadly look fantastic. Be that as it may, we can get these elements elsewhere, and respectfully, they are not necessarily the most important factors in determining the success of a feature. And as those most important factors are at best variable in their quality, the subsequent effect on the viewing experience is sadly one of partial enfeeblement.

My words have intoned criticism more than praise, and that's not quite right. More than not 'Samurai banners' is well made, and enjoyable. Nevertheless, the rough edges that define its construction quash much of what weight the saga should carry, not least as the writing also commonly fails to communicate the significance of the course of events, even including battles. Moreover, I wonder if that difficulty isn't worse in the second half. Where the movie adds dramatic flourish to accentuate a beat, it feels overdone and false. We all know what great capabilities were possessed by all who participated here, and still I don't think this is an especially worthy representation of them - more like a facsimile in which the fidelity of the ideal form has been lost. Though still suitably worthwhile on its own merits, even at its best this could only earn a soft recommendation when stood next to any kindred works, and maybe even that's a tad too kind. Watch if you have the opportunity, sure, but don't go out of your way for it, and be aware that even with Inagaki and Mifune on hand, among many celebrated others, this has faults which distinctly hold it back.

For the whopping 2 hours and 45 minutes it lasts, Samurai Banners really has little to recommend it. Long movies are fine if that's how much it takes to communicate what you have to say, but there's a good 45 minutes here that could have been clipped and it would still be the same movie.

Furin Kazan (as is the original title) was the name of the war banners used by one of the greatest warlords of 16th century Japan, Takeda Shingen, lord of the Takeda clan. The name is derived from Sun Tzu's famous book "Art of War", meaning "Swift as the Wind, Silent as a Forest, Fierce as Fire and Immovable as a Mountain". The movie recalls the early years of Takeda leading up to the defining battle of Kawannakajima. If the name is familiar, that's because it's the same character depicted by Tatsuya Nakadai in Akira Kurosawa's Kagemusha (there in his later years). Indeed, coming near the end of a prolific career, in many ways this is Hiroshi Inagaki's Kagemusha.

Where SB falters is that it spends far too much time in namesdropping and planning battles than it does in actually showing them. Lots of build-up but little as far as spectacle goes. A mixture of politics, war strategy, romance and drama, this jidai-geki desperately calls for something to spice things up. The battle scenes are few and far between and really not very well choreographed. The final battle scene is particularly anti-climactic, more so after the massive built-up that leads to it. There's nice use of colours in banners and some beautiful exterior shots but much like Kagemusha, it feels like a dress rehearsal for a better movie. The extras seem to be going through the motions instead of giving it their all. Unlike Kagemusha though, this one doesn't have the deep character drama to go with it.

Fortunately for us and perhaps the only thing that holds things together, is the typically fantastic Toshiro Mifune giving another solid performance. Playing Takeda Shingen's right hand, an ambitious man with dreams of a big, unified Japan under Takeda's banner, he's consistently great. Of course he doesn't do anything he hasn't done better under Kurosawa's direction, but he's always a pleasure to watch.

One of the best samurai epics. "Furinkazan" tells the story of the 16th century warlord Takeda Shingen and his loyal general Yamamoto Kansuke (Mifune Toshiro) embedded in the story of the Takeda clan's rise to power. Outstanding sets, costumes and Sato Masaru's rich soundtrack make the drama highly enjoyable.

After watching Samurai Banners, I was struck with one piece of dialog which sums up the film quite nicely, "In this age of war, survival requires complex conspiracies, secret dealings, and assassinations. They're inevitable." These two lines help describe the atmosphere of 16th century Japan, in which Samurai Banners is set. A Japan divided by warring factions and lords, where treachery and war are the only way of life.

Yamamoto Kansuke (Mifune) is a ronin, who through chance of fate finds himself protecting Lord Takeda's vassal from another Ronin (in a very bloody exchange). Kansuke then moves to the province of Kai, where Lord Takeda awards him a troop of 100 soldiers. Once established Kansuke moves his way up to be Lord Takeda's top military adviser. With Kansuke's help the province of Kai stretches it's grasp to the other provinces through a series of, "complex conspiracies, secret dealings, and assassinations." Samurai Banners is an intricately researched samurai epic. The outfits are incredible, especially Mifune's fearsome black samurai armor which boasts the most incredible helmet I've ever seen. The outfits of the Red Guard are also very impressive and help add to the allure of the film. The set's also match the intensity of the outfits and this film highly succeeds in painting an accurate picture of 16th century Japan.

Mifune is as bad-ass as ever (Of course!) but this time around he sports (besides the crazy armor) a ugly scar, a noticeable limp, and a awesome moustache. In Samurai Banners he plays the "terrifying" Kansuke, a man who is both feared and revered by his troops. In typical Mifune fashion, his one soft spot is for a woman named Pricess Yu. Both the Lord's concubine and an unrequited love interest for Kansuke.

The film itself stays true to the tradition of 60's chambara; a mix of action, romance, war tactics, and character development, which together, helps round out another solid entry for both Mifune and Director Inagaki Hiroshi. The film substitutes most of the battles for the strategies and goings on of the Lord's and his advisor's, although the film has its share of action don't go into this expecting an action packed Chambara flick.

Bottom Line- Good historical war epic with a focus on the people involved more-so than the actual battles. Mifune is a bad as ever!