Zatoichi (2003)
Directed by Takeshi Kitano
Starring: Takeshi Kitano, Tadanobu Asano
Genre: Samurai
Running Time: 116mins

Rating:

Five strangers wander into a town ripped apart by corruption, a masterless samurai (Tadanobu Asano) and his wife, two mysterious assassins disguised as Geisha, and of course the blind masseuse Zatoichi. The villagers that inhabit this town are being torn apart by the demands of their “protectors” with payments increasing not only in value but also frequency. And so as each stranger enters this town, allegiances are made and ambitions sought with only one outcome stories will intertwine and blood will most certainly, be shed.

If ever questions were raised about Kitano’s ability to entertain then Zatoichi marks the complete and utter obliteration of anyone’s doubts. Keeping the emotive qualities of his earlier works in the background, Zatoichi proves to be one of the most entertaining films made to date. In keeping with the original series of films and television shows spearheaded by the charismatic Shintaro Katsu, Kitano effortlessly fills his boots bringing the charming character to life with modern cinema sensibilities. From the blistering fight sequences (with CG blades literally piercing through bodies), the blood flies in Babycart excesses while the cinematography by Katsumi Yanagishima avoids the all too often shaky cam, whip pans of the modern action movie in favour of Ozu style observation to truly capture the choreography on display.

In the midst of the carnage and the blood letting is a number of stories that gradually intertwine yet all represent a varied emotive quality, from the tragic story of Asano’s masterless samurai seeking work as a bodyguard to pay for his terminally ill wife’s medical needs, to the classic revenge story of the brother-sister Geisha’s seeking vengeance for the brutal murder of their parents, and the comedic story of the degenerate gambler Shinkichi all attempts are made for Zatoichi to be a full, and rich experience. Had it not been for the at times surprising levels of violence Zatoichi would make for a perfect family film, it’s a true adventure that encapsulates everything you could want from a film, excitement, humour (of which there is plenty), action, drama and emotion.

Kitano again displays his knack for shifts in chronology, however, it is significantly pared down in comparison to the complexities of his profound Hana-Bi. In Zatoichi time is flipped for the development of back-story and character motivation with the use of both flash-backs and, at times, flash-forwards to great effect. One prime example can be seen in the expertly edited sequence detailing the history of the vengeance seeking Geisha’s. As a traditional dance is performed Kitano switches time from past to present to paint a picture of their tortured journey, it is not only beautiful to look at, but also painfully emotional. It is a sign of the quality of the film that Kitano is fully capable of giving what could so easily be a one dimensional chambara a necessary injection of subtle profundity.

It may be surprising then as you read this review that Zatoichi is also frequently hilarious, with many laugh out loud moments. Continuing proof of Kitano’s comic timing is seen frequently with such stand out moments as Shinkichi’s kendo tutoring, Kitano’s log throwing and many throw away comic moments that are as effective as they are subtle. Zatoichi also marks a change in the present Miike boom, while all attention is firmly on Miike as the anarchistic innovator of Japanese cinema it’s refreshing to see Kitano prove that he is still at the peak of his powers with some wonderful touches all of his own. The synchronisation of the farmers ploughing the field rhythmically to the beat of the score is just a simple, small factor that is another layer in the rich tapestry Kitano has woven. This is what cinema was made for.

And so we come to the score of the film, as many of you will be aware Zatoichi also marks an end to the Kitano – Hisaishi Jo collaboration, and while Zatoichi the soundtrack doesn’t necessarily make for great stand alone listening in the same way that Hisaishi’s compositions do, there can be no denying that Keiichi Suzuki’s score perfectly compliments the film elevating key scenes to delirious levels of excitement. A fusion of modern music and traditional styles the score is effective in setting both atmosphere and tone while the final dance/festival sequence is so exhilarating and so entertaining that throughout the heart pounding composition I sat with the widest grin as the hairs on the back of my neck raised.

There are criticisms, yet they are only minor. The climax falls somewhat short in terms of spectacle, with resolutions coming a little too thick and fast while Asano’s character could have been giving a little more screen time, with the relationship between him and his wife explored in more detail. However, these are just minor criticisms that fail to get in the way of the sheer enjoyment of experiencing such a cinematic feast. I am sure the DVD will be imported and seen but I urge you all if you ever get the chance to let your first viewing of Zatoichi be on the silver screen. It is an event film, something to share with a likeminded audience, a reason if ever it were needed for the corporate cinema chains worldwide to start showing more foreign films. Zatoichi is true cinema.