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Posts Tagged ‘samurai’

Sanjuro

Tuesday, September 8th, 2015

tn_sanjuro“It’s hard to explain. A strange series of events made him our ally.”

Akira Kurosawa probly had no idea when he made SANJURO that he was doing a sequel to one of the greatest movies in all of Badass Cinema. He just wanted to have some fun doing another small, funny samurai story with Toshiro Mifune’s character from YOJIMBO. This time the itchy wandering ronin (calling himself Sanjuro, another name made up on the fly) falls in with nine young, idealistic samurai who have discovered corruption in their clan. They want to do the right thing but they’re kinda dumb and inexperienced and he’s an incomparable swordsman and strategist, so he finds himself advising them, assigns himself to their most dangerous tasks and takes on the army and government mostly on his own. (read the rest of this shit…)

Goyokin

Tuesday, March 17th, 2015

tn_goyokinGOYOKIN is the seventh movie from Hideo Gosha, the director who started with THREE OUTLAW SAMURAI and SWORD OF THE BEAST. So he’d been around a bit by that point. It was 1969, the hippie era over here, but questioning authority was part of the samurai movie tradition anyway. The heroes follow a strict code and usually have to deal with some government asshole trying to pervert it. They struggle when there’s a discrepancy between following the rules and doing the right thing. And they always have differing interpretations of what those two things are. But this one seems particularly fitting for a couple summers after the summer of love, because it’s about one man who feels he must stand up against the power structure to stop an atrocity.

It starts with a mysterious incident. A girl returns home to her village to find that everyone has disappeared. Nobody there but her and the crows. They blame it on a curse called the Kamikakushi, but in fact it was a government sanctioned massacre. Some Waco shit. The Saido province feels they have to steal a shipment of gold in order to pay their taxes and survive, and they kill the local fishermen so there aren’t any witnesses. They feel it’s a necessary sacrifice for the greater good.

Three years later the ronin Magobei (Tatsuya Nakadai, YOJIMBO, THE SWORD OF DOOM, RAN) still regrets not trying to stop the slaughter. His brother-in-law Tatewaki (Tetsuro Tanba, THREE OUTLAW SAMURAI, RIKI-OH), the guy in charge, vowed to never do it again. But when assassins come to kill Magobei (they fail) he finds out it’s a precursor to another one. Clearly this stolen gold economics is not very sustainable in my opinion.

Magobei’s not gonna make the same mistake he made last time. He’s gotta stop this massacre or die trying. So he puts on his cool hat and starts walking. (read the rest of this shit…)

Lady Snowblood

Wednesday, March 4th, 2015

tn_ladysnowbloodTalk about a revenge story! Yuki, a.k.a. Lady Snowblood (Meiko Kaji from the FEMALE CONVICT SCORPION series), has been raised from birth specifically for vengeance. Nothing else. No coloring, no jump rope, just “let’s get you ready to track down some people and chop them the fuck up.” It all started when four scumbags (three men, one woman) attacked a couple, killing the man and raping the woman. When the woman later killed one of the attackers she was put in jail, where she died giving birth to Yuki.

As an adult, Snowblood actually remembers being born in jail. Then a teacher trained her in swordsmanship and fighting and a lady named Auntie taught her to be a pickpocket. She’s like Batman, travelling around to different teachers, mastering different skills, but she will avenge her parents’ death not by fighting crime (DEATH WISH) but by killing the actual perpetrators (DEATH WISH II).

When we first meet her she’s tracked one down, approaches with an umbrella, attacks the guy’s caravan and slices them up. Then she goes to a tribal leader guy who likes her because she once did some killing for them. He agrees to use his people to track all the names on her wish list so she can cross them off. (read the rest of this shit…)

Azumi

Thursday, February 26th, 2015

tn_azumiBTISLPoor Azumi (Aya Ueto) is one of the best young swordswomen you ever did see, but it’s because she’s lived such a fucked up life. In the opening scene we see how she ended up like she did. When she was a little girl the Master (Yoshio Harada, THE HUNTED) was leading some young boys on a trail and came across her kneeling over her dead mother. He took the orphan girl with them to their isolated mountain area where he raised them to be elite sword fighters on a covert mission from Lord Tokugawa’s priest.

I mean really he saved her life, and their whole clan of nine boys and her are like a family, brothers and sisters who have fun fighting and training and joking around with each other. And they love their master and trust in him enough to believe that this thing he’s been preparing them for their whole lives is a righteous thing. They are tasked with assassinating the ambitious warlords who want to take over the country, whose selfish actions would otherwise keep the country in civil war forever. They will take life to prevent endless war. (read the rest of this shit…)

Hanzo the Razor: Sword of Justice

Monday, November 10th, 2014

tn_hanzoWhat the fuck is up with Hanzo the Razor? I want to respect him as a samurai, but I just can’t get past his behavior. Here’s the #1 issue I have with his first movie, RAZOR: SWORD OF JUSTICE: the scene where he interrogates a woman by forcing himself on her, and then she ends up liking it so much she gives up the information to keep him from stopping. #2 issue: the second scene where he does that, this time with her in a net and three assistants pulling a rope to lift her up and down on him. And gentle love song type music playing while she spins on his “sword of justice,” screaming. That is fucked up, Hanzo the Razor. What kind of garbage is this?

If not for that, though, perfect movie!

I know people got mad years ago when I complained about Jason Statham’s character Chiliman Chevrolet from the CRANK movie pulling one of these “it doesn’t count as rape if you win her over before you’re done” moves, known on the streets as “the ol’ Straw Dogs.” But I haven’t changed my stance on that. It’s a misogynistic fantasy and kind of a dangerous thing to depict in movies. What kind of influence could this have on the samurai constables of the future if they grow up thinking this is how the world works? (read the rest of this shit…)

The Last Samurai

Wednesday, June 25th, 2014

tn_lastsamuraiBack in 2003, when THE LAST SAMURAI was new, I had a cynical, kneejerk reaction to it. “Yeah, right… Tom Cruise is the last samurai? Who’s next, someone from the brand new TV show this year America’s Top Model?” I was offended that they wouldn’t make a movie just about samurai, it had to be about the white guy that meets the samurai.

Some things I wasn’t taking into account at that time:

I. The DANCES WITH WOLVES type story of a westerner taken in by an enemy tribe of some kind and learning their ways is a longstanding tradition, and it’s a cool idea to do one with samurai instead of Native Americans. In fact it was partly inspired by real stories of a French soldier who did something like that.

II. There are hundreds of great samurai movies made in Japan, and director Edward Zwick of COURAGE UNDER FIRE was not about to beat them at their own game. It’s simply more interesting if he does his own thing here than if he just tries to imitate Japanese samurai movies. Come on.

III. What the fuck are you talking about here 2003 Vern, you LOVE the white ninja tradition of movies – ENTER THE NINJA, NINJA, AMERICAN NINJA, Steven Seagal… how could there not be value in seeing the big expensive studio from-the-director-of-GLORY version of that?
(read the rest of this shit…)

Samurai Cop

Tuesday, June 24th, 2014

tn_samuraicopA Japanese gang called The Katana Gang is on a rampage, so the LAPD call in a specialist.

“So they call him Samurai, huh?” asks the gang leader Fujiyama when he hears about this long-haired Fabio-lookin motherfucker played by former Sylvester Stallone bodyguard Matt Hannon.

“Yes,” explains right hand man Yamashita (Robert Z’Dar). “His real name is Joe Marshall. They call him ‘Samurai.’ He speaks fluent Japanese. He got his martial arts training from the masters in Japan. He was brought over here from the police force in San Diego to fight us.”

This being 1989, the year after ABOVE THE LAW, might have something to do with that backstory. The poster, which has nothing to do with the actual content of the movie, is definitely going for a MANIAC COP vibe. I think there’s some LETHAL WEAPON influence here too, or at least it’s trying to follow the formula of the white cop with loyal black partner who’s kind of bemused at how far the white guy goes over the line in his enforcement of the law. Samurai and his partner Frank (Mark Frazer, MICROWAVE MASSACRE) have alot of weird, sometimes racially uncomfortable banter about what their boss is gonna do to his “charcoal black ass” and stuff like that.

still_samuraicop5

The chief is pretty funny, he’s always angrier than necessary. I like when he yells to one of his employees “You, motherfucker, I’ll see you in hell! Leave me alone! Get a job!”

(read the rest of this shit…)

American Samurai

Monday, June 23rd, 2014

tn_americansamuraiHow the fuck does a guy become an American samurai? Well, in the case of Drew Collins (David Bradley, AMERICAN NINJA 3-V) when he was a baby he and his parents were traveling in a small plane that crashed into a tree, only he survived, and then he was raised by an old Japanese guy named Tatsuya (John Fujioka, ZATOICHI IN DESPERATION, AMERICAN NINJA, AMERICAN YAKUZA). Finders keepers, you know?

Basically it’s exactly like Superman, except being a white man in Asia doesn’t give him super powers. But he does really good in his sword training anyway. I’m not clear why his adopted father was a samurai swordsman in the 1980s, I suppose it’s kind of along the lines of being a civil war buff. In related news I would like to see a Cannon movie called JAPANESE BLUEBELLY. (read the rest of this shit…)

SIFF review: Unforgiven (2013 Japanese remake)

Friday, May 30th, 2014

tn_unforgiven13There has long been a beautiful cultural exchange between America and Japan. They captivated us with their ninjas and their karate, we let them use our rockabilly. We loaned them Steven Seagal, they sent him back polished into an aikido master. A few samurai movies have been famously remade as westerns, but it’s about time it went in the other direction. Director Sang-il Lee (HULA GIRLS, VILLAIN) has taken a little 1992 movie by the name of Clint Motherfuckin Eastwood’s Best Picture, Best Director, Best Supporting Actor and Best Film Editing Oscar winner UNFORGIVEN and faithfully remade it as a samurai picture.

I think this is the type of remake that’s a sign of respect, not exploitation of an existing title. It’s saying “we all know this great movie UNFORGIVEN, I mean what kind of assholes do you take us for, but here is another take on it for you to enjoy a bit before returning to the original.” Even in that case the impossible part about remaking a Clint Eastwood movie has got to be finding a guy to replace Clint Eastwood. I gotta say, Ken Watanabe was a brilliant choice. He has a stoicism and masculine presence that’s reminiscent of Clint, he kinda looks like him on the poster, and he even knows the guy well as the lead in Eastwood’s underrecognized-even-while-nominated-for-best-picture directorial work LETTERS FROM IWO JIMA. But his character Jubei is not just an imitation of Clint’s William Munny. He’s a little less gruff, and even more internal. He talks a little less I think, even skipping a perfect spot to fit in the famous line “Deserve’s got nothin to do with it.” I guess he figures it goes without saying. (read the rest of this shit…)

Samurai Fiction

Thursday, May 1st, 2014

tn_samuraifictionSAMURAI FICTION is a deeply enjoyable period samurai picture, made in 1998 but shot mostly in black and white, so it looks very classical. Not that it’s trying to pass. It occasionally uses more modern filmatics, like a seemingly endless shot pulling back down a road in front of three running samurai, or a slow motion shot of a girl smiling to represent the protagonist being smitten with her – you can imagine a love song playing over it sarcastically, maybe something in a Carpenters or a Barry White.

They don’t quite go that far, but the score is intentionally anachronistic, echoey electric guitar playing with surf, country and rock ‘n roll styles, later drum machines and synthesizers. I like the idea, and some of it works, some of it is cheesy as hell. The one great musical moment in my opinion is a scene where an old man plays a beautiful rendition of “Swanee River” on a saw. You don’t get that in many samurai movies.
(read the rest of this shit…)