Free Samurai Films by Roland Thorne Page B

the stubborn and unbending nature of the samurai code, which ultimately only history was able to defeat.
    This frank and unyielding plot is effectively rendered by Kobayashi’s skilled direction, and some robust performances. The film abounds with memorable scenes and images. The scene in which Motome is forced to cut his stomach open with a bamboo blade is harrowing in its brutality; we see Motome trying to force the blunt object into his chest many times, finally succeeding when he puts his full weight on it. Akira Ishihama convincingly conveys the agony and desperation, which in its gory explicitness conveys the cruelty of the Iyi samurai. The battle between Hanshiro and the Iyi samurai is very well realised, and more realistically than in many other samurai films. It is clear that Hanshiro won’t survive against so many enemies, and he becomes progressively more injured and fatigued as the battle progresses. His duel with Hikokuro is also of the highest quality, filmed in long grass on a windy day with the constantly shifting grass creating a moody backdrop. Many highly evocative and symbolic single frames pepper Hara-kiri , such as the large Iyi clan crest, splattered in blood during Hanshiro’s battle with the Iyi samurai.
    Hanshiro (Tatsuya Nakadai) battles the Iyi samurai. Hara-kiri directed by Masaki Kobayashi and produced by Tatsuo Hosoya for Shochiku Studios.
     
    Tatsuya Nakadai delivers one of his best performances as Hanshiro, and skilfully shows a wide range of emotions. We see Hanshiro at several different stages of his life, and Nakadai presents them all with complete conviction. The sensitivity of Nakadai’s performance imbues the scenes where he happily plays with his grandson with a touching quality, and makes the events which befall his family all the more tragic. In contrast, Nakadai’s portrayal of the later Hanshiro, who, having lost everything, is disturbingly morose and inexpressive, creates a character that’s both sympathetic and slightly disturbing. Nakadai’s performance in this film is rightly hailed by many as one of the greatest of the samurai film genre.

THE VERDICT
     
    The stark honesty of Hara-kiri exposes a side of the samurai code ignored by many other samurai films. With a moving plot, a classic performance by Tatsuya Nakadai and assured direction by Masaki Kobayashi, it’s a captivating film. Not only for samurai film fans, Hara-kiri is an example of cinema at its best.
New Tale of Zatoichi (1963) 
     
    Japanese Title: Shin Zatoichi monogatari
    Directed by: Tokuzo Tanaka
    Written by: Adapted by Minoru Inozuka from a story by Kan Shimozawa
    Produced by: Masaichi Nagata
    Edited by: Hiroshi Yamada
    Cinematography: Chishi Makiura
    Cast: Shintaro Katsu (Zatoichi), Mikiko Tsubouchi, Chitose Maki, Mieko Kondo, Seizaburo Kawazu

PLOT SUMMARY
     
    Zatoichi, the blind master swordsman, grows tired of his violent lifestyle, and resolves to lead a peaceful life. He meets with Banno, the ronin who taught him swordsmanship, and stays in his village for some time. Banno is a respected teacher, but he is secretly involved with the Tengu group, a gang of fugitive ronin. His main concern, however, is ensuring that his sister, Yoyoi, marries into a rich family so he can regain a little of his lost status. Banno and the Tengu gang hatch a plot to kidnap one of his students, who has a wealthy father. They are successful and arrange to collect the ransom. Zatoichi and Yoyoi’s relationship develops, and the two wish to marry. They ask Banno’s permission, but he flies into a rage, refusing to let Yoyoi marry someone of such low status. Humiliated, Zatoichi leaves. He also discovers Banno’s plot. The next morning, the Tengu group set out to collect their ransom. They are intercepted by Zatoichi who kills them all. Banno, meanwhile, kills the father of his pupil, stealing the ransom money, which he plans to use to buy a lavish wedding for Yoyoi. Zatoichi confronts Banno and narrowly defeats him