SAMURAI ASSASSIN (1965) – Kihachi Okamoto
I haven’t seen any other film by Okamoto so far but I’m certainly enthused to look him up now.
Samurai Assassin is at heart a tale of moral values and a passionately told one at that.
In medieval Japan, an assassination attempt on lord Li, a powerful warlord holding sway over the Tokugawa Shogunate, fails and the group responsible for the attempt smells a traitor in their midst. Immediate suspicion falls on unlikely members Tsuruchriyo Niiro and Einosuke Kurihara. Niiro (Toshiro Mifune), a Ronin of unknown parentage, is a roughneck and a drunkard and not concerned with the politics of the group. Kurihara (Keiju Kobayashi) in contrast, is well-read, soft-spoken and a man of wealth; it is a mystery as to why he has joined the group. As the other members investigate and report to the group leader Hoshino Kenmotsu, we are given an insight into the characters of Niiro and Kurihara, their lives, and their reason for being part of this rogue outfit. Niiro believes that allying himself with the group is the fastest way to achieve Samurai status which he craves for its accompanying wealth and honor, and for something more personal. Kurihara on the other hand believes that the progress of Japan depends on breaking the monarchy of the Tokugawa regime. Although they have entirely different social backgrounds and outlook Niiro and Kurihara share a deep friendship, one of the anchors of Niiro’s otherwise tumultuous existence. It is all the more tragic and ironic then that Niiro’s ambition causes him to strike at this very anchor. Memories, histories, misunderstandings, betrayals, friendship, love all churning in a fiery vortex that will eventually consume everything in its wake.
The bulk of Samurai Assassin is a textbook of good film-making. A combination of striking visuals with accompanying voiceover quickly brings us to grips with the huge number of characters and narrative strands in this sprawling yarn. The voiceover is even justified in the story in the form of the recorder whose task is to write the history of events that will depict the coup. In having their story told mostly as flashbacks and observations of spies reporting to the group leader, the film skillfully uses elements of the detective story format in its exploration of the lead characters. Niiro’s dilemma when he has to choose between his friendship and his ambition recalls Macbeth and other stories that explore the dark side of human nature. The few weaknesses of the film lie in some of its more melodramatic contrivances, like the geisha madam who coincidentally resembles someone from Niiro’s past. Also frequent use of the voiceover sometimes hinders the intensity of the scenes unfolding.
Technically the film is nothing short of superb, standing on equal terms with the best of Kurosawa’s work. The visuals are striking and impeccably framed in the widescreen aspect. They are in themselves a great reason to watch this film; be it furious action like the concluding skirmish in the snowfall or a more leisurely scene like when Niiro and Kurihara sit facing each other in quiet contemplation, there is not a single unaesthetic frame in the whole film. Kudos to Okamoto, DoP Hiroshi Murai and Editor Yoshitami Kuroiwa for this wonderful spectacle. I must also make mention of the taut music score which underscores the tension of the narrative.
The performances of all the lead characters are again awesome. Mifune (also an associate producer on this film) again plays a rough-talking Samurai but his character is sufficiently distinguished from the ones he has done for Kurosawa. Kobayashi delivers a correctly nuanced portrayal of the soft-spoken but steel-willed Kurihara. Yunosuke Ito as the group leader Kenmotsu exudes freezing menace and would stand amongst film noir’s best villains. Most of the supporting characters are also handled well enough.
Its little flaws notwithstanding, Samurai Assassin is a strong story told in a truly involved and imaginative manner. All in all a must for the film buff.
I haven’t seen any other film by Okamoto so far but I’m certainly enthused to look him up now.
Samurai Assassin is at heart a tale of moral values and a passionately told one at that.
In medieval Japan, an assassination attempt on lord Li, a powerful warlord holding sway over the Tokugawa Shogunate, fails and the group responsible for the attempt smells a traitor in their midst. Immediate suspicion falls on unlikely members Tsuruchriyo Niiro and Einosuke Kurihara. Niiro (Toshiro Mifune), a Ronin of unknown parentage, is a roughneck and a drunkard and not concerned with the politics of the group. Kurihara (Keiju Kobayashi) in contrast, is well-read, soft-spoken and a man of wealth; it is a mystery as to why he has joined the group. As the other members investigate and report to the group leader Hoshino Kenmotsu, we are given an insight into the characters of Niiro and Kurihara, their lives, and their reason for being part of this rogue outfit. Niiro believes that allying himself with the group is the fastest way to achieve Samurai status which he craves for its accompanying wealth and honor, and for something more personal. Kurihara on the other hand believes that the progress of Japan depends on breaking the monarchy of the Tokugawa regime. Although they have entirely different social backgrounds and outlook Niiro and Kurihara share a deep friendship, one of the anchors of Niiro’s otherwise tumultuous existence. It is all the more tragic and ironic then that Niiro’s ambition causes him to strike at this very anchor. Memories, histories, misunderstandings, betrayals, friendship, love all churning in a fiery vortex that will eventually consume everything in its wake.
The bulk of Samurai Assassin is a textbook of good film-making. A combination of striking visuals with accompanying voiceover quickly brings us to grips with the huge number of characters and narrative strands in this sprawling yarn. The voiceover is even justified in the story in the form of the recorder whose task is to write the history of events that will depict the coup. In having their story told mostly as flashbacks and observations of spies reporting to the group leader, the film skillfully uses elements of the detective story format in its exploration of the lead characters. Niiro’s dilemma when he has to choose between his friendship and his ambition recalls Macbeth and other stories that explore the dark side of human nature. The few weaknesses of the film lie in some of its more melodramatic contrivances, like the geisha madam who coincidentally resembles someone from Niiro’s past. Also frequent use of the voiceover sometimes hinders the intensity of the scenes unfolding.
Technically the film is nothing short of superb, standing on equal terms with the best of Kurosawa’s work. The visuals are striking and impeccably framed in the widescreen aspect. They are in themselves a great reason to watch this film; be it furious action like the concluding skirmish in the snowfall or a more leisurely scene like when Niiro and Kurihara sit facing each other in quiet contemplation, there is not a single unaesthetic frame in the whole film. Kudos to Okamoto, DoP Hiroshi Murai and Editor Yoshitami Kuroiwa for this wonderful spectacle. I must also make mention of the taut music score which underscores the tension of the narrative.
The performances of all the lead characters are again awesome. Mifune (also an associate producer on this film) again plays a rough-talking Samurai but his character is sufficiently distinguished from the ones he has done for Kurosawa. Kobayashi delivers a correctly nuanced portrayal of the soft-spoken but steel-willed Kurihara. Yunosuke Ito as the group leader Kenmotsu exudes freezing menace and would stand amongst film noir’s best villains. Most of the supporting characters are also handled well enough.
Its little flaws notwithstanding, Samurai Assassin is a strong story told in a truly involved and imaginative manner. All in all a must for the film buff.
