Lost In Translation

Zatoichi The Last

I am something of a compelet-ist so I tracked down the last Zatoich film Zatoichi The Last (2010) directed by Junji Sakamoto. It is essentially a star vehicle for SMAP singer Shingo Katori. The production details are impressive, but Katori just can't live up to the standard set by his Zatoichi fore bearers Shintaro Katsu and Takeshi Kitano.

The Blind Swordsman: Zatoichi (2003)

I originally saw Takeshi Kitano's The Blind Swordsman: Zatoichi (2003) in the theater without subtitles. It is essentially an action film so I think I got the main ideas and concepts, but I always thought I would go back and watch it with subtitles. This was the right timing since I have just finished watching all of the Shintaro Katsu Zatoichi films. Apparently this homage was suggested to Kitano by a colleague in the industry. The films has many of the subplots of the original stories including the subplot of the noble ronin who will be Zatoichi's 8Kitano sporting blonde hair as the sightless masseur) dueling partner. This time it Tadnaobu Asano plays Hattori Genosuke, a reluctant bodyguard who needs money to help his sick wife become cured. In another subplot there is a team of two murderous geisha that are bent on avenging the murder of their family by tracking down the murders and dispatching them after seducing them. Kitano uses CGI to enhance the bloody fighting throughout. There are familiar tropes such as Zatoichi's skill without sight such as when he helps the old woman with chores and stacks the wood without facing the pile. Then there is the obligatory fixed dice game that Zatocihi exposes. There are several incidents of comic relief throughout. Perhaps the main innovation that Kitano brings to the film is a sense of musicality and rhythm seen among the villagers working in the fields and later on a house which eventually leads to a tap-dance clog production number that closes out the film.This is probably Kitano's most successful film artistically as well as commercially.

Zatoichi (1989)

16 years after the final film version and 10 years after the TV series (1974-1979), Shintaro Katsu decided to make a final encore for Zatoichi with Zatoichi (1989). Many of the standard Zatoichi tropes are visited as expected: the dice hustle, the cutting of a candle with the sword, rolling into a fight in a barrel, kids telling Zato to move to miss a hole and ignoring them and falling into it, saving a damsel in distress among others. However, Katsu does allow Zaotichi to have a love scene-something that I think he only had one occasion to do in the original 25 films. There is the usual conflict between two yakuza gangs that is solved by Zaotichi at the closing. This one is the goriest to date with squirting blood, decapitated corpses, limbs being hacked off, and even a nose is splattered against a wall. There is a subplot of yakuza pawning off inferior firearms to rivals in order to get money and in order to more easily take over their territory when the guns misfire and they easily subdue them. Ken Ogata stars as the philosophical, respected duelist who has a chance to slay Zatoichi early, but allows him to live so that they can meet in a more fair occasion, but Zatoich  barely stops to slay him at the end. This film clocks in at 116 minutes and feels longer, the usual Zatocihi film was a lean 90 minutes or less and I think it is more suited for that short and sweet length. I find this film less than necessary, but I was curious to see what Katsu had in store for his final Zatoichi film. Next I'll re-watch Takeshi Kitano's 2003 reboot.

Zatoichi: The Supplements

Zatoichi: The Blind Swordsman Criterion Collection has several supplementary features on the last disc. The first is The Blind Swordsman, a 1978 documentary about Zatoichi portrayer and filmmaker Shintaro Katsu, along with a new interview with its director, John Nathan, a new interview with Asian-film critic Tony Rayns, and trailers for all twenty-five films. I suppose I should also mention a book featuring an essay by critic Geoffrey O’Brien; synopses of the films by critic, novelist, and musician Chris D.; “The Tale of Zatoichi,” the original short story by Kan Shimozawa; and twenty-five new illustrations inspired by the films, by twenty-five different artists.

The John Nathan documentary is interesting in what it reveals about Katsu, as a micro managing director/producer, and his Zatoichi team-he is a demanding autocrat who inspired loyalty from his minions, but is overworked and often loses his temper when things don't go according to plan. It shows his brashness and artistic sensibilities as a director and creator as well. There is also an interview with Nathan in which he discusses the filming of the segment and his interactions with Katsu.

The Rayns interview, in particular, was very informative. He talks about how this was the most popular series of the 60s and tries to analyze why. I learned that prior to the Zatoichi films, Shintaro Katsu had played a blind antihero in a film called Shiranui Kengo aka The Blind Menace in 1960, which may have inspired the writers of the series with its blind antihero protagonist. Furthermore, this series was popular just as TV was becoming common place and before serialization in TV was common. It marks the end of the studio system, and Zaotichi moved to TV after the final installment in 1973. It was focused on classicists directors such as Kazuo Mori and Kenji Misumi who were influenced by directors from the golden age of cinema. He also notes that there were two particular standout films that brought highly regarded directors in to the series with Satsuo Yamamoto in #16 Zatoichi the Outlaw as well as Kihachi Okamoto in #20 Zatoichi Meets Yojimbo. This series inspired the Tora-san series directed by Yoji Yamada in the following four areas: 1. traveling throughout Japan, 2. features a working class character with no ambitions to move up in society, 3. unlucky in love, 4. more honest than those surrounding them. The early Zatoichi stories were based on facts for the origins of the story, but were quickly exhausted. Zaotichi was unusual in that his standing as masseuse/yakuza allowed him access to all strata of society and to cut through the different classes because of his uncommon gifts. The plots of the series were of the "tendency" variety in that they were conscious of social inequalities of the day and were sympathetic to the common man.

Zatoichi's Conspiracy

The last film in the original film series was Zatoichi's Conspiracy (1973) with veteran director Kimiyoshi Yasuda at the helm. In fact Yasuda would follow the star and head of production, Shintaro Katsu and many of the series regulars to television where Zaotihi would continue on TV  from 1974 until 1979. In this last hurrah, Zatoichi (Katsu) travels back to his hometown of Kasama and helps overturn a cheating conspiracy between yakuza and the government magistrate. Along the way he crosses path with his spiritual sister, Omiyo (Yukiyo Toake), who was also raised by the kindly old lady as Zatoichi. Her guardian, Sakubei, is played by Kurosawa regular Takeshi Shimura in his second appearance in the series. Ichi's former childhood playmate and now corrupt adult, Shinbei (Eiji Okada of The Woman in the Dunes) is in league with the Magistrate (Kei Sato-known for his many roles in Nagisa Oshima films) and Boss Iwagoro (again Tatsu Endo reprising a familiar role). The usual dice antics are played out, however, there is no bloodshed until the final third and then the blood letting begins. The climatic battle takes place in a rice store house, which gives Ichi the opportunity to hide in a rice barrel and breakout killing everyone within striking distance. Also, there's a subplot involving a group pf roaming youth that eventually side with Ichi after trying to kill him for a fee. I will continue my reviews of the supplementary programs in the box set as well as Katsu's 1989 Zatoichi comeback film as well as Takeshi Kitano's 2003 reboot.

Zatoichi In Desperation

Zatoichi In Desperation (1972) is directed by the star of the series, Shintaro Katsu himself, and it seems to reflect the times. It has a funky 70s score and Katsu is indulgent in using a psychedelic medley of images when he flashes back to the death of an old woman on a bridge that Zatoichi feels guilty about since it is partly due to his actions. He promises to bring her shamisen to her daughter, Nishikigi (Kiwako Taichi) working at a brothel in a town nearby. Katsu does an admirable job aside from a few showy camera angle throughout. The story stands out in cruelty: a young boy is beaten to death for throwing stones at yakuza who have burned fisherman's boats in an action that is the equivalent of barn burning in the late 1800s American west. In earlier episodes Zaotichi has suggested that he has slept with women of the night, but in this film he has his first erotic encounter with Nishikigi that leads to his capture. Zaotichi is forced to give up his sword and his hands are impaled so that he is forced incredulously to used his arms with a sword tied to them to cut down his opponents. The villainous yakuza boos is played by Katsuo Nakamura known for his role in Shinoda's tales of the supernatural Kwaidan.

Zatoichi At Large

Zatoichi At Large (1972), the 23rd installment of the Zatoichi series, has a veteran director, Kazuo Mori, in charge. It calls to mind an earlier film, Fight, Zatoichi, Fight, in that we have Zatoichi (Shintaro Katsu) taking care of a baby again after helping a dying woman give birth after she was robbed on her travels. Once again we have Rentaro Mikuni playing a Yakuza boss, Testugoro, who is fixed on taking over a crime-free village. There are several cases of mistaking Zartoichi for the killer of a couple innocent victims: starting with the pregnant woman and later with the slayed village constable, Tobei (Hisaya Morishige). The son of the slayed woman follows Zatoichi pelting him with rocks whenever given the chance. The carnage comes late in the film and the final showdown with the master swordsman feels like an afterthought. But there's plenty of entertainment, for example, there's a comedy  troupe with performing monkeys and a cast of comedic performing actors. As always, Zatoichi performs skillful sword tricks and exposes cheating in gambling while raising stakes for his charitable deeds.

Zatoichi Meets The One-Armed Swordsman

It seems that Shintaro Katsu and his production team had a good strategy at this late stage of the Zatoichi series in keeping audiences coming back to the box office with fresh ideas for marketing. In the previous installments he brought in big stars like Toshiro Mifune for Zatoich Meets Yojimbo and Tatusya Nakadai for Zatoichi Goes To The Fire Festival. In this installment, Zatoichi Meets The One-Armed Swordsman (1971), it is a joint production with the Shaw Brothers from Hong Kong to tie in with the Kung Fu films that were gaining popularity at the time and could be released for two different markets.. Another long time Zatoichi director is at the helm-Kimiyoshi Yasuda. Zatoichi (Shintaro Katsu) crosses path with an orphaned Chinese boy and his protector Wang Kang (Jimmy Wang Yu), a Chinese swordsman who has come to Japan to visit a former Japanese training partner at his temple in Japan. Therefore, many of the kung fu tropes of action films deployed in the film: such as using wires to show Wang Kang jumping up cliffs and walking on the shoulders of his opponents as well as using his hand to hand fighting abilities. Zatoichi displays a surprising number of guises-at one point he farts to expel some peeping toms and later cuts the ear off a yakuza boss-the first time we've seen him torture a foe-somewhat disturbing, but quickly forgotten in the flow of the film as the action is constantly taking place. It seems as thought he body count is increasing as the series progresses. This might be a reflection of the increasing popularity of exploitation cinema worldwide. It is something to be consider as the Zatoichi franchise winds down.

Zatoichi Goes To The Fire Festival

It seems that the 21st installment of the Zatoichi series, Zatoichi Goes To The Fire Festival (1970) is considered a fan favorite. The film is in the capable hands of veteran Zatoichi director Kenji Misumi (The Tale of Zatoichi, etc.) and cinematographer extraordinaire, Kazuo Miyagawa (Rashomon). Furthermore, it features some big stars of the cinema in Tatsuya Nakadai (Yojimbo and Harakiri) as the vengeful wandering ronin looking to avenge his wife's ex-lovers for honor and the blind evil yakuza boss, Yamikubo (Masayuki Mori famed for Ugetsu and Rashomon) who Zaotoichi must (Shintaro Katsu) must defeat. It wouldn't be a Zatoichi film if there wasn't a love interest-Okiyo (Reiko Ohara). There's a curious side story involving an androgynous transvestite, Peter, who tries to seduce Zatoichi in order to kill him after he tried to get him to help him join the yakuza and was duped. It seems to be a little bit from left field for the series, which usually plays it straight. As usual the cinematography is top notch with several scenes that were filmed on location outdoors during the summer in the mountains and near streams and in post town sets. Apparently the bath house fight scene is much loved, however, I found it a bit gimmicky and over the top. The body count seems to be ratcheted up a bit in this film as well (I guess his has been a constant since Katsu productions took over-got make the star look good). There isn't a fire festival per se, but the climax takes place on a lake of fire that Zatoichi escapes from and exacts his revenge. But I guess despite those short comings, I too, would consider this one of the better films in the entertaining series.

Zatoichi Meets Yojimbo

Zatoichi Meets Yojimbo (1970) is another highlight in the series (the 20th installment). The talent gathered here is among the best of any film from the series so far: the director is Kihachi Okamoto (know for such highly rated samurai films as The Sword of Doom, Samurai Assassin, and Kill!), the director of cinematography is the eminent Kazu Miyagawa (Ozu, Kurosawa, Ichikawa and Mizoguchi all used him in the past), the two main superstars of the day in Shintaro Katsu (Zatoichi) with Toshiro Mifune reprising the role he created for Kurosawa, Yojimbo, Ayako Wakao (Street of Shame (Mizoguchi) and An Actor's Revenge (Ichikawa) among many distinguished roles). There is a complex plot that involves stolen gold, a spy, and greedy yakuza bosses and crooked officials-pretty much the usual for a Zatoichi film. The film has an ending that draws comparisons to the The Treasure of the Sierra Madre and an anti-climatic duel between Zatoichi and Yojimbo. Films with Miyagawa always standout visually and this is no exception: the first scene  evokes the torrential rains of a Kurosawa film, the flashback of a sword fight in the snow, and scenes of fires burning at night are among the many arresting images captured throughout the film.