Farewell My Concubine (1993) [Film Review]

Farewell My Concubine; or, The Hegemon-King Bids Farewell to His Concubine
     I am by nature a boy… not a girl.
Today’s review is something really special, dear readers. I have heard about this movie for so many years. Even before the internet era, in special film guidebooks, this particular motion picture was frequently mentioned alongside Akira Kurosawa’s Seven Samurai as one of the all-time best Asian productions. It comes as no surprise that to date this is the only Chinese production movie that won the Palme d'Or at the 1993 Cannes Film Festival. In addition, it was also listed as one of the 100 Best Films in Global History by Time magazine. Let’s take a closer look at Chen Kaige’s Farewell My Concubine.

Release Info

Directed by: Chen Kaige Starring: Leslie Cheung, Zhang Fengyi, Gong Li

Language: Mandarin Original Title: 霸王别姬 Runtime: 171 min (unaltered version)

Synopsis
It is the year 1924, China after the fall of the Qing Dynasty. Dou Zi and Shi Tou are brought up together in an acting troupe under the strict regime of an opera master. Thirteen years later, the two friends become big stars, assume new names: Cheng Dieyi (Leslie Cheung) and Duan Xiaolou (Zhang Fengyi); and they act out together on stage the famous play known as “Farewell My Concubine”. World War II comes and goes, the Republic of China falls, yet in spite of hardships, Dieyi and Xiaolou continue their acting profession. A major blow comes for Dieyi when Xiaolou decides to marry a woman from the House of Blossoms known as Juxian (Gong Li).

Sentimental Haze
I was surprised to learn that Farewell My Concubine is actually based on a novel of the same name written by a Hong Kong novelist Lilian Lee. The book was pitched to director Chen Kaige who felt that the story lacked the emotional impact, so he recruited the services of Lu Wei, a screenwriter who later went on to pen Yimou Zhang’s To Live (1994).

Interestingly, the release of the film was quite a turmoil in itself. After the official Hong Kong premiere, the movie opened in Shanghai but was quickly removed from theatres. Only after heavy censoring, it was re-released mainly because it became a massive success at the Cannes Festival. As a result, there are many different cuts of the film out there. The full, unaltered edition runs at 171 minutes. The version I saw from local TV is 7 minutes shorter. Perhaps that is why I felt as sort of discontinuity between a couple of sequences.

The movie itself is a stunning, visual spectacle. It is one of these rare motion pictures which you can’t help but watch just for the breathtaking cinematography. Farewell My Concubine is undeniably a journey into the heart of Chinese art and culture. As for the story, it is deeply harrowing and tragic, yet incredibly romantic at the same time. This is a movie about faithfulness and forgiveness revolving around two friends and a woman who came between them. Yet, that is not all. The protagonists have to grapple with the consequences of great historical changes that influence them. Dieyi has to rescue Xiaolou from the hands of Japanese soldiers, Xiaolou has to rescue Dieyi from being persecuted by the Kuomintang. The most unsettling section is the third act of the film which depicts the horrors set in motion by the Cultural Revolution.

Many scholars focus in their analyses on the theme of homoerotics between Dieyi and Xiaolou. In my opinion, Farewell My Concubine presents this aspect in a very subtle manner (opting to show NSFW practices between patrons and actors they adore), so it is hard for me to call this film a representative instance of queer cinema. Dieyi is clearly in love with Xiaolou; that is why he opposes his relationship with Juxian, but there is a whole another layer of context between these characters in the form of an opera play itself. Dieyi acts out the part of a concubine who is loyal to her king (portrayed by Xiaolou). This blurring of boundaries between fiction and reality is what makes Farewell My Concubine an utterly enthralling and mesmerising movie.

With regard to performances, I absolutely love the late Leslie Cheung. He stole my heart with this film. I read online that supposedly Jackie Chan and John Lone were considered for the leading part, but I think none of them could channel this idiosyncratic sensibility as much as Leslie did. Zhang Fengyi is a wonderful onscreen partner of Leslie, and this really transpires in many scenes. The most heartbreaking one, in my opinion, was the moment when Xiaolou and Dieyi were forced to put on their make-ups for the shaming session. As for Gong Li, fresh after the success of Raise the Red Lantern (1991), she is drop dead gorgeous in this film. I really felt sorry for the plight of her character.

Recommendations
Farewell My Concubine is an obligatory must-watch from the time when Chinese Cinema was not beating around the bush and really faced the country’s controversial past head on. The performances of the main leads are just brilliant, cinematography unforgettable, and the story heartbreaking. This movie is a one-of-a-kind visual experience.Overall score: 9/10

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Onoda - 10,000 Nights in the Jungle (2021) [Film Review]

Onoda: 10,000 Nights in the Jungle; or, Lonely Warrior
     They’d said, “We’ll come back for you.”
I have been aware of the real life story concerning Hiroo Onoda for quite some time, but I have never known all the details. If you have not heard about it, the phenomenon of the so-called Japanese holdouts refers to soldiers who were either uninformed or refused to believe that World War II had ended. Arthur Harari’s Onoda: 10,000 Nights in the Jungle tells the story of a man who kept on fighting until 1974 on a remote island.

Release Info

Directed by: Arthur Harari Starring: Yuya Endo, Yuya Matsuura, Kanji Tsuda, Tetsuya Chiba, Issey Ogata

Language: Japanese Original Title: ONODA 一万夜を越えて Runtime: 166 min

Synopsis
Young Hiroo Ononda (Yuya Endo) is an intelligence officer training at a special facility under the guidance of Major Taniguchi (Issey Ogata). In 1944, he was sent to Luband Island in the Philippines with a mission of limiting the impact of enemy attacks. Nevertheless, the Allied Forces liberated the island in 1945. While the rest of Japanese troops either died or surrendered, Onoda and three other soldiers continued to carry out their guerilla activities, waiting for the arrival of Imperial forces.

Left Behind
In my opinion, Onoda: 10,000 Nights in the Jungle is a gripping adventure drama which provides an insight into the life of a soldier who is perceived by many as the paragon of discipline and devotion to homeland. Still, it has to be acknowledged that the movie was not based on Onoda’s official autobiography but rather other historical accounts, such as Bernard Cendron and Gérard Chenu's Onoda, seul en guerre dans la jungle; hence, it is difficult to label the film as a biographical motion picture. The director himself was heavily influenced by the novels of Joseph Conrad and Robert Louis Stevenson (source: press book).

Nevertheless, the movie closely follows the major events from Onoda’s stay on the island. It is fascinating to see how he rejects the tell-tale signs that the war is over and proceeds to blindly believe that Japan will team up with China in order to “liberate” the Asian continent. This is a story of false presuppositions and delusions, but also of incredible sacrifice, especially in view of the fact that Onoda was not alone at the beginning of his crusade.

Although the movie lasts nearly three hours, you do not feel bored at all. I think it’s best to say that Onoda: 10,000 Nights in the Jungle is divided into two parts: the first one focuses primarily on young Onoda (Yuya Endo) and young Kinshichi Kozuka (Yuya Matsuura) trying to survive during the 1950s. In 1969, we see aged characters (played by Kanji Tsuda and Tetsuya Chiba respectively) as they try to stay in hiding, away from the local villagers. I appreciated this unconventional measure of double performance, but I believe that the movie would have worked better if there were two actors playing the characters consistently from beginning to the end.

That being said, I appreciate the onscreen performances as well as the supporting parts done by veteran actors like Issey Ogata and Kyusaku Shimada. Beautiful on-location cinematography by Tom Harari also cannot go unnoticed.

Recommendations
I suggest you watch the film back-to-back with Kazuo Hara’s unforgettable documentary The Emperor's Naked Army Marches On (1987) in order to get a full picture of what was going on in the Philippines towards the end of the war. Onoda: 10,000 Nights in the Jungle is going to be released in UK cinemas by Third Windows Films on the 15th of April. VOD/Blu-ray edition will follow appropriately on the 16th of May. The disc is going to include interviews with actor Kanji Tsuda, director Arthur Harari, DOP Tom Harari, and assistant director Benjamin Papin.

Overall score: 8/10

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House of Flying Daggers (2004) [Film Review]

House of Flying Daggers; or, Triangle Love Affair
     I want the wind to stop and think.
House of Flying Daggers is one of the few Yimou Zhang’s movies which I own on physical media. Still, it has taken me a couple of years to get myself round to watching it. Is it a decent wuxia feature? Let’s explore the film together.

Release Info

Directed by: Yimou Zhang Starring: Zhang Ziyi, Takeshi Kaneshiro, Andy Lau

Language: Mandarin Original Title: 十面埋伏 Runtime: 119 min

Synopsis
China, the second half of the 9th century marks the decline of the Tang Dynasty. The changing political climate leads to the emergence of a rebel group opposing the Emperor known as the House of Flying Daggers. The imperial police relentlessly hunts down the deadly group. Two captains, Leo (Andy Lau) and Jin (Takeshi Kaneshiro), suspect that a blind dancer Mei (Zhang Ziyi), at their local Peony Pavilion, may be a member of Flying Daggers. They arrest the girl, but Leo wants to up the game and expose the whole group. He encourages Jin to stage Mei’s rescue from the prison. Jin does not realise that he will fall for the charms of the beautiful girl…

Into the Woods
Director Yimou Zhang started working on House of Flying Daggers right after wrapping the post-production of Hero (2002). It comes as no surprise that both wuxia spectacles function as companion pieces in terms of stunning visuals, the usage of colour, and stunning cinematography.

Interestingly, the late actress Anita Mui was supposed to play a big part in the film, but the plans fell through because of her untimely death in 2003. This led Zhang to slightly alter the script, which unlike Hero (2002) or Curse of the Golden Flower (2006), focuses more on the love story aspect rather than martial arts.

From the first confrontation in the Peony Pavilion to Jin and Mei’s arduous journey through the woods, House of Flying Daggers becomes a compelling, Shakespearean tragedy about the pitfalls of passion and lust. The storyline in itself is pretty straightforward but the masterful execution made me feel as if I am reading an ancient Chinese tale.

This is not to say that the movie is absolutely flawless. It came out at the height of Matrix films’ popularity, which undoubtedly influenced the CGI sequences. Although these did not age badly, they unfortunately give off an uncanny feeling upon modern viewing. Still, the camera work and the brilliant usage of white, yellow, and green are outstanding to date.

With regard to performances, Zhang Ziyi is undeniably at her prime here. I am convinced she would have been a perfect choice to play Mulan had there been a Chinese adaptation in the mid 2000s. Andy Lau repeats ambiguous vibes from the Infernal Affairs trilogy because we see him as a character operating from the shadows. Takeshi Kaneshiro is brilliant as Jin, who undergoes a change from a sleazy drunkard to a loving warrior.

Recommendations
If you are not into action-packed wuxia tales directed by Yimou Zhang, then give House of Flying Daggers a try. It is a beautiful love story perfect for a peaceful Sunday afternoon. My DVD edition from Fox also contains an audio commentary by Yimou and Ziyi with English subtitles. The end credits contain an in memoriam dedication to Anita Mui.

Overall score: 7/10

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200th Review: The Handmaiden (2016)

The Handmaiden; or, The Game of Deception
     My aunt said when you hear that guests will come, drop everything and go bathe the children. The guests like the smell of a clean baby. Miss, you are my baby. My aunt also said, give the babies candy when they bathe, to teach them that bath time is sweet.
I have been aware of Park Chan Wook’s erotic thriller The Handmaiden, inspired by Sarah Waters’ Fingersmith novel, since the moment when it hit the Cannes Film Festival in 2016. I was eagerly waiting for the premiere in my country, but work obligations and health problems prevented me from going to the cinema. Later on, having heard a great deal about the plot, I was reluctant to check it out due to evidently dark tone of the picture and NSFW sequences, which are not my cup of tea. However, after grabbing the DVD version for peanuts, I finally caved in. Similarly to Park Chan Wook’s other popular motion pictures, The Handmaiden is undeniably a masterpiece in terms of cinematography and storytelling.

Release Info

Directed by: Park Chan Wook Starring: Kim Tae Ri, Kim Min Hee, Ha Jung Woo, Jo Jing Woong

Language: Korean Original Title: 아가씨 Runtime: 145 min

Synopsis
Korean peninsula when it was occupied by the Japanese. Nam Sook Hee (Kim Tae Ri) is a young girl raised in the environment of scoundrels and smugglers. She is recruited by a certain “Count Fujiwara” (Ha Jung Woo) who wants her to assist him in his con. That is to say, the Count wants to seduce Japanese noblewoman Lady Hideko (Kim Min Hee), then marry her, and commit her to an asylum so as to steal her inheritance. Nam Sook Hee’s job is to act as Lady Hideko’s maid and persuade her to marry Count Fujiwara. While initially things go as planned, Nam Sook Hee suddenly realises that other participants of the con have ulterior motives.

What We Do in the Shadows
As Park Chan Wook stated in an interview, he was presented with Sarah Waters’ novel in the early 2000s and immediately wanted to adapt the book to film, transplanting the storyline from Victorian England to Korea in colonial times. The Handmaiden is divided into three separate parts, each focusing on the perspective of one character; and in order to reinforce this uncanny feeling of witnessing the events from different angles, the director really wanted to shoot the film in 3D, but he was prevented from doing so due to limited budget.

Nevertheless, technological limitations enforced advancements in scenography and cinematography. The Handmaiden is a tragic tale about personal traumas, unfulfilled desires, and deception. The characters roam through the house of Uncle Kouzuki which is divided into two halves: the Japanese-style wing and the Western section. In this artificial homeland within a homeland, the protagonists engage in a play of false identities and false intentions while withholding true feelings for each other.

Without giving away any spoilers, the safest way to describe The Handmaiden is to call it a reflective drama about forbidden love with lots of plot twists in the course of which the villains are repeatedly outwitted. The beginning may be a bit confusing and slow-paced (I actually had to rewatch a few scenes repeatedly to understand the exposition), but the viewers’ patience is rewarded half-way through the film when Part I transitions to Part II.

With regard to performances, I absolutely love all of the main leads. Kim Tae Ri and Kim Min Hee had amazing onscreen chemistry and the presence of Ha Jung Woo was a class-act. In addition, I liked Jo Jin Woong as a creepy uncle. His role may not be as pronounced as the others, but the actor steals the finale!

The DVD version I have does not come with any special features, apart from a stylish booklet which has photos from the set, cast and crew biographies, and an extensive interview with Park Chan Wook, from which I shared some pieces of trivia.

Recommendations
All things considered, if you like period pieces sprinkled with suspense and eroticism, then The Handmaiden is the choice for you. However, please be aware that the movie has a few NSFW moments which are not suitable for family viewings. Apart from this, The Handmaiden is yet another great motion picture crafted by Park Chan Wook.Overall score: 7/10

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The Tale of Zatoichi (1962) [Film Review]

The Tale of Zatoichi; or, Inconspicuous Masseur This Way Comes
     What I do is no different than the tricks street vendors use to attract customers. Enough about me...
The Tale of Zatoichi from 1962 marks the first movie in the long-running series about a blind swordsman who wanders through Japan and experiences numerous adventures. Produced by the studio Daiei and directed by Kenji Musumi (best known for Lone Wolf and a Cub series), this adaptation of Kan Shimozawa’s novel presents Zatoichi not as a larger-than-life hero, but as a compassionate, Sherlock Holmes-like keeper of justice. 

Release Info

Directed by: Kenji Misumi Starring: Shintaro Katsu, Shigeru Amachi, Eijiro Yanagi

Language: Japanese Original Title: 座頭市物語 Runtime: 95 min

Synopsis
Zatoichi (Shintaro Katsu) reaches a yakuza den in Iioka. He is provided shelter and care by the gang-leader Sukegoro (Eijiro Yanagi) who knows about Zatoichi’s extraordinary fight skills and wants to use them for his own advantage. It turns out that Sukegoro is preparing to attack a rival yakuza boss Shigezo (Ryuzo Shimada). In consequence, Shigezo hires a renowned ronin, Miki Hirate (Shigeru Amachi). Due to a coincidence, Zatoichi and Hirate befriend each other. The two warriors are not keen on fighting each other in some petty gang war, especially in view of the fact that Zatoichi is blind and Hirata suffers from tuberculosis. Nevertheless, both gangs press for a conflict.

Where the Devil Says Goodnight
I have to admit that I did not expect much from The Tale of Zatoichi, but now I understand why it kick-started the popular movie series. Unlike other samurai epics of that time, such as Yojimbo (1961) or Harakiri (1962), The Tale of Zatoichi is a radically different film. With slow-pace, Buddhist undertones, and innovative (for that time) cinematography, it is more similar to Woman in the Dunes (1964), a perfect example of Japanese New Wave, rather than standard chanbara motion pictures. Also, the sombre music score by the legendary Akira Ifukube increases the viewing experience.

The movie about people whose activity is mostly talking in enclosed spaces does not seem to be encouraging, but the character of Zatoichi glues everything together. He is the symbolic fool who is frowned upon by almost everybody, but he presents extraordinary skills, not only in fighting, but also in gambling, and solving mysteries. My all-time favourite scenes are 1) touching the face of Otane (Masayo Banri) in the moonlight and 2) Zatoichi giving Hirata a massage. The conversation between the two protagonists is so soothing and tranquil, which only increases the bromance level between them.

There are some scenes in which too many random characters plot against each other, which, in my opinion, is the only disadvantage of the film. Yet. the story is straightforward enough to follow without the necessity of having a repeated viewing.

With regard to performances, I have to say that I like Shintaro Katsu’s interpretation of Zaotichi more than Takeshi Kitano’s. This classic Zatoichi can be funny, cheerful, but also incredibly humble and sorrowful (Kitano’s Zatoichi’s seems to be a bit too angry in the 2003 remake). I also enjoyed the performance of Shigeru Amachi as Harata. The two actors had amazing chemistry on the screen. There is also some nice acting done by Masayo Banri, a woman who falls hopelessly in love with Zatoichi.

Recommendations
If you want to see a classic Japanese production which does not necessarily follow the chanbara formula, then I recommend The Tale of Zatoichi. This movie is definitely classic and it encouraged me to check out the remaining sequels. Hopefully, I will be able to review all of them soon.

Overall score: 8/10

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Sansho the Bailiff (1954) [Film Review]

Sansho the Bailiff; or, The Measure of a Man
     I found that humans have little sympathy for things that don't directly concern them. They're ruthless. Unless those hearts can be changed, the world you dream of cannot come true. If you wish to live honestly with your conscience... keep close to the Buddha.
Rarely one encounters deeply depressing and gut-wrenching movies which do not resort to showing explicit violence. Without a doubt, Kenji Mizoguchi’s Sansho the Bailiff is such a film. I heard about it years ago, but it was this month when I finally gave it a go because of my research into the career of actress Kyoko Kagawa. Well, the movie made such an impression on me that I started writing this review immediately after having watched it.

Release Info

Directed by: Kenji Mizoguchi Starring: Yoshiaki Hanayagi, Kyoko Kagawa, Kinuyo Tanaka

Language: Japanese Original Title: 山椒大夫 Runtime: 125 min

Synopsis
Inspired by an ancient folk tale, the movie tells the story of Zushio (Yoshiaki Hanayagi) and Anju (Kyoko Kagawa). Their father, a merciful governor, is banished by a feudal lord to a distant province. The governor orders his wife, Tamaki (Kinuyo Tanaka), to take their children to her brother. Several years later, the mother and two children journey back to the father’s province. However, they are attacked by bandits and separated. Tamaki ends up as a courtesan on  Sado Island, whereas Zushio and Anju are sold as slaves to Sansho the Bailiff, a ruthless government official who runs his private mansion. Children wait till adulthood in order to attempt escape…

Eternal Suffering
Interestingly, the movie’s title does not refer to the main protagonists, but to the main villain. In Sansho the Bailiff, Kenji Mizoguchi explores the shortcomings of human nature. The world is not inherently evil but, indeed, it is a dark and dangerous place. However, every kind of darkness is defeated by the light coming from one righteous individual, as Zushio’s father states: “Without mercy, man is like a beast. Even if you are hard on yourself, be merciful to others.”

To be honest, Sansho the Bailiff is a tough movie to watch. Even though there is no black magic as in Mizoguchi’s previous film Ugetsu Monogatari (1953), I was really scared when watching the journey of young Zushio and Anju. Their arduous stay at Sansho’s mansion was scary for completely other reasons. Nevertheless, long takes and wonderful forest setting really enhance the aesthetic level of the movie.

Out of all the great pictures directed by Mizoguchi, including The Life of Oharu (1952) and The Crucified Lovers (1954), I place Sansho the Bailiff at the very top of the director’s achievements. Heart-warming characters and their tragedy invest you emotionally into the story. It is all the more rewarding seeing Sansho getting his comeuppance (no spoilers), but the price of justice is just too high.

With regard to performances, Yoshiaki Hanayagi, Kyoko Kagawa, and Kinuyo Tanaka are just marvellous in their roles. I appreciate the degree of theatricality the actors brought to their characters. Consequently, the film feels like a top notch stage play.

Interestingly, there was an American stage adaptation on the basis of Sansho the Bailiff in the 1990s, starring the famous Bai Ling. Another fact which has to be mentioned is that the movie was hard to come by in the West until 2007 when Criterion released their DVD version.

Recommendations
All things considered, I highly recommend Sansho the Bailiff to any fan of Japanese movies. Watching this film is quite an experience, and it is an excellent insight into the darkness of human nature. The message of the film lives on and resonates even today.
Overall score: 9/10

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Mulan (2020) [Film Review]

Mulan; or, A Love Letter to the PRC
Your Chi is strong, Mulan. The Chi is for warriors, not daughters. Soon you will be a young woman and it is time for you to hide your gift away.
The second week of September, 2020 is the Mulan week! After months of postponing the release due to the outbreak, the live-action adaptation of a legend about everybody’s favorite princess finally saw the light of day on Disney+. In spite of mixed opinions and the drama war concerning fake reviews on Rotten Tomatoes, I was very much hopeful about Mulan, and I checked it out with an open heart… Well, the movie turned out to be painfully mediocre.

Release Info

Directed by: Niki Caro Starring: Liu Yifei, Yoson An, Donnie Yen, Gong Li

Language: English Runtime: 120 min

Synopsis
The Rouran tribes under the leadership of Böri Khan (Jason Scott Lee) are attacking the Northern parts of China. The Emperor (Jet Li) orders a nationwide draft into the army that will ward off the Rourans. Soon after, the recruitment instructions arrive to a village where the Hua family lives. Hua Zhou (Tzi Ma) is a proud father of two daughters but he is too sick to participate in the war, yet he obediently accepts the royal order. His daughter, Hua Mulan (Liu Yifei), steals his armour, sword, and horse under the cover of the night. Pretending to be a man, she joins the division led by Commander Tung (Donnie Yen). During her quest, Mulan will have to face not only the Rourans but also struggle with her feelings to Honghui (Yoson An) and battle a mysterious witch known as Xianniang (Gong Li).

#NotMyMulan
I saw Mulan a couple of days ago and wrote my original thoughts about the film on MDL feeds. Initially, I had no intention of writing a review (because even though the film has an all-Asian cast, it was not made by Asians at all), but the more I kept thinking about the film, the more I wanted to elaborate upon my first impressions.

So, I wrote at the beginning of this text that I find Mulan to be painfully mediocre. By saying this, I do not mean that the movie is technically bad, but the executions of many aspects left me pretty underwhelmed. For instance, the opening scenes already establish the fact that Mulan is already a perfect warrior while being a child; therefore, there is no progression of her character. In addition, the screenplay cuts corners at the most important plot-points of the narrative: Mulan has no sidekick (where’s my Mushu!), there is no dramatic reveal of her identity, and she does not single-handedly save the day in the film’s finale. In consequence, where the 1998 animation was pouring heart and passion into each scene, the live-action movie just tries get through the plot without any aim of providing entertainment.

The best example of the film’s blandness is the Matchmaker scene. The sequence in the animation is so much fun, but in the film, everything feels forced and awkward. But hey, at least I recognised Cheng Pei-Pei through heavy make-up (To be honest, she would have been the perfect choice for the grandma character who, similarly to Mushu, was also removed from this version).

That being said, I am not saying that there is not anything I liked about the film. Liu Yifei did not convince me as Mulan, but I was full on board with her performance when she was pretending to be guy. The actress did a good job as Mulan undercover, but as Mulan Mulan… so-so. I also welcomed the presence of Donnie Yen in golden armour. Though he does not do much fighting, his character just loves talking about honour.

Another thing I noticed is shoddy CGI. I do not consider myself to be a demanding viewer, so if I could spot that the background of many outdoors scenes is fake, then you can as well. For a big budget production from Disney, the special effects seem to have been made without an effort.

Recommendations
All things considered, Mulan is yet another Hollywood’s attempt (after the Star Wars sequels) to buy their way into the Chinese market. The best thing about making these movies in accordance with PRC’s rulebook is that China does not care at all about blockbusters from the West. In 2020, they commissioned not one, not two, but three of their own live-action Mulan movies, plus an animation, and two dramas. In addition, the controversy surrounding Disney's Mulan also has to be addressed, especially the disputable remarks of the main actress and more than questionable shooting locations. So… if you want to experience Mulan at her glory, then I suggest coming back to the 1998 animation or checking out the 2009 movie.Overall score: 5/10

Note: All the images come from the official trailer.

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Zatoichi (2003) [Film Review]

Zatoichi; or, Blind Justice

    Even with my eyes wide open, I can’t see a thing.
The character of Zatoichi, a blind swordsman conceived by writer Kan Shimozawa, is deeply engraved in Japanese popular culture and remains a cultural icon similar to Tora-san and Godzilla. Throughout the period between 1962 and 1989 the character was played by an acclaimed actor Shintaro Katsu in 26 theatrical movies and 100 episode-long TV show. The 2003 Shochiku production is both a stand-alone movie and an homage to the classic series.

Release Info

Directed by: Takeshi Kitano Starring: Takeshi Kitano, Yuko Daike, Michiyo Okusu, Akira Emoto

Language: Japanese Original Title: 座頭市 Runtime: 116 min

Synopsis
Zatoichi (Takeshi Kitano) is a blind masseur who roams through the Japanese countryside. He reaches a small town which is torn between rivaling yakuza gangs. The war for influence pushes ordinary citizens into poverty as the gangs take over businesses and demand extraordinary amounts of protection money. Zatoichi joins forces with other people who have enough of this exploitation and takes a stand against the gangsters.

Welcome to Lawless Japan
I have frequently heard about this movie over the years, even more so than about the Shintaro Katsu series. Allegedly, Takeshi Kitano made this movie in order to prove that he can make an entertaining action flick. Indeed, Zatoichi is a radical departure from Takeshi’s slow-paced, existential style. The director/writer/actor/editor created the world of flashing blades, ruthless gangsters, and dancing villagers.

Kitano stated in an exhaustive being-the-scenes documentary that he wanted the movie to be dynamic and look like a computer game. He certainly achieved his intention with many amazing fight sequences and gripping cinematography. The scenes at the inn or at Aunt Oume’s house are simply beautiful.

In addition, even though the movie is connected with the Shintaro Katsu series, it could very well be counted as part of the universe, because the bad guys recognise Zatoichi and the main hero even has a flashback of a spectacular showdown in rain. Still, Kitano provides his personal spin on the Zatoichi mythos, bringing his story arc closer to that of Akira Kurosawa’s Yojimbo (1961). To be honest, my favourite action scene of the movie was Zatoichi’s confrontation with the bodyguard Hattori (played by the great Tadanobu Asano).

What is more, keep an eye out for the final scene. I was totally surprised that Kitano put a Broadway-like number in his movie. It is a ridiculous fun to watch. My respect goes to The Stripes troupe who pulled this off.

With regard to performances, the cast of this movie is outstanding. Takeshi Kitano provides a rougher interpretation of Zatoichi, devoid of happy-go-lucky vibes and musings about morality. Another great performance is that of Yuko Daike as Okinu, a woman who wants to avenge the death of her parents (She looked exactly like Ruriko Asaoka from Goyokin (1969)). There are also great supporting parts done by such veterans as Ittoku Kishibe, Michiyo Okusu, and Akira Emoto.

Recommendations
I highly recommend Zatoichi to chanbara lovers and ordinary viewers. Takeshi Kitano’s take on the blind swordsman story is definitely unique and extremely engaging. Even though I’m a fan of Shintaro Katsu movies, I am a little disappointed that we did not get a sequel to Kitano’s version. At least, there was Ichi (2008), but it is a subject for another review.Overall score: 8/10

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