Takeshi
Kitano's (Violent
Cop, Dolls) Zatoichi marks the return to film
for the famed blind swordsman, who became popular through a series of
novels and many Japanese movies and television shows made about him,
mostly during the 1960s and 1970s. Of course, as with many films
made by Kitano, he takes convention and makes it his own, blending the
old styles with his quirky impulses, and making it fresh for a new
generation of fans.
Ichi may be
blind, but he's far from helpless. Now in his elder years, he
affords himself a modest living as a masseur, although when he gets
into scrapes, his trusty sword (which is disguised as his cane) takes
care of all dangers. After traveling the countryside, he settles
for a bit in a small village that is under the "protection" of
bullying thugs, who have recently acquired the services of a very
skilled samurai, Hattori . Meanwhile, a pair of geisha "sisters"
are lurking in the shadows, prepared to exact revenge on the men who
slaughtered their family as youths. Ichi finds himself
irresistibly drawn into the feud, but after decades of battles, he may
have met his match.
Unless you are
unfamiliar with the old Zatoichi stories, or even samurai films in
general, you probably won't find much in the way of freshness in this
very standard plot of a samurai trying to protect a village from
murderous brutes. Where Kitano's film scores most of its points
resides mostly in the new elements he brings into it. Modernized
twists on old music, CGI rendered decapitations, and a finale which
screams "Bring in Da Noise, Bring in Da Funk", this is "Beat" Takeshi
in full swing. It can get a bit absurd at times, but this
absurdity is definitely one of the film's biggest attractions.
The mix of humor, drama
and heavy violence is also reminiscence of Kitano's previous works,
but the elements are balanced well enough so that you take the drama
seriously, but not so seriously that you can't enjoy a moment of comic
relief. The violence is quite intense at times, but is so
over-the-top, and full of obviously computer generated splatter,
you'll most likely be laughing at the audacity of it instead of
shocked. The choreography is competent, but edited well, making
each draw of the sword swift, precise, and powerful.
Zatoichi
has its share of lulls, mostly in the middle third, where Kitano seems
to languish in the moment for reasons which probably only he knows.
Some of these moments are just odd, as we watch a girl scrubbing the
floor for several seconds, until we clue into it, thinking there is
something significant about it, until several seconds more pass and
then -- nothing. There is also a dance sequence involving one of
the geishas and his (yes, "his") younger self, which probably is
featured much longer than most directors would have allowed. As
with any "Beat" Takeshi film, you learn to permit his indulgences, and
just enjoy the things he does so well.
Longtime fans
of Zatoichi may be split in their feelings toward this revisionist
telling, especially for those who can't see anyone but longtime
portrayer Shintaro Katsu in the role. However, for fans of
Kitano, and especially for those unfamiliar enough to have
expectations, this is an entertaining, humorous, and engaging
experience that should meet well, as long as you can stomach the
stylishly bloody violence.
Qwipster's rating:
©2005 Vince Leo
