This film finally cemented the success of Takeshi Kitano in his homeland. At home, he was respected much later than in other countries. This film Takeshi Kitano received a special prize for directing. I think he deserved this award. This is a real masterpiece of the master.
This is perhaps Takeshi Kitano’s most popular film, after Dolls. In this film, Takeshi himself plays a blind old man who masterfully possesses a sharp blade. Personally, this is not his best film. Of course, if you compare it to other directors. It’s just that I’m more interested in Takeshi Kitano’s contemporary dramas, but if you just sit down and watch it calmly, you can get a real aesthetic pleasure. Now very few films about samurai, so you need to appreciate what is.
In general, many said that the director should not have resorted to computer special effects. Let me disagree with you here. They look very interesting in the film. I still cannot forget the beautiful battle of a blind old man in the rain with an army of enemies. That was the magic of cinema. Takeshi is said to have shot this scene in honor of another brilliant Japanese director named Akira Kurosawa. It is also said that even Kurosawa’s daughter was present when the filming took place. Anything can be.
Takeshi made this movie on time. It’s just that he’s old and I’d be very sad if he stopped making films. This movie should only be seen because of its ending. I could not have expected such a crazy absurdity even from Takeshi. The final fights have never ended like this. I recommend this film to all fans of this director. A masterpiece.
P.S.
For historical reference, Zatoichi (or Zatoichi) is not a folklore character, but a hero created by writer Kana Shimozawa in 1963. The hero gained great popularity in Japanese cinema and was filmed many times (26 films), including in 112 series.
For Takeshi Kitano, this is, on the one hand, not quite a characteristic work, on the other hand, definitely retaining the signature features and probably one of the best.
Samurai action movie about a blind noble vagrant masseuse (in the nineteenth century in Japan it was a very popular profession among the blind), who is also a super-master of sword possession and protector of the disadvantaged and needy.
The movie is quite straightforward, but with a lot of interesting stage nuances. The dance and music scenes, including the final scene, are great. Staging combat scenes at the highest level. And the charismatic Kitano looks great in the lead role.
Short story. 19th century Japan. A small town is controlled and terrorized by a yakuza gang. There comes Zatoichi himself, ronin with a sick wife and a couple of brothers (posing as a girl) with a sister who steal from men and are clearly looking for someone. Zatoichi befriends a widow and a troubled player and waits for something. The atmosphere is gradually heating up and all the participants of the events will soon weave into a bloody tangle!
The basic classical idea of the struggle of justice against pure evil definitely has folklore motifs that can probably be found in many (if not all) peoples about the deeds of good heroes. With overall simplicity, the plot is filled with interesting details, vivid characters and even the final unexpected scene. There may even be some intrigue somewhere. But this is more for the especially attentive, and not for those who are fascinated by the wonderful form.
A wonderful example of a good feature film.
2002, Mr. Kitano in his prime, emitting incense of approaching insanity. Before us is sung in the romantic culture of the samurai of Japan wandering warrior Zatoichi. What, can Takeshi mock the viewer by sticking emotional triggers in the forehead that hurt the soul, and I cannot write a review in the same style? I think you can.
Lacking a modern vision of cinema with a complete lack of creative education, the future legendary director Takeshi presents to the public the traditional theater of Japan - kabuki, which has a place for everything traditional, which includes this type of theater art. Singing, music, dancing, drama... Let’s focus on the last one.
The drama in Zatoichi's film permeates every character on the screen. If the director does not tell the dramatic story of the grouping, he shows it to us - tormented faces, bodily injuries, dirty kimonos, dirty desires, liters of fake blood, and the smaller the character is claimed, the more blood is poured out of him (so exactly the meticulous viewer will not be able to check how much blood the character could have in the body, measuring his weight on the eye).
Blood isn't water? - Gentlemen, forget it! There is so much blood in this movie that experienced fans of anime about the hum, so much for all seasons have not seen. Blood, blood, more blood! More! And if there is no blood in the scene, the bully Takeshi will surely fill the bloodless dances of the field workers to the music sounding behind the scenes, the imaginative dance of the builders, and again to the music behind the scenes, or even design the final stage with Gat dances in the style of Riverdance by Michael Flatley.
However, the story is very, very dramatic. Gradually you become Zatoichi's roommate. You worry, you sympathize and you hope for a positive ending. And you know, if you omit the funny sword fights, skillfully mounted by the director of the editing, if you do not expect the depth of the plot philosophy, but just let Takeshi’s work into yourself, then the film turns out to be solid. Thank you, Takeshi San. We love you.
Kitano is undoubtedly a great director. Like any creator, he has his own vision of what he wants to embody in his next project.
With regard to Zatoichi, I can say that the film is good. It has beautiful, graphic shots (a red umbrella coming out of two gray planes), interesting solutions (" creating music field workers and builders), emotional, honest stories (the story of two children left alone who have to do unchildish work for survival). And yet, in comparison with his other paintings, earlier, Zatoichi is inferior both in effectivity and poeticity. The film is more like an attempt to make a reference to old Japanese films about samurai, honor and masters, who are difficult to overcome. This is such a quality fairy tale (not without blood, of course), which will appeal to a large number of people.
In terms of storytelling, this film differs from Kitano’s early films by more talkative characters. Even the main character is too talkative. Personally, I did not like it, because I am a great lover of early Chinese poetry with silent and harsh main characters. Otherwise, it's quite a nice movie.
The film, directed by Takeshi Kitana, promised to be at least good. Rarely is there a decent film about life in Japan before the twentieth century. I think it was the first of these for me.
Not so rare stories about great people, for a long time modestly dragging their existence on the side of the road, but at some point making themselves known to many and many, having committed an unexpected act. Zatoichi is one of those. Nondescript, blind and completely harmless-looking old man. He goes on his long road, but happens to wander into a village whose inhabitants are enslaved by miserly feudal lords. And here begins an adventure story in which the weak receive help, and the cruel and proud receive merciless retribution. The abundance of battle scenes in which rivers of blood flow, but there is no disgust, since everything is shown from the right angles - a rare case! And a model from which many of our directors would like to take an example.
Kitano, who is the director, plays Zatoichi himself. Both as a director and as an actor, Kitano is incomparable: at first, his character seems a little moved by his mind due to constant laughter, but soon there is a hunch that this old man is not as simple as he seems. Taka Guadalcanal plays a rather careless guy Shinkichi, whose fate would be dark if he did not meet a wanderer. Daigoro Tachibana and Yuko Daike play the role of brother and sister, driven by fate and hoping to repay the killers of their relatives. From Tadanoba Asano came a brave and determined mercenary. Filmed here and familiar to me from other films Akira Emoto.
“Zatoichi” will appeal to lovers of Japanese culture, details of which are very much here. At first, some sadness and even regret can catch up with jokes about same-sex intercourse, but you soon realize that this is just a reflection of the realities of nineteenth-century Japan, bearing no more than a historical connotation. The subdued and unsaturated tones of the film remind us that the action takes place before we were born. Strongly surprising measured and calm pace of what is happening, without any surprises even in episodes with sword battles. This is largely due to the excellent music of the composer Keiichi Suzuki, thanks to which the film conveys the mood in silent scenes better than any dialogue.
Without a shadow of a doubt, I give the highest rating.
The film won four awards at the Venice Film Festival and five awards at the Japanese Film Academy. Before us is a living legend about a blind, seemingly unremarkable traveler. About a mysterious masseur who carries not a traditional staff, but a deadly Shikomi Zue (sword in a cane). And whose lightning-fast reaction is ahead of the actions of even the most skillful and skillful samurai. Who is this mysterious stranger? Why does he manage not only to massage, but also to chop wood? And how to explain his constant luck in the dice game?
The revived hero of the novels of Kana Simojzawa, first appeared before the public in 1962 and until 1989 pleased the audience with his adventures, fighting with injustice and vices of this world, protecting with his sword orphans, widows, all the offended, humiliated and insulted by the powerful of this world.
In his film, Takeshi Kitano will introduce us to one of the episodes of Zatoichi’s life. This time, the road will lead the masseuse to a town high in the mountains, where one gang of bandits fights for power with other gangs, causing ordinary residents to suffer. Fate brings him to a lonely woman who suffered at the hands of a yakuza, her nephew a dice player and two wandering geishas.
Each of the heroes has his own trouble behind his shoulders. How and why did the young geisha come here? Who are they? Barely do we have time to ask a question, and the director already tells us their story; before our eyes the little children who grew up in the rich house of the merchant’s father, needing nothing, they run about their very important, childish affairs. Quite unexpectedly, a gang of bandits raids their house, and the children suddenly lose both their parents and their home. Miraculously surviving, they were forced to comprehend the difficult skill of geisha. Find the bandits who killed their parents and take revenge on them the purpose of their lives.
In the same city comes the wandering samurai-ronin (samurai without master) Hattori with his beautiful wife. Her graceful figure, graceful movements combined with natural modesty conquered me at first sight. Hattori, who has lost public service, in order to support himself and his wife, seeks work as a bodyguard, and fate leads him to the service of the leader of the gang of Ginzo bandits.
The plot quickly twists, events cling to one another. The heroes have not yet met each other, but their fates are already closely intertwined in a tight knot that cannot be unraveled. The only option is to cut it with a sword.
I was amazed at the ease with which people in this film kill each other. What is a human life worth? It is not priceless, but devalued to the limit. Someone just needs to test a new sword, someone did not pay during debts, someone cheated in the bones and eventually a sea of blood, severed limbs, mutilated bodies and souls.
And against the background of all this horror, they seem something ridiculous in their calmness and some detachment, customs, costumes and home furnishings that have not changed for thousands of years.
Building since time immemorial minka (houses) with sliding doors and tight white rice paper small windows stand on both sides of quiet streets. Wooden flooring under a canopy, lying on simple rubbed massive pillars, it is very convenient to gather a small company, and practice intricate dance movements. And when necessary, it can be a reliable shelter. In everything reigns preserved to this day minimalism.
Proud, skillful in martial science samurai, dressed in non-movemental pants hakama. Geishas, in special, assigned only to him, kimono and obi, with whitewashed faces and scarlet lips. White socks-tabi and not changing centuries of geta, (sandals on a high sole.) Tattooed bodies, bizarrely shaved heads of men and lush hairstyles of women.
Every little thing, every detail attracts the eye and fascinates with its exquisite simplicity, thoughtfulness and expediency in mixing with incomprehensible for our European view, intricacy. Dance movements that have not changed for centuries. Eternal rain, which has become a full member of all films. Simple folk melodies performed on bizarre instruments.
One smoothly flows into another, movement gives rise to action, action turns into fate.
I really liked the actors. Takeshi Kitano in the role of a blind wanderer was really like a blind man. The tilt of the head, the caution of the movements of a person accustomed to living in the world of sounds. His hero turned out to be very whole, intelligent, thoughtful. Not a single word or gesture.
Tadanobu Asano as Hattori. A lightning-fast and merciless warrior, with a stone immovable face, and broad shoulders, an unforgiving rock, not a man. And then in the next shot, he becomes a gentle and caring man, once he looks at his fragile and tender wife. I was struck by their mental connection and mutual understanding. The film does not show scenes of love between these people, but with what tenderness and warmth they look at each other. How much pain is in Hattori's eyes when he looks at a sick woman. This view reflects the whole meaning of his life. Her silent love and boundless devotion left a deep mark on my heart.
Separately, I want to pay attention to the actress who played Aunt Shinkichi. There is so much beauty and nobility in her face. Despite the fact that we are not a young woman, when you look at her, you forget about age. Every scene with her captivated me. Her gestures and movements are imbued with noble restraint, and her eyes glow with wisdom. Michiyo Okusu, at the time of filming she was 57 years old.
The musical accompaniment is striking from the first minute, when the hoes of the workers on the field descend exactly to the beat of the music. And then, throughout the film, any sounds, be it the blows of swords or bones in a glass, find their continuation in the musical accompaniment. The apogee of this symbiosis was the construction of the house, when the sounds of rubanks, drinking, hammers merged together with musical instruments into a clear rhythmic melody. Keiichi Suzuki, actor and composer, writes music not only for films, but also for anime.
The last, final film dance, more like some kind of ritual mad dance, washing away from the soul and body all past sins and resentments, reviving the future bright life becomes the apogee of all this action.
I hope you enjoy this movie.
P.S. Some interesting facts:
1. Zatoichi’s adventures became so popular that they won the heart of American director Philip Noyce, thanks to which the beloved film “Blind Fury” with Rutger Hauer in the title role was born.
2. In the first part of the fighting game Guilty Gear there is a character named Dzato-1. As a result of a magical ritual, he acquired a supernatural beast-parasite, which gave him great power, but deprived him of sight. Also his name is a pun: in Japanese the number "1" reads "iti".
3. In Quentin Tarantino's 2007 film The Unkillable Jungle Julia calls stuntman Mike "(D)zatoiti" because he didn't see the billboard right in front of his eyes.
Takeshi Kitano has a lot of good movies. It's mostly about yakuza gangs. If you watch Kitano all the time, sooner or later you’ll feel like you’re watching the same movie. The exception was Brother Yakuza. Sometimes Kitano dilutes his stamped films about the Japanese mafia with such films as Dolls, Takeshiz, Kikujiro and others. Some of them come out cool, some of them don’t. With Zatoichi all 50 to 50.
Almost all of Takeshi Kitano’s films have one major drawback: Kitano always stars in the lead role. I never liked that. It is hard to imagine what an old and paralyzed Japanese can give the viewer, especially when his play in any film is the same, no versatility. If we compare Kitano in the image of another yakuza and a blind swordsman (or who he is, we have not explained), then the difference in principle is not. Sensei Kitano, aren't you inflated by your self-importance? Kitano is old and can not perform any tricks, even scenes where he cuts into pieces villains, remain behind the scenes and only then show Zatoichi in a posture.
In addition to the fact that Takeshi Kitano is now trying himself in the role of an old man on the bone (unsuccessfully), another strong drawback is added to Zatoichi - squalid makeup, or rather its absence. For a samurai film, this is unforgivable. Instead of fake blood and severed limbs — cheap computer graphics. It looks ridiculous. Why is it that Takashi Miike, who shoots several films a year, has high-quality and natural makeup, and Takeshi Kitano can’t even spend money on professional makeup artists? Comparing the violence scenes in Zatoichi to Tarantino's films knocked me out. Just review the showdown at the blue leaf house in Kill Bill. The scenes of fights and fights in Zatoichi, which were highly praised, are weak. And if there are any worthwhile scenes, then they are either very few, or all draw computer graphics. Watch Mycenaean Harakiri, where a beggar old samurai with a wooden sword stands against an entire clan, watch any classic Japanese film (for example, paintings by Akira Kurosawa), and you will feel the difference.
Everything else is small.
The trivial plot does not stand out much and consists of several lines that threaten to cross. It is strange that so many people note the complexity of the plot, when everything is clear. Two criminal gangs are waging a power war in a small village. Two Geisha sisters, obsessed with revenge, search for their family's killers, trapping naive yakuza members. A young ronin works for one of the gangs and gets rid of her competitors in order to earn money to treat his sick wife. The blind warrior Zatoichi comes to this city to soon deliver it from the yoke of villains. Sooner or later, these storylines intersect together. The plot slowly goes along its path, all the moments are known in advance, unexpected plot twists should not be counted on. True, in the end there is a pair, but they are just sucked out of the finger.
Takeshi Kitano has a strange humour that can be seen in any of his films (what is the cost of the comedy “Did You File Anyone?”). I liked the humor in Zatoichi. In the film, there are many funny situations that dilute the film, which forgives many roughness and irregularities. I especially liked the scene where Shinkichi painted Zatoichi's eyes on the eyelids so the yakuza wouldn't recognize him. Amusing moments when Shinkichi forgot that Zatoichi was blind, or tried to teach his friends the art of wielding a sword on sticks.
Actually, about Shinkichi and other characters in the film. They worked. Really. Each hero is interesting in his own way, each has his own little story, his own manner of behavior, his own charm, whether it is a village fool running around neighboring houses with a spear in his hands, or Zatoichi himself, whom they do not really want to reveal during the film. Even so, Zatoichi sits in memory for a while. It's probably all about a good dubbing. Shinkichi, the unlucky dice player, is the film’s comedic outlet. The story of sisters O-Sei and O-Kino is very clumsy, but still to me their storyline seemed the most interesting.
19th century Japan is beautifully represented. A little chamberly, but still does not lose the feeling of immersion in the very era when the samurai slowly go into history, and the shogunate lives out his last days. The soundtrack fits perfectly into the movie’s mood and atmosphere. Genius for me in the film were scenes where the smacking of hamsters or the knocking of hammers on a tree gradually acquires a musical rhythm. I just sat, and without taking off the screen, trampled in the rhythm of the work of builders or plowmen. Life flows in its rhythm, which is similar to music.
I really enjoyed the final. No, it's not a full-screen screamer with Takeshi Kitano's face, it's a festive scene that, in a sense, shows the city's liberation from criminals. I still had my feet on the carpet.
Takeshi Kitano's hegemony is annoying. The plot, literally pulled from one of the series about Zatoichi, came out uninteresting and banal. Badly staged for an expensive film, action scenes are not impressive. On the other side are an attractive atmosphere, a superb soundtrack, memorable characters and good humor. Zatoichi is a film that only made half of it.
Have you noticed that there is a typical “gangster showdown” on the screen? The same mafiosi, “roofing” the city, eliminating competitors by hiring professional muzzles, hopelessness and poverty (however, inherited from the samurai era) and rare heroes trying to correct the situation. One of these will be discussed in this film. Rather, there will be more than one hero, but only one can really arrange everything as it should: briefly, aptly, rigidly and without frills.
It is amazing how easily representatives of the tyrannical machine, who for a long time oppressed the Japanese people (yes, I mean the samurai) managed to divide themselves into simply villains who exposed their hellish essence, and into noble heroes, from the hopelessness of serving these very villains. Although there are only two real samurai in the picture, they express the contrast in full. And Zatoichi himself perfectly understands what nobleness is, however, respect expresses in his own way. And we too, in general, for the whole film of villains will empathize only with Hattori himself, brilliantly played by Tidanobu Asano. The rest at first will cause some feeling, as if we are contemplating descended from the pages of some comic book simple images of petty hooligans: cowardly, pathetic creatures that can only attack the defenseless and shy away from any precise movement with a hint of danger to their skins in their direction.
The positive characters were all delighted. However, given their smaller number in comparison with the negative ones, you willy-nilly begin to recognize some kind of suicidal madness behind them. By the way, if we refer to the positive heroes of Hattori, then he in his desire to defeat the “blind stone righteous” also quite fits into this concept. Moreover, each and every one of the above is recouped on this principle in full, so much so that at some point it becomes not a joke to be afraid for one of them. This is especially true of two geishas who have become murderers by the will of a cruel fate. However, if we consider the fact that we are watching a film about Japan of the Meiji era, Japan, which has already penetrated European traditions, but where it is still dangerous to open your mouth once again, and the streets are ruled by yakuza, such heroism and do not take it as a drawback.
What, by the way, are the possible shortcomings? Yeah, in the little things. For example, in the courtyard, in theory, the nineteenth century, however, we somehow do not see the dominance of firearms, although the shogunate at that time for about five years is invalid, although it has not sunk into oblivion. Instead, we see a single Single Action Army that doesn’t really help its owner because it’s unclean. The openness of the ronin topic is also a question. In theory, with the elimination of the shogunate, they should have become many times more than we see in the film (in the amount, I repeat, only two pieces). However, the Japanese know better, and find fault with such trifles, I think, again, is not worth it. After all, we are watching a Japanese movie, not a spaghetti western.
The movie is great. Simple, understandable and instructive.
“Sighted, not sighted... if you don’t look, you’ll fall down anyway. "
The cultural identity of Japan from Takeshi Kitano in the key of Tarantino films.
The film from the master of the land of the Rising Sun Takeshi Kitano, which later acquired a certain status of cult heritage. In addition, received the prize “Audience Choice Award for Best Film” at the Venice Film Festival, which, by the way, is the main indicator for a simple, wide audience, from my point of view deserves applause and real love of the audience, and let film critics calm down a little.
If you look more closely into the plot of the picture, then this story, provided in the film, gives a tale, or a story about the folklore of that time, but shown with soul, with effort. This is an important positive element for the whole picture. But the film remains a work of fiction, so at times from the strong bloody fountains, the fantastic reaction of the blind master, it will seem that this is fantastic and to the real reality that took place in that era, has no relation. From this the question will arise: “Do you need this reality and authenticity here?”, to which I will answer “No!”. Everything is harmonious in the film, so I want to take it again and watch it again and again. Surprisingly, it seems to be such a movie in its content, where there is a place of blood, even there is one hint (no, direct fact) of metrosexuality and a few other moments that I should not have seen. I first watched the film at the age of eleven (so that’s why I’m so sick on the head).
Of the actors, I remember Tanob Asan more, and his character, who went against the main character, has an understandable motivation.
In general, all the same Japanese flavor, the traditions of this mysterious country, wisdom and even the presence of a kind of humor, I just like as an ordinary spectator. As usual, I am interested in this culture.
Sorry for the confusion and repetitions in terms, I love the film very much, but you have to decide for yourself to watch it or not. But if you really want to, you can take a risk. If you like Japanese culture, look at it.
Another positive argument in defense of dubbing, Zatoichi’s voice is actor Armen Dzhigarkhanyan. And in my memory, the voice of the blind master of the katana blade will be associated with the voice of this honored artist of the USSR. It is important that the film director chose this artist, which testifies to the mutual respect of two wonderful actors.
The middle of the nineteenth century was clearly a very difficult period for Japan. The country became open, the usual social ties began to collapse, and the samurai class also became somehow unnecessary. But a huge number of people with excellent weapons could not disappear to nowhere. Most of them turned into organized crime, and an era of total impunity began.
It is at this time that the picture takes place. We see the complete connivance of the authorities, the redistribution of zones of influence between criminal groups and the uncontrolled oppression of ordinary people. But a blind masseur appears in the city and tries to fight crime alone.
Perhaps the general canvas of the plot looks banal, but when superimposed on the Japanese flavor and this period, it gives a truly unforgettable spectacle. I don't know much about Japanese history, but I think it's very historical. Although excessive coolness of the main character and embarrassing. And in general, the acting is somewhat embarrassing, as everything is too theatrical.
But what, and the fights were perfect. Extremely rapid, leaving no time for thought or error. Much attention is paid to the hit so popular in Japan at the time of removing the blade from the sheath. And of course, the consequences of blows are pleasing with their realism and lack of excesses in both bloodlessness and excessive cruelty.
Takeshi Kitano made an interesting film about the national hero of his homeland, but he still looks a bit heavy.
Every minute of this fascinating film gives off spice and juice. And it is even, probably, not so much in the exotic differences of Asian culture from the usual Western, as in a completely different approach of some Asian directors to the creation of cinema.
There is no familiar Western superficiality in which sacrificing a good half of a film for some questionable special effects or betting on a cool ending to the detriment of everything else is normal. No, you won't.
You run the risk of being enchanted by everything down to small things like looks, gestures, insignificant phrases. And the splashes, the splashes of blood are picture-flying from the wounds of the Western spectator, inflicted by the sword of the blind Zatoichi!
I’ve seen the movie for a long time, but I still remember it. Story of Japan, nineteenth century. Zatoichi is a blind wanderer who makes a living playing dice and massage. But behind this modest facade lies a fighter who skillfully wields a sword, has a lightning-fast reaction and strikes with stunning accuracy. Zatoichi comes to a high mountain town dominated by the Ginzo gang. Ginzo destroys all who stand in his way, and since the powerful samurai-ronin Hattori joined the gang, he does it lightning fast. At a gambling establishment, Zatoichi and his loyal young friend Shinkichi meet two geishas, Okina, and her sister Osei, come to the city to avenge the murder of their parents.
The film is beautiful from the aesthetic side, beautiful kimonos, skillful playing instruments, the beauty of the actors, and their magnificent performance, the most important praise is undoubtedly Takeshi Kitano, he was matchless, excellent his acting his skill at height! Tadanobu Asano, an actor who has played in many films (Mongol, for example), was also persuasive, his samurai loving, loyal, and in many ways the most tragic character. Geisha sisters, beautiful and cute, dangerous and deadly.
The plot itself is precisely thought out, everything is filmed with refinement with love or something, and the music here is excellent, to feel this film you must necessarily watch it, and lovers of good films will also like the staging of samurai fights, luxurious scenes of sisters’ dances, and exciting games of Zatoichi himself.
Zatoichi’s film is dramatic and comedic, in some ways bloody and cruel, but to the same extent the film is very beautiful and very philosophical, and those who are looking for such a film I strongly advise you to watch this film, and my assessment can not be less than:
10 out of 10
Japan, nineteenth century. In a small mountain settlement, the gang of Kinzo, who playfully gets rid of competitors by the hands of an experienced samurai-ronin Hattori, trying to earn money for his seriously ill wife, working as a bodyguard for the gang leader, is rampant. However, above Kinzo himself stands a more powerful man, known as Mr. Kutinawa, who once committed an incredible crime and is now hiding from retribution among ordinary thugs. However, revenge still found him and she appeared in the form of two Geish sisters - O-Sei and O-Kino - the children of the people he killed. The sisters tracked down the owner of the house in which they lived, who opened the way to the butchers of Kutinav at night, and before his death, he gave them where his boss was hiding. Meanwhile, while ronin Hattori destroys everyone whom Kinzo points at, and the Geisha sisters draw information about their goal from the locals, the wandering masseur Zatoichi (Takeshi Kitano) slowly enters the village, staying with an elderly aunt Ome, whose nephew Shinkichi spends all day losing his savings in bone. Outwardly calm, good-natured and blind bonemaker for many years pursues his gloomy past, which makes itself felt every time death appears on the way.
An interesting drama, with elements of an action movie, about a wandering blind samurai and a masseuse Zatoichi, the history of which is surprisingly easy to understand, despite the fact that these same stories simultaneously occur at once three. Moreover, for all its cruelty (it is from such films that Quentin Tarantino’s love for blood fountains, beating in all directions from the slightest scratch), the movie manages to preserve the human factor, pleasing the viewer with very funny (everything associated with the player in the dice of Shinquiti, just a charming fool) and difficult life situations (part of the general plot associated with the Geish sisters O-Sei and O-Kino, seeking revenge for their murdered parents, is extremely sad). Sometimes, it is not easy for a European to understand the motivation and philosophy of works shot in the East, but personally during the session I felt at home.
Also a pleasant surprise was the cast. For the first time, I’ve probably actually noticed someone in an Asian movie other than the central characters! All the invited actors played their roles so differently that I even venture to say that some minor faces were no worse than Takeshi Kitano, who played Zatoichi himself. Negative, neutral and kind characters, non-standard behavior and special little things, thanks to which all these people can be distinguished from each other not only by the color of clothes and the handles of swords, everything is in place. Kitano, of course, stands out from the rest, because there is nothing to hide the charisma of galactic proportions, but he can’t even hide everyone who is in his grasp with it. For the fact that I did not have to rewind from Kitano to Kitano, the film deserved a separate fat plus.
Well, the last thing I want to add is that the staging of the fights is no worse than the script itself. When people come together with a katana in their hands, it becomes almost impossible to break away from the screen, because it is so stylish to kill only in Asian cinema. The directors tried and rolled out an exemplary melee choreography, using cold weapons. The penultimate carnage, where a white-haired stoner just annihilates a whole platoon of bad guys in the night garden, is something with something.
"Zatichi" - a beautiful in all respects creation, which is unlikely to let many get bored and is perfect as a way to begin acquaintance with the paintings of the mysterious East. I recommend it.
Edo era. The reign of the Tokugawa shogunate and the cultural flourishing of Japanese culture. It was during this period that numerous Japanese films about Zatoichi took place. Blind stonesmith, swordsman and master of kenjutsu and iaido. The original film series was shot in the 60s and featured classic samurai films. But for the character took the legend of Japanese cinema - Takeshi Kitano. Who did not just make a movie about a famous character in Japan, Takeshi would not be Kitano if not made a purely personal movie.
From a simple samurai action movie, he turned into a subtle parody of the genre itself and Japanese traditional cinema. It is also an elegant mockery of Japanese culture. Only the Japanese can so subtly and soulfully poke fun at their culture, traditions and themselves. Without losing the Japanese-Samurai spirit and philosophy.
The film is minimalist. No pretentiousness, pathos. All events take place in a small town, akin to American Westerns. The dialogue in the film is simple and everyday. Kitano avoids both pretentious speeches and abstruse philosophy. This minimalism is also present in combat. No pretentious fights from Hollywood movies and anime. No slo-moo on the sword. No jumping back and forth and ringing swords. That's how dudes and showmen fight in anime. In the film, it's a master fight. Two or three strokes of the sword. Especially beautifully shot the final fight with Ronin Hattori. Instant, silent, fast and lightning fast. This is a fight between two masters, two warriors of the highest class.
Kitano combines drama and humor in the film. There is something to laugh about, for example, such humorous scenes as teaching three villagers how to fight with swords. A person who does not own this art (Shinkichi). Running fool with a spear or accomplices of the main boss, mountain samurai that for the first time in his life took up a sword. Or deliberately grotesque violence in the spirit of Tarantino.
But there are also dramatic characters: two avenger geishas, Ronin Hattori, who has a sick wife and is willing to do any dirty work for her. These storylines merge with the main narrative of Zatoichi. A blind man who has only clothes and shikomizue (a cane with a blade, very common in the Edo era). They are a hero without pathos and bombast. It may be a joke and a silly giggle, but it may be the last thing his opponent sees. Because it doesn't matter what he looks like in people's eyes. What matters is what he does.
Grotesque, bloody, dramatic, colorful. The film is like a Phantomas with his masks. Everyone will see and find something for themselves. Kitano has retained himself and his style. The end of the film was shot with taste and skillfully played in tribute to Japanese traditions. The film is grotesque but also very traditional. Ironic and dramatic from beginning to end, and finished on the same note.
Japan, nineteenth century. Along the country road, a beggar blind man Zatoichi raves with a shuffling gait, earning a living by massage and playing dice. His head is shaking, he responds to everything with an senile laughter and from the outside it seems that the stoner is also mentally disabled. But behind the moronic mask hides a cunning fighter who skillfully wields a sword and has a lightning-fast reaction. Zatoichi arrives in a town controlled by a gang of ruthless Ginzo who destroys everyone who gets in his way. Ginzo's minions begin hunting the blind.
Zatoichi, a national folklore hero and fictional character in 1960s television series, is performed by Takeshi Kitano himself, who has never looked so spectacular as in the role of a blind ronin-blond. Kitano turned a samurai fairy tale into an aesthetic parade of rides, synthesizing in one bottle films about the yakuza, Kurosawa westerns, historical cinema, comedy of the absurd and a ballet musical with a peasant steppe in the finale. As a result, a kind of “Kitano in the Square” came out, where everything is very choreographic, bloody and at the same time fun.
For Kitano, Zatoichi is the first work where he acted as a guest director. In the past, he has repeatedly parodied in his TV shows the famous predecessor Shintaro Katsu, who became famous for the role of Zatoichi. After his death, the friend of the legendary actor Kieko Saito, the owner of the Tokyo porn strip club empire, made the new star an offer that Kitano could not refuse.
In order not to repeat the proven Shintaro Katsu, he not only radically changed the appearance of the hero, making him a glamorous blonde and giving him a scarlet sword, but also came up with the secret of the invincibility of the new Zatoichi, which here is that he is a movie superhero. Like the movie itself, he fools everyone, and that’s his mission. In the final, Kitano even allowed himself to play a little with his blindness, so it becomes unclear whether he is blind at all.
He included something very unusual: a geisha-transvestite and the final steppe in the spirit of Gene Kelly, which is performed by the group of tap dancers The Stpipes is designed to symbolize here the celebration of victory over villains. But even such a “raznoska” did not prevent you from demonstrating the skill of spectacular flashbacks, verified compositions and a clear presentation of the event series, peppered with branded black humor.
It is believed that historical cinema limits the freedom of imagination, because it requires accuracy in details, costumes, interiors. However, Kitano showed complete freedom, inventing everything from the appearance of the characters to the setting, while preserving the modern language. Every time he invents something new, this time he has outdone himself, bringing everything to such a degree of absurdity that this version of the classic plot has turned into an uncouth genre cocktail, more like a parody movie about Eastern martial arts.
You can be blind and never fall, or you can be sighted and stumble on the first stone you find.
Japan is a mystery country. To understand its essence, identity, all the subtleties of the national soul and culture is not given to every foreigner. Many people associate Japan primarily with origami, various martial arts, geisha and samurai. The philosophy of the latter is especially alien to the Russian understanding. Perhaps this is partly due to the fact that the phenomenon of chivalry as such we did not have. But in Japanese cinema, directors consider it their duty to show both national traditions, and the way of life of people, and the unique beauty of nature and the connection of this very nature with man. Many do not neglect the samurai, and if the frame does not pay attention to the soldiers themselves and fights, then at least the fundamental provisions of their philosophy will certainly be illustrated by the example of the heroes of the film.
All of these elements are present in every Takeshi Kitano film. And Zatoichi is one of the brightest representatives.
From the very first minutes, you involuntarily ask yourself the question: did Takeshi Kitano shoot it?? Maybe it was Quentin Tarantino or Guy Ritchie decided to shoot another masterpiece, but on Japanese soil? Too many defeated enemies and spilled blood reminds of Hollywood directors. It is useless to count the number of killed, Kitano cuts characters no worse than Tarantino or Richie. Only here the latter like to accompany this action with fun and relaxed music.
Again, I think the picture is too bloody and cruel. Artificial blood is pouring from the bellies and necks, severed limbs fly in all directions. Although this reflects the next traditions of the country of the rising sun: duty, honor, courage. He took the sword - fight to the end, you were insulted - go to a duel with the offender, killed your family - destroy the enemy.
But in addition to bloody battles and magnificent landscapes in the film there was a place and comedies. What is the episode with a crazy neighbor, pretending to be a brave samurai? Or a polenze, as it were, accidentally got into the head of this craziest neighbor. Or "conspiracy." Stoichi: painted eyes. The barely slipping grin on the blind man’s face becomes fully understood only at the very end.
The elder himself is not as simple as it seems at first glance. Looking at a blind old man feeling his way with a cane, no one suspects that they are facing a real martial artist. If you make him very angry, you will be very “lucky”: in a split second, he will pull out his super sword and cut you into pieces. In general, all the strength and anger of the old man falls on the various villains encountered on his way.
You should look very carefully, not missing a single smallest detail! The film has several closely intertwined storylines, the connection of which begins to be clearly defined from about the middle. The plot reeks of Hollywood: a blind Elder Zatoichi wanders through Japanese lands, kills all bad warriors, after some adventures, he is joined by brother and sister Naruto and a gambling, but very unsuccessful and cowardly player. According to the laws of the genre, Zatoichi has a main enemy - the head of the local yakuza. They have some old accounts, which apparently all the Japanese know (yes, by the way, Zatoichi is a hero of local legends, there are a lot of legends about him), but here Takeshi Kitano did not consider it necessary to report. The leader of the yakuze is hired as a bodyguard samurai Gennosuke Hattori. He is an incredibly strong and experienced warrior, but his only weakness is his terminally ill wife. As soon as we see how this same samurai is done with rivals, it becomes clear that in the final fight it is he and the blind old man who must meet. In addition, the fate of all the main characters are interconnected, and it simply makes no sense to disclose these connections here.
The genre of the picture is defined as Eastern, as opposed to American Westerns. Confrontation with the Wild West can be seen in everything. Here, instead of revolvers, the heroes use daggers and swords, and instead of jeans, cowboy hats and vests, they wear a kimono. Antagonistic and the behavior of the fighter during the fight: pathosity and ostentatiousness of cowboys here replaces modesty, verboseness, some mystery around the hero.
And in the end I want to quote the wise Zatoichi: "Sightful, not sighted ..." And if you don't look, you still won't see..."
8 out of 10
*Pum-pam, zhzhzhik-babam* They say that in his homeland, the respected Takeshi Kitano humorist. Something like our Mikhail Zadornov. Maybe that’s why this movie is a mix. Perhaps not everyone understands the mixture, but definitely entertaining and funny. Sometimes sad... The film is clearly ambiguous. In the sense that many things are abstracted. There are many metaphorical points. Often every good film has a core. The main idea. Sometimes the rod consists of several pieces. In this case, it's Honor. It's just common when Japanese films about samurai, mercenaries, ninjas are all about honor. It's actually hard to tell. Maybe not even about Honor... In short, the film is about the bloody showdown of mercenaries. Whose katana is faster. It is a bit different from the original version of Shintarô Katsu. That Zatoichi was really blind. Takeshi went the other way. I did it with a touch of humor and ridicule. Worth a movie. Original