ZATÔICHI
A film review by David N. Butterworth
Copyright 2004 David N. Butterworth
**1/2 (out of ****)
"The ancient sages said, 'Do not despise the snake for having no horns,
for who is to say it will not become a dragon? So may one just man become an
army.'"
So pondered the introduction to "The Water Margin," a short-lived Japanese
television series from the mid-Seventies that cult Japanese director Takeshi
Kitano ("Brother," "Fireworks," "Sonatine") seems to be paying direct homage
to with his latest film, "Zatôichi" (or "The Blind Swordsman: Zatôichi" as it's
currently circulating).
The character of Zatôichi has permeated Japanese cinema for the past 40
years via a vast assortment of some 20 odd films. But none as odd as this one!
Part Three Stooges, part "'Seven Samurai," "Zatôichi" is the film Quentin
Tarantino tried to realize with the one-two sucker punch of "Kill Bill." Kitano's
film, while not without its flaws, exists on a level that Tarantino's does not.
For all its anonymous bloodletting and martial-arts mayhem there's an innocence
and surprising silliness to it, a goofy charm that flows from its colorful characters
to its offbeat storyline to its syncopated score. Whereas Tarantino focused
on style in his first chapter and character in volume two, with neither film
feeling close to complete, director Kitano and star Beat Takeshi (one and the
same person, incidentally) successfully manage to incorporate both elements
in the one motion picture.
In 19th Century rural Japan, a blind masseur cum Samurai swordsman, a pair
of vengeful Geishas, a down-on-his-luck gambler, and a skilled ronin for hire,
cross paths--and swords--in a film that draws its inspiration more from Larry,
Curly, and Moe's high jinks than any direct reverence for Akira Kurosawa.
At the local sake hut, skilled swordsman Hattori offers his services to
a local crime boss, whose gang members delight in roughing up the locals for
daily protection money. Meanwhile two young Geishas search for the men that
massacred their family, and in the gambling parlor Zatôichi's skill at dice
attracts the amity of Shinkichi, who learns you have a better chance of beating
the odds if you listen rather than look.
"Some masseur is tearing apart the gambling house!" a terrified goon informs
Boss Ogi after Zatôichi accuses the proprietor of cheating. It's one of many
scenes "rated R for strong stylized bloody violence." With cane-sword drawn
in retaliation, the field of battle explodes into gushing arteries of blood
(think Monty Python's Black Knight)--gory but only fleetingly graphic bursts
of computer-generated red that conclude as quickly as they begin.
The film is episodic in its construct and Kitano (the director) can be
accused of letting some of the quieter scenes run on longer than necessary (the
Geisha dance/flashback sequence being the most turgid). But as a performer
he's much more centered. White-haired and contemplative, Beat Takeshi's Zatôichi
is the perfect antihero: calm and deadpan, often chuckling at some unspoken
in-joke; quick and efficient when angered. The film's humor comes as a complete
surprise, bordering on slapstick, especially in scenes featuring an idiot Samurai
wannabe, Shinkichi teaching three youths the art of Kendo, or field workers
matching the rhythms of the film's perky score. Zatôichi even concludes on
the most bizarre note possible, with the entire cast performing a spurious and
comically choreographed tap dance number!
While not for all tastes, "Zatôichi" is a refreshing change of pace from
your standard action fare, one that uniquely marries killer violence with whimsy,
farce, and tender sentimentality. Let the Beat go on!
--
David N. Butterworth
dnb@dca.net
Got beef? Visit "La Movie Boeuf"
online at http://members.dca.net/dnb
========== X-RAMR-ID: 38536 X-Language: en X-RT-ReviewID: 1314641 X-RT-TitleID: 1132929 X-RT-SourceID: 878 X-RT-AuthorID: 1393 X-RT-RatingText: 2.5/4
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