Zatoichi chikemuri kaido (1967)

Director:

Kenji Misumi

Writers:

Ryozo Kasahara (writer)
Kan Shimosawa (story)

Release Date:

April 1970 (USA)

Genre:

Drama | Adventure | Action

Plot:

Ichi is staying at an inn when a woman dies. Her dying wish is that Ichi take her son to his father...

Plot Keywords:

Pornography | Samurai | Katana Sword | Sword | Sword Fight

Cast

Shintarô Katsu	...	Zatoichi
Jushiro Konoe	...	Tajuro Akazuka
Miwa Takada	...	Omitsu
Yukiji Asaoka	...	Tomoe
Mikiko Tsubouchi	...	Osen
Mie Nakao	...	Miyuki
Takao Ito	...	Shokichi
Asao Koike	...	Maebara of Gonzo
Midori Isomura	...	Omine
Tatsuo Matsumura	...	Tahe
Eitarô Ozawa	...	Torikoshi
Jotaro Chinami	...	Chokichi
Kôjirô Kusanagi	...	Kurisu
Kenzo Tabu	...	Kanai of Manzo
Osami Nabe	...	Dice Player Hanzo (as Osamu Nabei)

Also Known As:

Zatôichi 17 (Japan) (informal title)
Zatoichi 17 (Japan) (informal title)
Zatoichi Challenged
Zatoichi's Spurting Blood Road (literal English title)

Runtime:

87 min

Country:

Japan

Language:

Japanese

Color:

Color (Eastmancolor)

Aspect Ratio:

2.35 : 1

Sound Mix:

Mono (Westrex Recording System)

Company:

Daiei Studios

Movie Connections:

Follows Zatôichi kesshô-tabi (1964)

One of the most stylistic and gripping Zatoichi films

Shintaro Katsu's Zatoichi is such a memorable character not only because of his talent with a sword, but because he acts justly in an unjust world, even as a member of the yakuza "gangster" caste, an outcast of normal society, a nobody in status compared to a samurai; often, in fact, labeled a criminal. No one respects him for his honor, but only for his ability to kill. The world around him is based on fear, corruption and evil, and even the people that are good are invariably weak in the face of the strong and corrupt.

This Zatoichi story is unique. The blind swordsman is at a traveler's inn with a woman and her child when the woman dies. Her dying request is that Ichi take the boy to his father. Unfortunately the father is trapped in a plot to produce forbidden images on pottery and plates -- artistic renditions of women that are often hardly even suggestive, but in those days were outlawed. It is over pottery designs that much violence is to occur thanks to corrupt officials, evil yakuza, and the twisted justice of the government.

Zatoichi has often been juxtaposed with a costar acting as a foil. In ZATOICHI CHALLENGED that foil is a child on the road with Ichi. This pairing elicits just the right combination of emotion and personality from the blind swordsman, giving his character added depth and feel. It is very gratifying to see Zatoichi in a fatherly role.

Ichi deserves more empathy and respect in this film. The father-son story device, the twisted justice of the government samurai, and the stylistic energy of the film are the perfect background for what Ichi's character symbolizes. Here Ichi is complete; an excellent protagonist.

The final battle scene takes uncommon form -- the added effect of the snow alone makes it magical. It is more stylistically shot than most Zatoichi battles, it seems edited with emphasis on emotion rather than action, and it ends in a very atypical way. Here the action seems to be balanced well in benefit of the story and style of the film. This makes the action for its own sake all the more beautiful to watch.

Also see the father-son device used in another excellent samurai series, Lone Wolf and Cub (Kozure Okami), starring Shintaro Katsu's brother, Tomisaburo Wakayama.