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| Not an original review, but merged with this thread to avoid overlap... |
From their chivalric code of honour to their dazzling array of armoury, Hollywood has long revelled in the near-mythic allure of the samurai erstwhile protectors of Japans ruling elite whilst rarely featuring any. Their influence may be profound, but is usually translated into a Westernised equivalent; The Magnificent Sevens posse, Star Wars Jedi knights or Ghost Dogs ghetto assassin.
The Last Samurai is different, director Edward Zwick (Glory, Legends Of The Fall) pulling out the stops to create the first real American Samurai Movie. But although Zwick maintains a deep-seated respect for the traditions of old Japan, in presenting all-American Tom Cruise as the would-be saviour of the alien samurai it very nearly succumbs to the pitfalls that have turned other expensive period productions into flag-waving American patriot pieces.
That, however, would not be seeing the bigger picture. Above all, this is a beautiful film Zwicks direction and John Tolls cinematography imbuing late 19th Century Japan with a delicate mix of the ethereal, the picturesque and the foreboding. Affording it a kind of spiritual reverence in keeping with the Zen-inclined way of the samurai (Bushido) they capture an ancient world on the brink of a massive cultural shift, fading ghostlike into the mists of time as the wheels of the 20th Century roar into motion.
Cruise plays Captain Nate Algren, tormented veteran of the Civil War and subsequent Indian campaigns. Washed up as a glorified salesman of the latest Winchester rifles and haunted by flashbacks of his armys massacring of Native American innocents, he is liable to go off like a drunken loose cannon during public demonstrations.
Enlisted by mercenary Colonel Bagley (Tony Goldwyn) to train the Japanese army in modern combat techniques (to coincide with a lucrative arms deal), Cruise sets sail for Tokyo. But trouble is brewing the young Emperor threatened by a samurai rebellion against the modernisation that will make their traditional roles and customs extinct. Exhibiting something of a death wish, Algren agrees to lead a poorly prepared army into battle with the sword-wielding samurai cavalry. Defeated, he is captured by their leader Katsumoto (a standout performance from Watanabe) and nursed back to health by his beautiful, recently widowed sister Taka (Koyuki).
From here the plot develops predictably. Initially resistant, Algren becomes fascinated by the meditative way of the samurai with its ultimate suicide clause of seppuku, is tutored in their techniques and a smattering of Japanese and eventually joins Katsumoto as brother in arms (and armour) in a final, bloody battle against the army and their American howitzers. Mild romantic distraction (the operative word) is provided by an exchange of furtive glances between Algren and a reticent Taka.
Parallels with Dances With Wolves have inevitably been drawn a connection reinforced by Zwicks seemingly forced analogy between the samurai and Native American experiences; two different cultures in very different circumstances. But Algren is a Westerner who finds solace and redemption in ancient ways and their moral absolutes a subtle indictment of a modern, mechanical and spiritually bankrupt world by Zwick whilst the notion that there can be valour, even beauty, in warfare is a seductive if highly outdated one, skilfully handled by the director.
Despite some major flaws (admittedly fewer than expected considering such problematic themes and prejudices regarding The Cruise Factor), The Last Samurai is a dreamily engaging film and an aesthetically stunning one that washes over the senses and, briefly, touches something deeper; an unlikely merger of entertainment and spiritualism that ultimately sells out.
Its scale is complemented perfectly by an excellent transfer. The widescreen scenery absorbs you whilst the sound, particularly during the magnificent battle scenes, is hair-on-end good. Some generous special features include the informative History Vs Hollywood featurette, which delves into the filmmakers scrupulous attention to period detail and, with the help of historians, actually questions whether the films portrayal of the honourable samurai is over-sympathetic, arguing that they were in fact outmoded reactionaries. Glimpses into the well researched costume design and weaponry are also a real treat for samurai fans; the samurai tools of warfare as artfully crafted as they were deadly.
So, for your money, you get yourself a valuable history lesson into the bargain.
Long Movie, but Its worth the buy, you will probably get into it.