Unasaka, Domain Of Chaos: Animeigo’s “Sword of Desperation”

You won’t find Unasaka Han on any map of Edo Period Japan, but it seems like it was an extremely eventful place. Loyal retainers routinely fell afoul of Ukyou clan leadership and had to be exterminated ('Twilight Samurai' and ‘The Hidden Blade’), children were used as chess pieces in succession struggles ('The Samurai I Loved'), and there was even a case of a blind man dueling an official that had sexually violated his wife (‘Love and Honor’). The latest from Unasaka involves what looks to be an unprovoked assault on the Lord’s favorite consort by one of the clan’s most stalwart samurai, resulting in her death. It's all chronicled in Animeigo's new DVD release of 2010's "Sword of Desperation".

Unasaka Han was a fictitious creation of writer Fujisawa Shuhei. According to Animeigo’s program notes, he based it on the historical Shonai Han (officially Tsuruoka Han) which was located in modern day Yamagata Prefecture. Many of his popular historical novels were set here, including the ones mentioned above that were adapted into movies. The English title makes it sound much like a Nemuri Kyoshiro film from the 1960’s, a series starring Japanese film legend Ichikawa Raizo that often used ‘Sword of…’ to tag its entries. “Sword of Desperation” also shares with it two other things the Kyoshiro series was known for-a healthy distrust of corrupt authority and a climatic final swordfight featuring an exotic, secret sword technique. While you won’t see Kyoshiro’s ‘Full Moon Cut’ (Animeigo will have that covered later in the year with ‘Sleepy Eyes Of Death Box set 3’), the Japanese title for the film will give a hint of what’s to come-“Hisshiken Torisashi”, or the “Bird-Catching Desperate Sword”. And when this technique is revealed, it’s DEFINITELY worth the wait…

The film opens with a Noh play being performed for the benefit of the daimyo of Unasaka fief, Ukyou Tayuu (Murakami Jun). When the performance ends, it’s not the daimyo who starts the applause-rather, it’s his consort Renko (Seki Megumi). Ukyou follows suit along with the rest of the crowd. The daimyo’s party begins to file out when suddenly one of his retainers, Kanemi Sanzaemon (Toyokawa Etsushi), abruptly pulls Renko out of the procession, pins her against a veranda beam, and runs her through with his sword. Either he REALLY disagrees with her opinion of the play, or there’s more here than meets the eye…

…and this becomes even more apparent when Sanzaemon isn’t executed or sentenced to commit seppuku-instead, his stipend is reduced from 280 koku to 130 and he’s placed under a year of house arrest. The reduction in his stipend reduces his household staff to an elderly maid and his niece Rio (Ikewaki Chizuru). While most samurai would surround themselves with as much luxury as possible during their year at home, Sanzaemon takes his punishment seriously-he has his servants board him up inside a small, rough storehouse. During the next year he forgoes bathing, shaving, and occupies himself by wood carving and mulling over the past. During the next year we gradually discover the chain of events that led to Sanzaemon’s murder of Renko.

Sanzaemon is shown in happier days having a picnic with his wife Mutsue (Toda Naho) and Rio. A foreshadowing of his special sword technique is shown when he helps two boys capture a small bird with a stick. While Sanzaemon seems content, conversations with his fellow infantry captain Hoshina Junai (Kohinata Fumiyo) reveal that the clan is experiencing rough times. The weak-willed daimyo Ukyou is dominated by his greedy and haughty consort Renko-she’s the stereotypical ‘evil woman’ of samurai movies (think of Kurosawa Akira’s films ‘Ran’ and ‘Castle Of The Spider’s Web/Throne of Blood’). She thinks nothing of suggesting to Ukyou that the castle’s accountant Anzai be ordered to commit seppuku when he suggests slashing castle luxuries in order to help out local farmers. Instead, the only slashing he’s doing involves his stomach. Renko also wants an expensive restoration done to Koboku Temple (as the temple has agreed to make her father abbot). Crushing taxes push the farmers into a rebellion that is only headed off when the daimyo’s kinsman, Obiya Hayatonosho (Kikkawa Koji), promises to intercede on the farmer’s behalf. Even so, Renko offhandedly remarks that the leaders of the farmers should be killed-and Ukyou has it done.

By now, Mutsue has passed away from a ‘wasting sickness’ and Sanzaemon, seemingly wishing to join her in death, decides to kill Renko for the good of the clan-bringing us full circle and back to the present. Sanzaemon is released from house arrest but still seems disinterested in life, seeing only his niece Rio (who develops an unhealthy fascination with washing his back) and refusing all visitors. He leaves home for a time, embarking on a journey where he visits Renko’s grave (at the refurbished Koboku Temple, naturally) and later runs across Obiya Hayatonosho. Finally, three years after his assault on Renko, Sanzaemon is called to the castle by Deputy Chief Retainer Tsuda Minbu. He’s mysteriously given his full stipend back and made Chief Bodyguard to Ukyou, even though the daimyo obviously despises him. Sanzaemon is told “not to show your face to me all the time” and to take his position outside the room rather than inside. The puzzled Chief Bodyguard offers his resignation to Tsuda but it’s refused. It seems that Sanzaemon and his ‘bird-catching’ sword technique will be needed to deal with the threat of Obiya Hayatonosho, who has had enough of the Lord’s high-handed ways and lack of compassion. Everyone expects Obiya to attack Ukyou at some point, very soon…but is he the real enemy? In Unasaka, one can never be sure where the next treacherous bastard might come from.

Much like ‘Twilight Samurai’, ‘Hidden Blade’, ‘Love and Honor’, and ‘The Samurai I Loved’, “Sword of Desperation” is a quiet, slow paced, introspective film grounded in the real world of Edo Period Japan-at least until the final reel, where all the stops are pulled out and a bloodbath of massive proportions takes place. While this might seem to be jarring and potentially hurt the film, director Hirayama Hideyuki manages to make the transition seamless and a natural outgrowth of the plot. Subtle touches abound in the film-the Noh play in the beginning describes the treachery of a shape shifting fox and its death at the hands of heroic retainers, clearly shadowing Sanzaemon’s upcoming assault on Renko. Daimyo Ukyou’s given name ‘Tayuu’ can be read as “high ranking Noh actor”, also linking the incident to the Noh play. The carving we see Sanzaemon working on during his imprisonment is of a bird-a bird that brings to mind his sword technique. The same carving is later shown to be a treasured possession of Rio. Also during Sanzaemon’s year of imprisonment, the change of seasons is used to both highlight and accentuate the different flashbacks as well as reflecting Sanzaemon’s moods. Even obvious techniques (like detailing each character’s name and position in the clan as they appear during the opening scene) make the film easier to follow and establish the different characters.

“Sword of Desperation” was nominated for six Japanese Academy Prizes, including Best Actor (Toyokawa), Best Supporting Actor (Kikkawa Koji as Obiya), Best Editing, Best Sound, Best Lighting, and Best Cinematography. The lighting and cinematography are indeed outstanding, with crisp, bright colors and vistas that highlight the change of seasons that Japanese filmmakers are so fond of. The editing is also excellent, with a story that uses multiple levels of flashbacks communicating itself effortlessly and gracefully. It’s done largely by ‘fading in’ to flashback sequences in black and white with voice overs from the previous scene still being played out, the film changing back to color and then later switching to black and white again as the flashback wraps up (and voiceovers from the next scene being laid upon it). It sounds a bit confusing but works great.

The best actor nomination for star Toyokawa Etsushi seems to have been given largely due to his popularity and what is for him an unusual role. As Kanemi, he’s largely unemotional and detached, rarely speaking and usually seen in a glum state. This is in contrast to other roles he’s played (such as the title character in 2004’s “Tange Sazen”, or acting alongside mythological creatures in 2005’s “The Great Yokai War”). In one way, it is an excellent performance as he has nailed the essence of the character-but the character, while a model of Bushido, is rather uninteresting. While there is no question Kanemi is at heart a compassionate and thoughtful man, the character has little charisma. Thankfully the situation centering on him provides all the drama needed.

Animeigo again excels in providing a clear translation with easy to read subtitles. The transfer is colorful and well done. Extras include an extensive gallery of stills along with trailers for “Sword of Desperation”, ‘The Samurai I Loved’ (a film we enjoyed even more than “Sword”), and ‘Bushido: The Cruel Code of the Samurai’ (our favorite Animeigo release). Since the film is not an historical epic, program notes are slim and largely give a general history of the Edo Period. There are also short biographies for star Toyokawa, director Hirayama, and source writer Fujisawa. Curiously, there’s no title given on the title screen-we don’t recall seeing this happen on too many DVD titles.

Sword of Desperation provides jidaigeki fans with the heart and humanity of Yamada Yoji’s “Samurai Trilogy” while also gifting chanbara hounds with an exciting climatic swordfight that echoes the Ichikawa Raizo films its title seems to be an homage to. It’s another chapter in the story of Unasaka Han-a record that continues to write itself in the blood splattered across the tatami mats in the halls of power. Watch it before the Shogun gets wind of things and confiscates the Han. You can order “Sword of Desperation” directly from Animeigo at a discount HERE or from Amazon.

All images copyright & courtesy of 2010 Sword Of Desperation Production Committee

The Sweet Serenade Of The Cicada-Animeigo's "The Samurai I Loved"

"The Samurai I Loved”, the newest DVD release from Animeigo, sounded at first like it would be a chick flick that featured Brick McBurly in the starring role. Judging from the list of awards (most notably several ‘Best Actor’ awards for ‘older Bunshiro’ actor Ichikawa Somegoro) and nominations (being nominated for 11 categories, including Best Film, by the Japanese Academy in 2006) the film received, however, this indicated that the movie would be far more than that-which turned out to be the case. It’s a first rate film with an engaging story, great performances, outstanding cinematography, and some more-realistic-than-usual swordplay for the chanbara fans out there. Released as “Semishigure” (“Outburst Of Cicadas”) in 2005, the film was based on a story by Fujisawa Shuhei. The name might be familiar-Shuhei was an outstanding writer of historical fiction and three of his films were turned into the so-called ‘Samurai Trilogy’ by director Yamada Yoji-“Twilight Samurai”, “The Hidden Blade”, and “Love and Honor”. The director was different for this film (Kurotsuchi Mitsuo), but the results were similar-a film with heart and feeling that is much more realistic than the average jidai-geki effort, and that does a fine job humanizing the often-glorified image of the samurai.

The film begins with young samurai Maki Bunshiro taking his morning trip to the stream behind his house to wash up. There he meets his new neighbor, Fuku. Fuku is almost immediately afterwards bitten on the finger by a snake. Although the snake is relatively harmless, Bunshiro sucks the venom from her finger just to be safe. Fuku becomes enamored of the older Bunshiro, who of course being a young boy is oblivious to this fact. This is followed up by establishing Bunshiro’s relationships with his two best friends, Ippei and the more scholarly Yonosuke. Much of Bunshiro’s and Ippei’s time is spent helping out Yonosuke when he’s assaulted by bullies, and indeed it’s this very thing that interrupts Fuku’s first hesitant attempts to convey her affection for Bunshiro when the two attend a village festival together.

Bunshiro’s father, Sukezaemon, is a member of the Fushingumi-a group of samurai, farmers, and townspeople that work on civil engineering projects. He’s quite popular among the commoners for his compassion, having at one point saved many of their farms from destruction by refusing to take the easy way out during a flood (by not destroying a dyke to divert the water flow near their homes-he instead does it in a remote but riskier location where he ends up saving Bunshiro from being swept away by the flood). However, this counts for nothing when Sukezaemon finds himself on the losing side during a power struggle in the fictional fief of Unasaka. Sukezaemon is sentenced to commit seppuku, and in an awkward meeting with his son, tells him that he has no regrets-that he has done what he saw as being right. Afterwards, Bunshiro is filled with regret that he was unable to put into words all that he had wanted to say to his father. During the hottest day of the summer (with the cicadas in full shrill), Bunshiro is forced to recover his father’s body in broad daylight and is humiliated by having to transport it in full view of the crowds in the village. Even worse, the exhausted Bunshiro finds himself unable to drag the cart up a steep hill near the end of his journey. Despite being forbidden to see Bunshiro again (as his family is now branded as traitors), Fuku comes across him and wastes no time in lending her aid. Together, the pair manages to make it to the top of the hill-and the bond between them is cemented for good.

Bunshiro and his mother are sent by the han officials to live in a rundown house in the city where he and Fuku are separated-and soon, the girl is sent to Edo to become a maid for the Lord. When Bunshiro is summoned to the home of Chief Retainer Sanai Satomura (the man who headed the winning faction in the power struggle and had Sukezaemon put to death), he fears the worst-seppuku for himself and the abolishment of the Maki family. Instead, he is reinstated and given a position as a village inspector. Now an adult, he settles into his new position. Being skilled with the sword, he takes part in sword competitions. During one of these he is soundly defeated by one Inukai Hyoma and his seemingly supernatural 'sword of madness' technique, which puts Hyoma in every position but where his opponent believes he is. Returning home, Bunshiro is reunited with Yonosuke, who brings disturbing news-Bunshiro’s childhood friend Fuku is now the concubine of the han’s Lord, and has borne his child. However, there’s a problem-a competing faction doesn’t want her son to be considered as a possible heir to the current Lord, and is looking to have her and her son killed. Fuku has been moved to a remote village and is being guarded by several of the Lord’s retainers.

One day Bunshiro is summoned to Satomura's home and is ordered by him to go to Fuku’s retreat and take custody of the child. This puts Bunshiro in the position of having to rebel against the man who had his family reinstated, or to do the wrong thing and kidnap the son of his childhood sweetheart (who he still has strong feelings for). It’s the classic ‘duty’ vs. ‘self’ conflict that drives many samurai films, but rarely realized so elegantly. Bunshiro resolves to take a route that will fulfill his obligations to both and not fall into Satomura's trap. He sets forth with his friends Ippei and Yonosuke to put his plan into action. What follows provides plenty of excitement, suspense, and enough swordplay to satisfy any chanbara head. Bunshiro probably sets a record for most swords used up during a single scene, as he discards one after another as they lose their edge to clotted blood (choosing from a forest of swords he had earlier planted in tatami mats). And the story wouldn't be complete if he didn't face Inukai Hyoma and his 'sword of madness'-this time for real. As in any Japanese film, a happy ending is not a given-will both Fuku and her son survive? How about Bunshiro? Will Satomura pay for his crimes against the Maki? Do the childhood sweethearts pick up where they left off? The answers are surprising and are best experienced for yourself, so we won’t divulge them here.

We found the cinematography to be exceptional in this movie, with many shots that are masterpieces of composition. While the film moves slowly compared to most Western films (a feature it shares with many Japanese movies), this helps to give a sense of the passage of time within the story and convey a unique Japanese ascetic. The shots of the changing seasons with snow, cherry blossoms, and the omnipresent cicadas heralding the heat of summer do much the same thing. There’s a lot of symbolism, as in the close-up of a dead cicada shadowing Sukezaemon’s seppuku. It all provides a beautiful background for the story to play out against. As evidenced by Ichikawa’s “Best Actor” awards, the performances are excellent from top to bottom. The film’s story lends itself to an emotional response from the audience, always creating the danger of lapsing into melodrama. However, the actors do a masterful job of showing emotion in a low key and understated (yet completely sincere and convincing) way. Fuku’s and Bunshiro’s conversation near the end of the film will be felt in the hearts of anyone who has ‘let someone get away’. The film is, in effect, being played by two sets of actors-a younger cast for the childhood versions in the film’s first hour and an older cast for the adult versions in the last half. Both sets are outstanding and the transition is quite seamless (except when not meant to be, as in Fuku’s transition from ‘maid’ to ‘maiden’). As with most Japanese movies, the ending is realistic and bittersweet. About the only thing that didn’t ring true was Bunshiro’s final confrontation with Satomura-while we don’t want to spoil what delivers admittedly substantial dramatic impact, it’s tough to imagine things actually playing out that way. Animeigo again provides an excellent translation and the best subtitling in the business, and both sound and picture transfer are outstanding.

Extras for the DVD comprise the standard Animeigo lineup, headed up by the program notes. Since the story is largely fictional, these tend to explain much of the symbolism in the film (including what the original title of Semishigure would mean to a Japanese audience) and why certain things were put in the film that weren’t in the book. There’s much more culture than history this time around and even a bit of a biology lesson on the snake that bites Fuku early in the film. There are several different trailers for the film, a cast and crew bio section, a very large image gallery that probably includes all of the images on the film’s electronic press kit, and a trailer for Ashura (which also featured the star of “The Samurai I Loved”, Ichikawa Somegoro). There’s also a subtitled interview with director Kurotsuchi. If you’re familiar with the promo interviews Japanese directors (and for that matter, actors) usually give you’ll know what to expect-Kurotsuchi gushes over his great cast, great locations, great crew, great script, but says very little of substance. All in all, the extras do an adequate job of providing background for the film.

It’s a shame that a fine film like “The Samurai I Loved” has such a clichéd and “B-Movie” title. It’s well known in the publishing and video industries that including the word ‘samurai’ in a title for a Western release is something pushed for by marketing bigwigs, but in this case I think Animeigo had little to do with that decision and that it was decreed by the licensor. In any case, the men in the audience shouldn’t let the title scare them away-and at the same time, it’s a great film to watch with your significant other. My wife Ayame was visiting from Japan and we watched it together. She was extremely touched and cried throughout the whole movie. Similarly, it’s a good film to show your skeptical friends who don’t understand your fascination with jidai-geki rather than the crap showing at the local multiplex. It’s your chance to take the artistic high ground! While it’s lighter on action than a standard chanbara film, when the fighting comes, it’s intense, well staged, and brutal-and made all the more dramatic by the feelings most viewers will have invested in the characters by that time. “The Samurai I Loved” gets our highest recommendation-the song of the cicadas has never sounded as good.

"The Samurai I Loved" is available directly from Animeigo or from Amazon through the SA Store.