When Seven Samurai Just Weren’t Enough-Animeigo’s “Eleven Samurai”

 Halloween may be over, but the ‘claret continues to flow’. It’s another dose of in-your-face, bloody group vengeance in Animeigo’s release of “Eleven Samurai” (“Ju-ichinin No Samurai”, Toei 1966) the final film in Kudo Eiichi’s “Samurai Trilogy”. The first two films in the trilogy, the original “13 Assassins” and “The Great Killing”, both featured meticulous plans to ambush the numerically superior enemy. They’re often compared to Kurosawa Akira’s “Seven Samurai” for this reason. “Eleven Samurai” also includes this aspect, but this is after all Japanese film-there’s no guarantee that the third time will be the charm. With an army of samurai retainers forming the opposition rather than the Kurosawa film’s ragtag band of bandits, seven samurai would not be enough. Bring on the Eleven Samurai!

The film wastes no time getting the plot rolling. The time is 1839 and Nariatsu, brother of the Shogun and Lord of Tatebayashi (who is shown in Animeigo’s historical notes to likely be modeled on Matsudaira Nariyoshi, who died under vague circumstances in 1839), is out hunting for sport. Angry over the day’s poor catch and his poor performance with the bow when shooting at a deer, the Lord charges after the fleeing animal and despite warnings from his vassals continues his pursuit across the han boundary into the neighboring fief of Oshi. When an elderly woodcutter climbs onto the side of the road and attempts to help his wife clamber up, Nariatsu’s horse is spooked and stops the pursuit. An enraged Nariatsu instead chases down the peasant and strikes him down to the horror of his vassals. In one of those incredible coincidences that only happens in film, the Lord of Oshi, Abe Bungo-No-Kami Masayori, just happens to be riding nearby and chastises the petulant Nariatsu for entering his fief without permission and setting a poor example by striking down the peasant. You know something bad is going to happen when Nariatsu nervously fingers an arrow on his bow…and sure enough, even though Masayori states he will overlook the infraction because of Nariatsu’s high status, the arrow finds flight and buries itself in Masayori’s eye. Nariatsu retreats back to his own fief, leaving the dead Masayori’s vassals to seek legal redress for the cowardly act. 

However, it’s GOOD being Shogun-or even his brother. Not only does the Bakufu ignore Oshi fief’s request that Nariatsu be punished, but Chief Minister Mizuno Echizen concocts a twisted version of the incident that has Masayori invading Nariatsu’s fief and being killed by a ‘stray arrow’. As punishment for this imagined crime, the Oshi fief is confiscated. Oshi Minister Tatewaki manages to put off the confiscation of the fief for a month by telling Echizen that he needs the time to bring the vassals under control, implying that otherwise there will be ‘rash acts’ of violence against the Bakufu. 

Instead, Tatewaki plans to use his month to have Nariatsu killed, an act which would likely lead to a reversal of Echizen’s decree. You see, much like the earlier two films, the Bakufu would cover up the assassination in order to not appear impotent-and that would necessitate not taking the Oshi lands. Tatewaki enlists his childhood friend, Sengoku Hayato, to put together a team and plan the assassination. Hayato figures he’ll need about 10 good men to pull it off. He takes a unique stance on finding them-he has clan officials notified that no harm must come to Lord Nariatsu and that anyone who does otherwise should be ordered to commit seppuku. When this inevitably happens, Hayato confronts the group and when they proceed to attempt to carry out their sentence, becomes convinced of their courage and recruits them to his cause. The addition of the ‘hotheads’-leader Mitamura, Hoshina, Aragane, Kuga, Adachi, Junnosuke, and Lady Nui (who was fulfilling her dead brother’s promise to join the group)-swells his ranks to eight. Needing money to carry out their plan, they recruit a clan accountant, Ichihashi Yajiro. The nine set out separately for Edo to catch up with Lord Nariatsu. As if he hasn’t already established himself as a Grade A scumbag, he’s traveling to Edo without permission to demand that the confiscated Oshi fief be added to his own! 

Upon arriving in Edo, Nariatsu continues to add to his resume by ducking out of his mansion and visiting the red light district in Yoshiwara, stumbling around in a drunken stupor with half the area courtesans and geisha in tow. Hayato’s group decides to take this opportunity to strike at Nariatsu while he’s undefended. They lay in wait for him at the stairs of the Geisha house he’s staying at. However, when Nariatsu proves to be too drunk to climb the stairs and tumbles down them (earning the title of “Brick McBurly of his Day”), giving him just enough time to be saved by the arrival of his Chamberlain Akiyoshi Gyobu. Gyobu is not convinced by the stories out of Oshi that Hayato’s group was sentenced to seppuku or exiled for stealing clan funds. Despite a constant stream of abuse from Nariatsu (who at one point in the film tells Gyobu he’d rather take the risks than bother with listening to him), Gyobu continues to do his best to protect his Lord-because, y’know, that’s just part of the whole filmatic Bushido thang. 

Gyobu’s not the only one struggling with the contradictions of Bushido. Hayato’s group takes refuge in an old dwelling where the hothead faction clashes with Hayato over how things are being handled. They accuse him of being standoffish, happy to set up shop with Lady Nui and not taking the opportunities presented them. Things seemingly get worse when it’s revealed that a scruffy ronin, Ido Daijyurou, has overheard their conversation and deduces what their objective is, but he proves sent from the gods when a group of Nariatsu’s samurai suddenly attack. With his help, the Oshi ronin make their escape. 

After returning home, Hayato is confronted by his brother in law, Kyonosuke-and Hayato’s wife Orei. The two can’t believe that Hayato suddenly disappeared and set up shop with another woman. Kyonosuke declares Hayato a disgrace and sets off to kill Lord Nariatsu on his own. However, the Tatebayashi samurai have expected an assault and capture him easily, torturing him before Lord Nariatsu kills him. Hayato has attempted to prevent his assault, knowing it will likely bring about the immediate confiscation of Oshi Han. He fails and returns crestfallen to Orei, who has heard the entire story of what’s going on from Lady Nui. Her faith in her husband restored, they have a touching interlude that ends in unexpected tragedy. Daijyurou reappears and is finally accepted into the group, giving them ten. 

Lord Nariatsu, having gotten a promise that he will be awarded Oshi fief, prepares to return to Tatebayashi. Hayato’s group decides to make their stand in an Imperial forest east of Edo along the steep hillsides flanking the narrow road through. They set up an elaborate ambush, planning to separate and trap Nariatsu’s procession by dropping trees into their path. Using Daijyurou’s knowledge of gunpowder weapons, they make bamboo cannons to shell the assemblage before attacking on foot. It seemingly can’t miss!

But back in Edo, Elder Echizen and Gyobu scheme to ensure Nariatsu’s safety. They infer to Chamberlain Tatewaki that the decision to confiscate the fief will be rescinded, and that if anything were to happen to Lord Nariatsu, the original verdict would instead be allowed to stand. Tatewaki sends his aide Todo to the site of the ambush with the news, ordering the assault to be called off. This brings the group to 11, but also presents them with a huge decision to make. Should they ignore the order and continue with their plan to avenge their lord? Or is the fief’s survival paramount? The film cleverly allows them to ‘try’ both, but you’ll have to see for yourself how that little trick is pulled off. 

The film superficially resembles the previous two ‘Samurai Trilogy’ entries, “13 Assassins” and “The Great Killing”, but in spirit is more akin to a Chushingura/47 Ronin film. Here the samurai are working outside the law to gain revenge for the death of their Lord and the subsequent confiscation of their fief (an insult compounded by having it awarded to the man who killed their Lord in a fit of pique). It’s particularly mirrored in the moral dilemma of whether to work towards revenge or the restoration of their clan. 

Much of the cast for “Eleven Samurai” had appeared in the previous two films-two of them, Satomi Koutaro (playing Mitamura Kenshin, leader of the hotheads) and Nishimura Ko (playing ronin Ido Daijyurou) are probably best known for essaying the title role in the “Mito Komon” TV series. Suga Kantaro is the surly Nariatsu, in effect reprising his role from “13 Assassins”. While at times he goes a bit over the top in acting despicably, he certainly succeeds in making his character come across as an entitled, petulant and sadistic rich boy who takes everything for granted and treats even his vassals as disposable objects. This is one guy you really, REALLY want to see get killed. Otomo Ryutaro played the evil lord’s loyal samurai Akiyoshi Gyobu after being the prime baddie in “The Great Killing”-he also appeared in the first example of ‘samurai group assault’ films, “Seventeen Ninja”. Having a cast that was used to working with the director and each other gave the film solid performances even for the smaller parts. 

One of the more interesting aspects of the film is the portrayal of the relationship between Hayato (Natsuyagi Isao) and Orei (Miyazono Junko). It’s very affectionate and much more up-front than similar relationships in most chanbara films and is given a good chunk of time to play out as a subplot in the film. Shots of Hayato’s hands lovingly caressing Orei’s face and his obvious sense of shame when she believes him to have taken up with another woman give a real sense of two people who care deeply for each other. Someone at Toei obviously thought so, as the two went on to appear together in “Samurai Wolf” and “Samurai Wolf II”. Miyazono later starred in “Quick Draw Okatsu”, one of the best ‘swordswoman’ films to come out of Japan (not to mention costarring the awesome Oshida Reiko as a ninja babe). Natsuyagi is still active in Japanese film, recently appearing in the Azuchi Castle/Nobunaga jidaigeki opus “Castle Under Fiery Skies”. 

Director Kudo seems have to found the perfect balance in his third effort at a ‘group assault’ film. “13 Assassins” was cold and calculating, precise and surgical in its planning and counter-planning. “The Great Killing” was an exercise in chaos, from the opening that drew in a character totally unrelated to the plot to the closing assault that didn’t look at first to have succeeded. “Eleven Samurai” blends these disparate approaches and adds the Hayato/Orei relationship, an aspect that was somewhat missing in the first two films (especially 13 Assassins). There are some excellent shots and composition in the film, particularly in the massive, almost expressionistic Imperial forest that the ambush is to take place in. Light and shadow is used to great effect and there are nice flourishes, such as letting a billowing wave of fog effect a virtual wipe of the screen. Kudo is also smart enough to give his leads a bit of screen time to flesh out their characters, not just the Hayato/Orei/Nui angle but Hayato’s position as an outsider among the ‘hotheads’, Gyobu’s travails as Nariatsu’s Chamberlain, and Daijyourou’s scathing indictments of the samurai lifestyle. 

The music is composed by Ifukube Akira. While it’s striking, powerful, and does a good job underscoring the events onscreen, it sounds far too much like his memorable score for the classic “Godzilla”. While we’re no music expert, many passages sounded as if they were note for note and simply recycled. This has the unfortunate side effect of being a distraction for anyone who’s seen “Godzilla” a few times. 

Extras are light this time around-trailers for the three films in Kudo’s ‘Samurai Trilogy’, a handful of historical notes, short bios of some of the cast and crew, and a small image gallery (only five images). Toei must not have had much archival material on the film since not only is there a lack of stills on the disc but the trailer is one that Animeigo put together themselves. Otherwise, the disc is what we’ve all come to expect from Animeigo-a top rate translation with cultural notes onscreen, the best possible transfer, and solid sound. 

In the less innocent and more skeptical world of the 1960’s, it wouldn’t be Seven Samurai that would get the job done. It called for Eleven...Eleven Samurai who fought themselves and their clan leadership as much as they did the enemy. But when everything was said and done, they pulled together to attack their common enemy, concluding the Samurai Trilogy with an appropriately brutal and bloody finale. It combines the best of the classic jidaigeki of the 50’s with the increasingly violent large scale chanbara films of the 60’s.You can pick up Eleven Samurai at a discount on the Animeigo website or on Amazon. Speaking of brutal and bloody, while you’re there check out the “Lone Wolf & Cub” Blu-ray set-all six films in one nice package! We’ll be reviewing that in a couple of weeks. 

All Eleven Samurai Photos Courtesy and Copyright 1967 Toei Studios

All-Out Bakufu Brawlz-Animeigo’s “13 Assassins” and “The Great Killing”

In chanbara, bloodletting comes in many forms. There’s the one on one duel between sword masters (perhaps best exemplified by the infamous ‘blood geyser’ duel between Mifune Toshiro and Nakadai Tatsuya at the end of “Sanjuro”). Then there’s the fight between a harried single swordsman and a small host of enemies (the climactic battle in “Sword of Desperation”). From there it’s a small step to a single combatant facing a horde of enemies (Ichikawa Raizo in “The Betrayal” or Wakayama Tomisaburo in the “Lone Wolf” series). And of course, combine the two and you get the sword master versus a horde of enemies AND a sword master (our favorite being the rumble between “Azumi” and Bijomaru). But until 1963, large groups of swordsmen battling each other were relatively rare in Japanese Cinema (especially if you discount the glut of 47 Ronin films). Enter director Kudo Eiichi and his so-called “Samurai Revolution Trilogy”-“13 Assassins”, “The Great Killing”, and “Eleven Samurai”. These films brought brutal, extended street fights between opposing mobs of katana-wielding combatants to the screen in a style Japan had never seen before. Today we’ll be looking at two B/W classics-1963's “13 Assassins” and '64's “The Great Killing” (“Eleven Samurai” will be released by Animeigo in the near future). They’re all-out Bakufu brawlz that’ll leave you feeling the need to mop invisible blood splatters off your face...

Both of these films were based on actual historical incidents. “13 Assassins” abstracts the circumstances surrounding the death of Matsudaira Narikoto, the adopted son of Matsudaira Naritsugu (the daimyo of Akashi han in Harima province). Narikoto was considered to be bad news, at one point having apparently killed a small child for getting in his way. For this he was denied passage through Owari province, a major plot point in the film. He died of a ‘mysterious illness’ at age 20. “13 Assassins” changes Narikoto’s name to that of his adoptive father Naritsugu. In theory, this means the film takes place around 1844. “The Great Killing” is even more specific-it states up front it takes place in Enpo 6, or 1678. Here the character names and situations are taken straight from history-Sakai Tadakiyo did indeed attempt to keep Tokugawa Tsunayoshi from becoming Shogun, and Tokugawa Tsunashige did indeed die in 1678. Now, of course, you won’t find any records in the history books of these ‘mysterious deaths’ being the result of attacks by crazed bands of killers-you don’t think the Tokugawa would ever admit to that, do you? It never happened! Hey, it’s a plot device that worked out great for “Seppuku” (like “13 Assassins”, another film recently remade by Miike Takashi, this time using the “Hara-Kiri” title), so don’t knock it. 

Screenwriter Ikegami Kaneo had already pioneered the “team versus team” style of Shudan Jidaigeki with “Seventeen Ninja” in 1963. The concept resonated with Japanese audiences who identified with the feeling of community between the protagonists more than they sometimes could with the headstrong individuals that were the heroes of other films. He joined forces with director Kudo Eiichi at Toei Studios to follow it up with “13 Assassins” (Ju-san Nin No Shikaku). With veteran screen legends Kataoka Chiezo (leader of the 13, Shimada Shinzaemon) and Arashi Kanjuro (his second in command, Kurenaga Saheita) anchoring the cast and newer actors like Tanba Tetsuro (Shogunate Elder Doi Toshitsura), strong individual performances were almost a given. Kudo decided he wanted the action to be more immersive than what was traditionally seen in most period films and shot many of the fight scenes using tracking shots with hand held cameras. While this is a common technique these days, one can only imagine the effect it had on Japanese audiences of the early 60’s who suddenly were put into the sandals of an attacker chasing his prey through a labyrinth of back alleys and dead ends. Being an experimental technique, things didn’t always go as planned. The cameras were huge and heavy, needing two men to carry them-and the viewfinders couldn’t be used, resulting in many shots being out of focus. While this infuriated Toei executives, it gave the shots that extra element of realism Kudo was striving for. It proved to be a hit with Japanese audiences-even today, Japanese cinema magazine Kinema Jyumpo considers “13 Assassins” to be the #2 Jidaigeki film of all time, trailing only Kurosawa Akira’s “Seven Samurai”. 

“13 Assassins” is sometimes criticized as a knock-off of “Seven Samurai”, and there are certain similarities. A team of skilled fighters is slowly assembled to carry out a seemingly-impossible mission. One of the team seems to be much more a farmer than a samurai, and another is the prototypical ‘inexperienced kid’. Another is the master planner, with his loyal second-in-command, and a badass sword master forms the fighting center of the group. A thoroughly thought-out and executed plan leads to a final drawn-out battle that resolves the fates of the combatants. However, at their core, they’re two different types of films. “13 Assassins” essentially pits the samurai against their own corruption and abuses. The ‘good’ samurai basically have to turn their backs on the myth of Bushido to have a chance of success, and even if they pull it off, there will be no acknowledgement or record of it. In effect, they’ve become stereotypical ninja (hence the ‘Assassins’ of the title). The ‘bad’ samurai are in turn defended by a mastermind who holds true to the precepts of loyalty to one’s master and working within the guidelines of the Bakufu. Samurai leadership is shown to be completely ineffectual in dealing with the crisis in an aboveboard manner, but the evil lord Naritsugu’s twisted logic can defend his every action.

The film opens with the suicide of one of Lord Matsudaira Naritsugu’s retainers. He sacrificed himself to bring the excesses of Naritsugu’s behavior to the attention of the Shogunate’s Council of Elders. However, the Council finds its hands tied-Naritsugu is the half-brother of the Shogun and in line to become a highly placed councilor himself. Direct action against him is out of the question. Needing to employ more clandestine methods, Elder Doi Toshitsura calls in Shimada Shinzaemon-one of the few men in an age of peace who hasn’t neglected military strategy and training. After speaking to the father of Naritsugu’s latest victims (the out-of-control daimyo raped a retainer’s wife and then callously killed the retainer and the wife committed suicide), Shimada agrees to ‘take care of the problem’. It’s decided to attack Naritsugu’s procession as he returns to his fief-even then, he will have well over a hundred retainers. Shimada is only able to cull 11 capable men from among his numbers-his fallen nephew, seven police inspectors/retainers, and three ronin. Realizing that proper planning will be essential for any chance of success, they painstakingly put together a plan that they hope will split Naritsugu’s forces and herd his reduced retinue into a specific town. With ample financial backing from the Shogunate, Shimada’s group turns the town into one giant death trap and hopes that the procession will find its way there. Along the way they pick up their final member-a farmer claiming to be a samurai who wants to join the fight to impress his girl’s father.

Meanwhile, Naritsugu’s chief retainer Hanbei Onigashira (who has deduced Shimada’s involvement) does his best to counter all of the Assassin’s well laid plans. Despite having as much trouble dealing with Naritsugu’s stubbornness as with Shimada’s measures, Hanbei manages to deftly turn aside each challenge. It appears as if he’ll succeed in getting the procession home safely…

The final battle, when it comes, is a long, brutal, and lengthy affair in which every move made by the Matsudaira seems to have been anticipated by Shimada. Traps and false escape routes sap the will of the larger force. Mass slaughter ensues as Naritsugu’s forces scatter blindly in all directions looking to escape the killing grounds. However, Hanbei proves up to the challenge and despite huge losses manages to keep Naritsugu safe-with the exit in sight. And don’t think you can guess the ending if you’ve seen the remake. 

The movie is essentially split into two sections as far apart in tone as possible. Early on it’s all about setting things up-the plans, the personalities, the counter-measures, the preparations. It’s a traditional slow-moving, leisurely paced Japanese film. When it finally explodes into action, it turns the last third of the film into a non-stop battle with fighting that never lets up. Toei was generally known for having jidaigeki films that featured highly stylized kabuki-style swordplay, but that isn’t the case here-it’s down and dirty sword fighting with the participants becoming more exhausted the longer the fight goes on, their sanity leaving them as the horrors mount up. The sure strokes and proper form they exhibited earlier give way to feeble, spastic single-handed swipes at empty hair as they frantically try to stay alive.

“13 Assassins”, of course, was recently the subject of Miike Takashi ‘s big budget 2010 remake. While we don’t really want to get into an involved discussion of that film now, the two versions offer interesting contrasts. Miike’s version starts off much like a shot-for-shot remake of the original but soon shows its teeth with the graphic introduction of one of Lord Naritsugu’s piteous victims. It introduces a bit more oddball humor (much of which was cut for the American release), a lot more graphic violence and CG, and surprisingly a bit more character development. Kudo’s original is far more dark and serious with set pieces that don’t appear in the remake. The films resolve differently as well, making them both well worth a viewing. In fact, it’s one of those rare situations where a healthy debate can be justified over whether the original or remake is a better film.

While “13 Assassins” is certainly deserving of its reputation, Animeigo notes that “The Great Killing” (“Dai Satsujin”, The Great Duel) is usually considered to be Kudo’s masterpiece. It has much in common with “13”-a group of determined swordsmen sets out to kill a corrupt member of the Tokugawa family despite overwhelming odds, culminating in a huge final battle. However, this time, the Bakufu are the bad guys-Tairo (Senior Elder) Sakai Tadakiyo is attempting to push his candidate for Shogun, Kofu Saisho (AKA Tokugawa Tsunashige), into power through any means necessary. A cadre of the Shogun’s personal guard opposes his plan and plots to destroy him-however, they are betrayed, branded as rebels, and mercilessly hunted down by Sakai’s agents. 

One of the rebels, Nakajima Geki, breaks into the home of his friend Jimbo Heishiro (played by Satomi Kotaro, a link to the previous film where he played Shinzaemon’s lackadaisical nephew Shinrokuro) looking for sanctuary. It proves to be short lived. While Jimbo had no involvement with the plot, he is lumped in with the rebels when Sakai’s men break into his home and find Nakajima. They slay Jimbo’s new bride and what was an idyllic life turns to hell within the space of a few seconds. 

Jimbo manages to escape when his captors are set upon by a rescue party, but the life he knew is now over. Resignedly, he joins the group of conspirators in order to avenge his dead wife. They are few in number, and in many cases only kept together by the rather hot body of Lady Miya. She’s the niece of the group’s leader, Yamaga Soko, who is himself a student of Hojo Ujinaga. And who’s Hojo? He’s Sakai’s Ometsuke (Chief Investigator) and has been made responsible for ferreting out the rebels. This he does with relish in some excruciatingly realistic torture scenes, including one where boiling water is being ladled onto tied up victims.

Yamaga gathers his ragged force and outlines his plan-while they don’t have nearly enough force to successfully engage the heavily guarded Sakai, they do have a chance of striking down Tsunashige. Without Tsunashige, Sakai will no longer have a puppet to place in the Shogunate-and his threat would be neutralized. It’s decided to divert and attack Tsunashige’s procession as he returns to Edo after seeing Tokugawa Mitsukuni (yes, Mito Komon hisself) back to Mito. Can a former Shogunate bodyguard, a wicked priest, an umbrella maker, a ‘ninja girl’, and a handful of low-level officials pull it off?  

“The Great Killing” is a much more anarchic film than “13 Assassins”. While Sakai’s forces present a united front, the rebels are a varied lot, from various backgrounds with different reasons for joining, many of them of suspect loyalty. Some even prove to be worse criminals than their enemies. Their plans are constantly changing as more members of the plot are captured, and it’s sometimes hard to keep track of who’s fighting for whom. Unlike “13 Assassins”, it’s tough to keep track of the sides during the final battle-it just seems like a big frenzied free for all, but no less effective for being so. The action moves from the streets of a crowded town into the middle of a river, and since this is a Japanese film, there’s no guarantee of anything resembling a happy ending-for either side. It also has an outstanding delayed ending that we didn’t see coming until a few seconds before it happened.

The camera work and shot composition is particularly outstanding. There are bizarre, striking shots such as Sakai talking with one of his underlings in an extended take-with the underling being “on screen” but completely obscured behind a wall. This emphasizes the fact that while others might be involved, it’s Sakai who is wielding all the power here-in effect, he’s the only figure on the Bakufu side that matters. Another shot features rebels as seen through cut-outs in a fence. This not only underlines the chaotic nature of their mission but also the fractured state of their forces and the faint hopes they have of success. There’s also a beautiful shot that involves an assassination in a hall with backlit shoji screens.

Animeigo’s program notes also detail how Kudo used sound in an innovative way. Wanting to use realistic crowd noises, Kudo taped audio at several student demonstrations against the US/Japan alliance. He used the resulting noise from the riots in the film, giving it a quite different vibe than the usual canned crowd sound effects. If you listen closely during the final battle, you can even hear police cars in the background! The “student riot” angle becomes particularly intriguing when combined with the assassination in 1960 of Japanese Socialist leader Inejiro Asanuma by a young right wing student-an event captured on TV that might have contributed to the film’s ending. 

The transfers for both films are solid with Animeigo’s typical superb translation and subtitling job. Both feature program notes that give some of the historical background for their respective periods (both scenarios are based on real-life events) as well as bios for the main actors and crew. There’s the typical selection of trailers as well and small still galleries as well. Interestingly, “Great Killing” lacks a title on the title screen, something we also saw on Animeigo’s “Sword of Desperation”. 

Taken individually or as a set, “13 Assassins” and “The Great Killing” put you right into the action without incurring those annoying sword wounds. They function both as traditional chanbara films and as straight out actioners, groundbreaking films that set the stage for the increasingly violent and more realistic efforts of the late 60’s and 70’s. And when you get right down to it, who doesn’t want to take in two of the greatest on-screen Bakufu Brawlz in J-Cinema? Seems that everyone likes seeing the Tokugawa have it stuck to them.

“13 Assassins” and “The Great Killing” are available directly from Animeigo at a discount, or through Amazon here and here.

Messin’ With The Shogun-Animeigo’s “The Secret of the Urn”

It’s not often one can enjoy the pleasure of seeing the Tokugawa Shogun being taunted face to face by a crazy man who’s also just exposed his closest advisor as a crook AND broken up his formal chanoyu (tea ceremony). Tange Sazen not only does it with style from the top of a towering pagoda, but manages to survive the occasion intact. Well, relatively intact-he’s still missing an arm and eye, and there’s more trouble to come. The self-styled God of Death is still out there somewhere-and Fuji probably needs to put her clothes back on. It seems messin’ with the Shogun is only one of the many pleasures to be found in Animeigo’s new DVD release of Toei Studio’s 1966 “The Secret of the Urn”.

As brought up in Animeigo’s press release, the character of Tange Sazen is to Japan much like the characters Zorro and the Lone Ranger are to the West. Created by Fubo Hayashi (one among many pen names of Hasegawa Kaitarou), he appeared in all sorts of stories that have been adapted dozens of times on the big screen and Japanese television. Some have even featured a female version of the character. And of these, no story has been filmed more than the story of the ‘Million Ryo Pot’-the ‘Earless Monkey Urn’ (as Animeigo’s notes explain, this refers to a pot with broken handles-although the pot in this film obviously never had any). These films usually include Sazen’s ‘support group’-shady singing teacher Fuji, thief Yokichi, and Sazen’s unwanted kid sidekick, Chobiyasu.

Sazen wasn’t always a one eyed, one armed monster-when the film starts, we see him as Tange Samanosuke-a straight laced, clean cut retainer of the Nakamura fief in Oshu. Samanosuke’s been summoned by his superior to the scene of a brutal interrogation. A castle maid has admitted under torture that’s she’s a spy, and that she isn’t the only one. As the best swordsman in the clan, Samanosuke is ordered to kill the remaining enemy agent. This is to be the fateful assignment that transforms him into Tange Sazen-and it’s best experienced without further spoilers. All we’ll say is that Samanosuke should really be more careful about who his friends are…Time passes and we learn that the Shogun is having the Nikko Tosho-gu shrine of the Tokugawa’s ‘founding father’, Ieyasu, refurbished. This is an extremely expensive undertaking and would normally be assigned to a wealthy clan. However, his councilor Guraku advises him to have the Yagyu clan (yes, the same clan that screws over Ogami Itto in the “Lone Wolf and Cub” films) foot the bill. Guraku knows that the clan won’t be able to afford it through normal means and will have to resort to drawing upon their secret horde of a million ryo. The evil councilor intends to steal this for himself and then have the Yagyu disenfranchised by the Shogun for their failure, grabbing their position and status. When informed of their alleged ‘honor’, the Yagyu realize the only way to raise the money is to access the clan’s hidden treasury-which can only be found through the symbols located inside the ‘Earless Monkey Urn’. Yagyu Genzaburo transports the urn to Edo and is set upon by a large group of Guraku’s disguised ninja-not to mention two thieves, Fuji (played by Awaji Keiko) and Yokichi, who have learned about the plot. This results in a spirited game of ‘hot potato’ involving the urn and a running sword battle where none of the three parties is able to keep their hands on the relic-instead, it’s given to Chobiyasu (a young boy sleeping in a boat) by a dying Yagyu samurai with instructions to bring it to the Yagyu in Edo for a reward. A fifth party is introduced into the fray when Chobiyasu runs into an abandoned shack for cover. Pursuing ninja are cut down by the shack’s occupant-Tange Sazen. The contrary Sazen decides that if the urn is getting so much attention, it’s something he wants to hold on to-and when Fuji and Yokichi offer him a quick escape in a boat, he happily accepts.

Of course, Fuji and Yokichi waste no time in trying to get rid of Sazen and acquire the urn for themselves. While Fuji seduces Sazen, Yokichi attempts to spirit the urn away-but he’s foiled by his own clumsiness and stopped by the angry one-armed swordsman. When Fuji pulls a Western pistol on Sazen and demands the urn, he simply uses it as a shield and dares her to shoot-a stalemate, at least until Guraku’s ninja lurking outside decide to crash the party. There’s another running fight, this time across the rooftops, and when the last ninja is dispatched Sazen still has the urn. Seemingly having forgotten his fight with Fuji and Yokichi, he tells them they need a new hideout. Chobiyasu, hoping to get the urn back for himself, follows them to their new lodgings in an abandoned temple taken over by thieves. Here Sazen strikes up a strange friendship with the criminals, winning their trust and support when he gives them a cut of the proceeds when he sells a fake ‘Earless Monkey Urn’ to Guraku. He also settles into a relationship with Fuji, who finds herself attracted to him despite his scarred face and missing limb. However, when Hagino (Sazen’s love from his days as Samanosuke) turns up and recognizes him, Fuji and Sazen have a falling out and she decides to sell the real urn to Guraku. Guraku’s managed to have the Yagyu invited to a formal chanoyu given by the Shogun and ‘requests’ they bring the fabled Earless Monkey Urn (which was a gift given to them by Tokugawa Ieyasu). He knows that not being able to produce a clan treasure gifted to them by the first Tokugawa Shogun will be the final nail in their coffin. Taiken, Guraku’s ninja chief and the self-styled “God of Death”, has also disguised himself as Sazen and killed several Yagyu samurai-focusing the Yagyu’s recovery efforts away from Guraku.

At this point, Sazen is opposed by the forces of the Yagyu and Guraku as well as by Fuji, Yokichi, and Chobiyasu. Legendary Shogunate Magistrate Ooka Echizen has also organized a large force to oppose Sazen, having been warned by Guraku of a planned ‘assassination attempt’ on the Shogun during his tea ceremony (which is just an attempt to set up Sazen when he attempts to recover the urn). Sazen is seemingly readying himself by pounding down sake, distraught over both the appearance of his former love and his argument with Fuji. And the God of Death awaits his turn to cross swords with the one-armed monster. While it doesn’t look like there’s any way this situation can end well for the people that deserve it, it seems that Sazen has a few tricks left up his empty sleeve-not to mention Nakamura Kinnosuke’s badly camouflaged arm.

Star Nakamura Kinnosuke gives the film much of its appeal. Mirroring his award-winning performance in “Bushido: The Cruel Code of the Samurai”, Kinnosuke in essence plays two characters in the film: the steadfast, loyal and dutiful Samanosuke and the wild, disrespectful and violent Tange Sazen. As was the case in “Bushido”, it’s hard to believe it’s the same actor. His Sazen is a real pleasure to watch, with outrageous mugging to the camera and an over-the-top vocal delivery that perfectly captures the essence of the character. Sazen’s insane grin and lifted eyebrow never fail to elicit a laugh as he prepares to go off on his enemies. Animeigo gets our thanks for bringing Kinnosuke to the attention of Western jidaigeki audiences, now taking his rightful place beside the other J-Stars better known here such as Mifune Toshiro, Nakadai Tatsuya, Wakayama Tomisaburo, and Katsu Shintaro. Check out Kinnosuke in other films like “Bushido”, “Musashi”, or in his turn as Ogami Itto in the TV version of “Lone Wolf and Cub” (where, in our opinion, he made a much better Ogami than Wakayama did in the film versions). For our money, Kinnosuke’s the premier figure in the jidaigeki tableau. While other stars could match his intensity, few displayed the type of range he routinely did.

Also interesting in a limited part is Amatsu Bin, whose stern look and commanding physical presence made him a heavy in quite a few films (most notoriously in yakuza films). Often playing a ninja or gangster, Bin is best known for portraying master ninja Fuma Kotaro in the TV series “The Samurai/Shintaro the Samurai”, a series that was to 1960’s Australia what the Batman TV series was to the United States. Here he plays Taiken (while we don’t know what kanji this uses, it can be translated as “Great Sword”), the leader of Guraku’s ninja and Sazen’s deadliest enemy. He styles himself “The God Of Death” (translated as “The Grim Reaper” by Animeigo) and provides the film with one of those Zatoichi/Sanjuro style ‘second endings’. Amatsu provides Sazen with a foe worthy of his sword.

It is somewhat odd seeing director Gosha Hideo directing what was for all intents and purposes a programmer. However, it came fairly early in his directing career and displays much of the humor and light touch seen in his first film, the excellent “Three Outlaw Samurai” (which one would hope Animeigo picks up at some point). Gosha’s films were to become increasingly darker and more serious from this point on with entries such as the two “Samurai Wolf” films, “Goyokin”, “Tenchu”, “The Wolves”, “Hunter In The Dark”, “Onimasa”, and “The Geisha”. Often featuring Tatsuya Nakadai as their star, these films form the basis of Gosha’s reputation in the West (although we tend to prefer his early work). Gosha allows Nakamura to chew the scenery and doesn’t meddle with the proven Tange Sazen formula. His directorial style enhances the film without trying to draw attention to itself-there are many instances of cleverly framed shots (such as shooting the actors through torn shoji screens) and framing (using pillars in the foreground to set Sazen and Fuji apart from the band of thieves). He’s particularly good at setting up running battles, with the four way battle for control of the urn mentioned earlier being the most exciting example. Little touches such as the camera lingering on a shelf stocked with urns lined up in order of descending size before panning down to Sazen (in this case symbolic of how the urn is beginning to lose its importance in Sazen’s mind at the moment) are throwaways to be discovered in repeat viewings.

Comparisons can be made between Sazen and the subject of our last review, Nemuri Kyoshiro from the “Sleepy Eyes of Death” series. While on the surface the black clad Kyoshiro’s cool and detached manner (with a sword style to match) is completely unlike the white clad Sazen’s boisterous personality and frenzied swordplay, underneath there are plenty of similarities. Both Sazen and Kyoshiro display contempt for authority and the two-faced world of the samurai where outrages are routinely excused by a hypocritical code of conduct. Common townsfolk (even those on the ‘wrong side’ of the law) and the rare samurai that does indeed embody the spirit of the warrior are the people these two find worthy of their help. The swordsmen also share some physical characteristics-spiky hair instead of the standard samurai chonmage along with wearing a close fitting simple robe, dispensing with a regular samurai’s hakama and kataginu. Let’s not forget that Ichikawa Raizo (Kyoshiro) also played a one-armed swordsman in "Samurai Vendetta".

As mentioned earlier, this is just one among many films that feature the story of Sazen and the Million Ryo Urn. Out of the eight or so versions we’ve seen (including a 1920’s silent version and an 80’s version featuring Nakadai in the starring role), this is probably our favorite. However, the 1935 version (“Tange Sazen and the Pot Worth One Million Ryo”) holds a special place in our hearts. Largely eschewing the tragic circumstances of Sazen’s situation and the whole ‘noble ronin’ shtick (which does get quite tiresome in jidaigeki at times-we like our ronin evil and the Bakufu good), star Okichi Denjuro portrays a grouchy but ultimately comedic Sazen, making for that rarity-a good samurai comedy that doesn’t rely on farce. Okichi was a huge star in Japan in that era-you might have seen him as Yoshitsune’s pal Benkei, bailing out his lord by faking his way through a recital of “The Subscription List” in Kurosawa Akira’s “The Men Who Tread on the Tiger’s Tail”. The actress playing Fuji in this film (Kiyozo) is an adorable sweetheart as well, and the film has a warm and humanistic feeling much like the recent film “Hana”. It’s sad that the film’s director, Yamanaka Sadao, fell into disfavor with the Japanese government and was shipped off to the Manchurian front where he died at the young age of 28.

Animeigo’s translation is again top notch with viewing options for every level of Japanese proficiency. The translation includes the complete cast and crew from the credits, something that’s rarely seen in releases from other companies. The print looks great with a good depth of color and nice clean sound. Extras include the film’s theatrical trailer, some short bios, and a few stills. The historical notes are interesting but only seem to cover the first third of the film. Since both the Yagyu family and Edo magistrate Ooka Echizen were taken from history (as well as being favored subjects of many other film series and television shows), it’s curious that they weren’t brought up in the notes. One interesting note points out a scene where you can clearly see Sazen’s “severed” arm alive and well. Another extrapolates the value of one million ryo via the going rate of cheap prostitutes!

This film is back-to-basics old-fashioned 60’s chanbara fun with little of the dark tone that Gosha’s later films veered into. Watching a cackling Sazen berate a befuddled Shogun while safely ensconced on top of a pagoda is the closest thing in a Japanese film to the ‘French taunter’ from “Monty Python and the Holy Grail”. The entire film is laced with kinetic energy and a good-natured disrespect of authority. See for yourself how much fun messin’ with the Shogun is. “The Secret of the Urn” is another great vehicle for Nakamura Kinnosuke and a classic chanbara effort from Toei Studios. Pick up a copy of “The Secret of the Urn” at a discount direct from Animeigo HERE or from Amazon through the SA store.

All images copyright and courtesy 1966 Toei Co. Ltd

One Arm, One Leg, Two Legends-Animeigo's "Samurai Vendetta"

The story of the 47 Ronin is perhaps the most popular subject for Japanese literature, and almost as popular are the various 'gaiden' dealing with the various members of the group. 'Gaiden' means 'side story' and in this case the efforts of novelists and kabuki playwrights who fictionalized the lives of the Ronin leading up to the assault (and the time after it as well). This applies to Japanese cinema as well-there are dozens, if not hundreds, of 47 Ronin efforts and many of them are gaiden-for example, the excellent 1994 "Chushingura Gaiden Yotsuya Yaidan" that combines the world of the fictional Ronin with the famous "Ghost Of Yotsuya" story. Another would be the film being examined today-Animeigo's DVD release of 1959's "Samurai Vendetta" (Japanese title 'Hakuoki'**, "A Chronicle Of Pale Cherry Blossoms"). Taken from a story by noted novelist Gomi Kosuke, it combines the 47 Ronin with elements of the Tange Sazen story. It also stars two of chanbara's biggest headliners-Ichikawa Raizo and Katsu Shintaro (not to mention one of our favorites, character actor Date Saburo, as one of the film's rotten apples). As a bonus, you'll even get to watch Raizo play virtually two characters-respected Shogunate Inspector and swordmaster Tange Tenzen and the one armed (and later one legged) scruffy ronin Tange Tenzen. Along with Katsu's portrayal of 47 Ronin swordsman Horibe Yasubei, this gives the film one arm, one leg, and two chanbara legends in one of their better films together.

Nakayama Yasubei's not having a good day-he's just found out his uncle has been challenged to a group duel by a rival sword school, and the fight is already underway. Yasubei is hauling ass to the duel when he comes across the procession of Shogunal Inspector Tange Tenzen. Apologizing to Tenzen and requesting an emergency right of way, Yasubei is chugging past the procession when Tenzen notices that the cord Yasubei's used to tie back his loose sleeves is of poor quality, putting him in potential danger. Tenzen attempts to stop Yasubei but the flustered swordsman doesn't understand and continues on his way. Yasubei manages to make it to the fight just in time, but is indeed put at a disadvantage when the cord unravels. A samurai from the crowd throws him a makeshift cord made from his daughter's sash. A concerned Tenzen has followed Yasubei to render aid but seeing that he needs none (and that the enemies are from the same school he trains at), takes his leave. The heavily outnumbered Yasubei manages to clean house and in the process becomes wildly popular in Edo, with crowds of girls following him around and offers of employment from respected daimyo houses being extended.

Meanwhile, the duel has had repercussions for Tenzen-he has been spotted at the fight by other members of his dojo and is accused of being a coward by his fellow students. The accusations fly (after all, why didn't the men who reported Tenzen charge in to save their comrades?) and the situation only defuses when Tenzen is exiled from the dojo. As the master does so to indicate to the opposing school he desires peace, Yasubei's sensei follows suit, exiling him as well. The two cross paths again shortly after this, when Yasubei bails Tenzen out of a tight situation involving an 'honorable dog'. During Shogun Tsunayoshi's reign, dogs and other animals were protected against harm by his 'Laws of Compassion', and killing a dog usually meant death for the offender. Tenzen inadvertently kills one when his sword scabbard breaks as he attempts to defend his bride-to-be Chiharu from a pack of dogs (this scene is hilarious, as it appears dogs are being thrown by stagehands at Raizo from offscreen). Yasubei performs a Noh dance to defuse the suspicions of the 'Dog Hut' patrol (yes, really) and disposes of the carcass. Later, Tenzen returns the favor by stepping in for Yasubei to fight several members of his former sword school that are out looking for revenge. He disfigures five of their number, and the 'five bastards' are now sworn enemies of both men.

Yasubei, not knowing of Chiharu's impending marriage, decides to join the Nagao clan (a vassal of the Uesugi and family to Lord Kira) in order to cozy up to her-but ends up joining the Asano clan as a booby prize when he finds that she has been given to Tenzen. Yasubei is adopted by the samurai who supplied him with a 'sword cord' in the initial fight, changes his family name to Horibe, and is betrothed to the family's 13 year old daughter. Everyone seems content at this point, but it's not to last-the 'five bastards' break into Tenzen's home while he's away, have his wife drugged, and gang rape her. To add further insult, they spread rumors that Chiharu has also been unfaithful with Yasubei in an effort to provoke Tenzen into battling him, taking care of at least one of their foes. Tenzen's in a bind-as a samurai, he can't stay with a wife who's been violated even though he loves her and realizes she's not to blame. She can't be simply cast out, as her shame would compel her to commit suicide. He works up a plan worthy of the scammers in "Hana" and manages to clear her name, and divorces her with a clean record-but pays a heavy price as her angry brother lops off his arm from behind. Like another famous Tange of Japanese film (Tange Sazen), Tenzen is now a one armed swordsman-and eventually, one legged as well. How will he ever be able to track down and exact revenge on the 'five bastards'? What role will Yasubei play here, and where do the 47 Ronin enter the picture? Will Yasubei even make it to the raid on Kira's mansion in this version, and will he have to kill the woman he loves to procure information the Ronin need for the raid's success?

Raizo was a well established star by the time this film came out, with Katsu being substantially less so (his big break would come in two more years with "Shiranui Kengyo", another Animeigo release). For audiences used to seeing Raizo in his signature role as Nemuri Kyoshiro in the so-called 'Sleepy Eyes Of Death' series (yes, another Animego release), it'll come as somewhat of a surprise to see him playing a caring, loving and thoughtful husband. Rather than send Chiharu away in shame (and basically sentencing her to suicide), Tenzen bends over backwards to concoct a fairly ridiculous and risky scheme to clear her name, knowing all the while he will have to give her up anyway. Raizo pulls it off, along with Tenzen's conflict over his honor as a samurai versus his love for his wife. While the final extended swordfight between Tenzen and the 'five bastards' (now down to three) with their allies doesn't quite count as the ultimate exercise in exhausted swordfighting (that would go to Raizo's character in "The Betrayal"), it might be a solid second, with Raizo seemingly returning from the dead several times. Katsu makes an impact in his role as Nakayama/Horibe Yasubei (one of the few of the 47 Ronin that possessed a measure of sword skills), approaching it with an intensity, steadfastness, and seriousness that plays well against Raizo's more romantic character. This is a slimmer, younger, and fitter Katsu than the one seen in Zatocihi and Hanzo the Razor, but his swordplay is still among the best of its day. Maki Chitose plays the role of the duo's love interest Chiharu somewhat differently than the typical 'stoic bushi woman' seen in most samurai dramas. While she's certainly not helpless (interposing herself between Tenzen and her brother's follow up sword attack, and then leaving the family and making her own way in the world), Chiharu is the type of woman who will hold extended conversations with her husband's proxy (a small 'doll festival' groom doll she made as a child) while he is away. She's very sweet, feminine and sentimental, the type of woman most men feel drawn to protect-making the assault upon her even more odious. Her and Tange make for a well matched couple, and this gives their final meeting after the climatic battle increased impact.

Director Mori Kazuo is best known for directing Katsu in many of the "Zatoichi" films along with some of the "Shinobi No Mono" films and Zatoichi's 'predecessor', "Shiranui Kengyo". There are some nice directorial touches-the 'bride and groom' dolls made by Chiharu as a child foreshadow and follow many of the events that happen to her and Tenzen. When Tenzen tests his one-armed sword skills by slicing a sheet of paper into fluttering pieces, the scene transitions to fluttering snow. It's a nice touch how Tange's arm being cut off intersects with Asano's assault on Lord Kira in the Shogun's castle (the incident that sparked the 47 Ronin's revenge)-his palanquin is turned away at the gates of the Shogun's castle when he bleeds on the path the Imperial Envoys will be taking to meet with Asano and Kira (mirrored by Asano's crime of spilling blood in the castle). It's also a wonderful ironic touch that Yasubei, who wanted to join the Uesugi (Kira's relatives), instead joins the Asano clan as a second choice, making him Tange's nominal foe in war and romance. Rather than a typical Daiei film, Samurai Vendetta actually looks more like a film produced by Toei Studios, using the brightly colored studio backdrops and stylized swordfighting they were noted for. Even the soundtrack brings to mind Toei's more sentimental and sweeping scores. Many of the scenes appear to be shot on Toei soundstages and sets-it would be interesting to delve into the production history of the film. Since color films were still somewhat uncommon in Japan, it might simply be that the color was accentuated for its novelty value. It works well at times, such as the slow transition of the background from normal daylight to a sickly purple when Tenzen loses his arm to Chiharu's brother.

As goes without saying (but we'll say it anyway), Animeigo provides a stellar translation and English subtitle options for every level of Japanese proficiency from zero to expert. There's the usual package of extras-the film's Japanese trailer, bios of the major players (stars, director, writers), and a large image gallery of both B/W and color images. The program notes are sort of a Jekyll/Hyde situation this time around. They've been split up into program notes on the 47 Ronin (which Animeigo encourages everyone to read to give background on the film) and general cultural/film notes. The notes on the 47 Ronin were unfortunately based on the information found on Wikipedia. Wikipedia's account in turn was largely taken from James Murdoch's 'History Of Japan', a three volume set written in the early 1900's. Murdoch's account of the Ronin was based on oral legend and puppet plays/novels rather than historical fact. Noted Ronin scholar Professor Henry Smith states that "The Murdoch account is no longer of anything but historiographical use". It gives the LEGEND of the 47 Ronin, but NOT the historical facts. Perhaps this works for the disc, since the story is based on the legend, but the notes are not accurate from a historical standpoint. On the other hand, the cultural/film notes given in the second section are excellent-one of the most extensive and involved sets that Animeigo's done to date.

Samurai Vendetta certainly lives up to its name-there are more vendettas here than can be struck down with a katana. Raizo and Katsu are always welcome and any film with both of them more than deserves a look. Carrying through on the popular Japanese theme of two men being linked by fate, it supplies drama, action, and an interesting take on the 47 Ronin story. You can get "Samurai Vendetta" directly from Animeigo or from Amazon through the SA Store. And it won't cost you an arm and a leg to see these two legends of samurai cinema.

**-note this film has NOTHING in common, story or otherwise, with the 'Hakuoki' anime that's currently knocking them dead in Japan

All photos courtesy and copyright 1959 Kadokawa Pictures