ZATOICHI is an attempt by modern-day legend 'Beat' Takeshi to bring the age-old warrior – popular in a long-running film series that began in the 1960s – to the new generation. So in many ways, it's a Japanese historical epic, a samurai adventure yarn of the kind that you thought they didn't make anymore. Anyone familiar with Takeshi's turnout will know that the director and star is renowned for his offbeat style and black comedy, and ZATOICHI is no exception. It follows familiar ground and yet throws in little touches that make it rewarding for the star's fans.
The plot itself has been done to death, but Takeshi's screenplay focuses on smaller, intimate moments and touches of character. The two would-be geishas, for instance, out to avenge their family's death, are by far the most interesting and original characters of the film. The blind swordsman is more of a closed book; of course, he's the indestructible master swordsman, with wit, warmth, and humour, but there's really nowhere else to go. Takeshi is typically convincing in the part.
There are many 'kill' scenes – fights that are over almost before they begin, thanks to the samurai way. These are all very well choreographed, but I took issue with the poor CGI effects used to simulate blood. Takeshi said that he WANTED the CGI to be unrealistic, like flowers on the screen, but that smells of a cop-out to me: it doesn't help that the computer-generated swords also look incredibly fake, too. Why not just go for realism throughout? I'm not sure what CGI has to do with a tough-and-ready swordsmen adventure, anyway, only to remind us that the film is make by modern filmmakers. Anyway, it's not a bad film by any means, but those looking for excitement or intrigue should go elsewhere. This is a subtle, quiet work, made with painstaking detail in the performances and boasting intelligence throughout.
The plot itself has been done to death, but Takeshi's screenplay focuses on smaller, intimate moments and touches of character. The two would-be geishas, for instance, out to avenge their family's death, are by far the most interesting and original characters of the film. The blind swordsman is more of a closed book; of course, he's the indestructible master swordsman, with wit, warmth, and humour, but there's really nowhere else to go. Takeshi is typically convincing in the part.
There are many 'kill' scenes – fights that are over almost before they begin, thanks to the samurai way. These are all very well choreographed, but I took issue with the poor CGI effects used to simulate blood. Takeshi said that he WANTED the CGI to be unrealistic, like flowers on the screen, but that smells of a cop-out to me: it doesn't help that the computer-generated swords also look incredibly fake, too. Why not just go for realism throughout? I'm not sure what CGI has to do with a tough-and-ready swordsmen adventure, anyway, only to remind us that the film is make by modern filmmakers. Anyway, it's not a bad film by any means, but those looking for excitement or intrigue should go elsewhere. This is a subtle, quiet work, made with painstaking detail in the performances and boasting intelligence throughout.