The producing team behind Takashi Miike's "13 Assassins," Jeremy Thomas and Toshiaki Nakazawa, reunite for another visually striking and action-packed samurai film. Based on a novel by Akihiro Dobashi, this film may not reach the same heights of relentless carnage or critical acclaim as its predecessor, but it still offers an exciting and occasionally humorous addition to the samurai genre, likely to resonate with festival audiences. This story of a literal running battle between rival samurai factions could see moderate success in theaters, though it may require more marketing effort without the ultra-violent appeal that made "13 Assassins" memorable.
Set in 1855, Japan has begun to open its borders after 260 years, with foreign trading ships arriving from across the world. An American merchant captain, played by Danny Huston, introduces an array of desirable goods, including bourbon whiskey, daguerreotype photography equipment, and, most notably, pistols. The samurai lords view these American traders with suspicion, seeing them as a threat to their ancient traditions. To assess his warriors' readiness for potential conflict, the hanshu of the Annaka clan orders everyone under fifty to compete in a marathon, with the winner granted a wish by the master.
As the samurai gather in response to a war drum's call, rumors circulate that the Annaka clan may soon face a battle. Jinnai Karasawa (Takeru Satoh), an accountant whose family has long been covertly loyal to the shogunate in Edo, sends an urgent coded message to the Edo fortress requesting reinforcements. However, when the marathon is announced instead of an expected attack, Jinnai realizes he may have unintentionally sparked a war based on a misunderstanding.
Meanwhile, Yuki (Nana Komatsu), the princess of the Annaka clan, disguises herself as a boy to compete in the marathon, rejecting the suitor chosen by her father. Her would-be husband, a high-ranking samurai determined to win at any cost, has his men hide a palanquin to carry him when the race becomes too challenging. As the marathon unfolds, every twist of the punishing route reveals further treachery and conspiracies from traitors within the Annaka clan, though some characters are more fleshed out than others.
The film boasts top-tier talent behind the scenes. Cinematographer Takuro Ishizaka, known for his work on John Woo's "Manhunt," captures a visually stunning picture, with rich greens and golds contrasting sharply with the abundant bloodshed. Costume design by Oscar-winner Emi Wada, renowned for Kurosawa’s "Ran," adds to the film's authentic and immersive feel. The hauntingly beautiful score by Philip Glass perfectly complements the violent elegance of the visuals.
See also
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Tatara Samurai
One day, bandits raid the quiet Tatara village, renowned for its steelworks and sword craftsmanship. Despite the arrival of samurai to protect the villagers, young Gosuke's mother is tragically killed while fleeing with him.
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Samurai Fiction
Samurai Fiction is a 1998 samurai-comedy film directed by Hiroyuki Nakano. The movie stands out for being filmed almost entirely in black-and-white, paying homage to classic jidaigeki samurai films. However, what sets it apart from its inspirations, including the works of Akira Kurosawa, is its modern twist, notably Tomoyasu Hotei's rock-and-roll soundtrack. A loose spinoff, Red Shadow, was released in 2001.
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Rurouni Kenshin
Rurouni Kenshin: Meiji Swordsman Romantic Story (Japanese: Hepburn: Rurōni Kenshin -Meiji Kenkaku Roman Tan-) is a Japanese manga series created by Nobuhiro Watsuki. Set in 1878, during the 11th year of the Meiji era in Japan, the story follows a former assassin known as Hitokiri Battosai. After his role in the turbulent Bakumatsu period, he adopts the identity of Himura Kenshin, a wandering swordsman who vows never to kill again. He dedicates his life to protecting the people of Japan. Watsuki crafted this series with the intent to create a unique shōnen manga, distinguishing it with a protagonist who is a former assassin and a narrative that becomes increasingly serious as it progresses.
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Samurai Spy
Samurai Spy (Ibun Sarutobi Sasuke), also known as Spy Hunter, is a 1965 film directed by Masahiro Shinoda, adapted from a novel by Koji Nakada. The film follows the legendary ninja Sasuke Sarutobi as he hunts the elusive spy Nojiri, while a shadowy figure named Sakon leads a group of men with their own designs on Nojiri. As the pursuit unfolds, the lines between allies and enemies blur, leaving everyone unsure of each other's true allegiance. Created during the height of the Cold War, the movie reflects the complexities and shifting loyalties of spies caught in the power struggles of their era.
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Samurai III: Duel at Ganryu Island
Samurai III: Duel at Ganryu Island (Japanese: Hepburn: Miyamoto Musashi Kanketsuhen: Ketto Ganryūjima) is a 1956 Japanese film directed by Hiroshi Inagaki and starring Toshiro Mifune. Filmed in Eastmancolor, it serves as the concluding chapter of Inagaki's Samurai Trilogy.
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Samurai II: Duel at Ichijoji Temple (1955)
Duel at Ichijoji Temple (Hepburn: Zoku Miyamoto Musashi: Ichijōji no Kettō) is a 1955 Japanese film directed by Hiroshi Inagaki and starring Toshiro Mifune. Filmed in Eastmancolor, it is the second installment in Inagaki's Samurai Trilogy.
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The Samurai I Loved (Semishigure)
The costumes, settings, and script of The Samurai I Loved immediately transport samurai film enthusiasts back to the golden era of classic black-and-white samurai masterpieces.
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Samurai Wolf (Kiba Okaminosuke)
Hideo Gosha’s Samurai Wolf (Kiba Okaminosuke) is a gritty, hard-edged, and bloody reimagining of the traditional chambara film—a genre of action-oriented, historical sword-fighting movies that enjoyed widespread popularity in Japan throughout the 1950s but had begun to decline by the mid-1960s. Gosha had already established his reputation in this genre with films such as his debut feature, Three Outlaw Samurai (Sanbiki no samurai, 1964), a prequel to a popular television series, and Sword of the Beast (Kedamono no ken, 1965). These works established Gosha as a renegade artist unafraid to break conventions, a reputation that Samurai Wolf only cemented.
