Tag Archives: samurai films

Samurai West

Tornado

by George Wolf

Less than ten minutes into Tornado, you’ll be wondering about the cinematographer behind the expansive beauty on the screen. That would be the Oscar-nominated Robbie Ryan (The Favourite, Poor Things), who elevates writer/director John Maclean’s Samurai survival thriller with consistently sumptuous framing of Scotland’s savage beauty.

In the late 1790’s, young Tornado (Kôki) is on the run from a ruthless crime gang led by Sugarman (Tim Roth) and his son Little Sugar (Jack Lowden). Tornado performs enchanting puppet shows with her father Fujin (Takehiro Hira), but when their traveling show crosses paths with Sugarman and his boys, some impulsive choices lead to deadly consequences.

A full decade after Maclean’s impressive debut Slow West (also shot by Ryan), he returns to a similar story structure. A young adult must again navigate harsh countryside and the threat of violence, while keeping their wits about them and their focus on a committed goal.

But this time, the young Tornado has a bit more going for her when events turn ugly. Fujin is a Samurai, and though he has been teaching his daughter the importance of patience and peace, Tornado is more than handy with a sword.

She also prefers to speak English and often scoffs at her father’s attempts to impart wisdom, character traits Maclean uses to place her between cultures. Tornado seems more vulnerable as Sugarman closes in, and the need to accept her destiny becomes increasingly clear.

Anyone who saw Slow West won’t be surprised by the Western themes here, but the influence of martial arts classics starts simmering early in Tornado before Maclean puts Samurai lore at the heart of act three. The transition isn’t completely seamless and does seem a bit overdue by the time it arrives, but terrific performances by both Kôki and Roth create a compelling dynamic on the way to a showdown.

The offbeat humor of Slow West is missed, and though the support cast is strong (especially Joanne Whalley and Jack Morris), no side character makes a mark as unforgettable as Ben Mendelsohn’s Payne from a decade ago.

Instead, it’s Ryan who isn’t afraid to steal the show. Tornado is a simply gorgeous movie, a compelling Samurai Western hybrid that’s painted on a canvas deserving of the big screen.

Scar Tissue

Blade of the Immortal

by Hope Madden

One hundred films in, you might expect director Takashi Miike to start repeating himself.

He does, in a way, with this big screen adaptation of the manga Blade of the Immortal, the tale of a samurai cursed with immortality.

Though Miike sticks mostly to genre work (horror, samurai, yakuza), his style veers wildly from one project to the next. Still, a thematic thread can be found in a lot of his films that questions the relevance of societal conventions. Though this theme was explored with a far more subversive touch in his 2001 gem Ichi the Killer, Blade of the Immortal shares a lot in common.

Manji (Takuya Kimura) is an insider on the outs. A samurai who’s killed his masters, he’s already doomed as the film’s prologue unwinds in gorgeous black and white. As Manji butchers his way through dozens of reprobates looking for the bounty on his head, Miike invites us into the hyperbolically brutal world of his imagination.

But it’s here, on the ground bleeding out surrounded by carnage of his own making, that Manji is gifted with immortality—a gift he takes to quite begrudgingly. Forever an outsider wanting to get farther out, he eventually takes up with an orphan bent on revenge.

Rin (Hana Sugisaki) lost her parents to outlaw bladesman Anotsu (Sota Fukushi) and his gang. Anotsu is an outsider who longs to be accepted. He’s skilled and serene where Manji is brutish and disheveled. They are opposite sides of the same coin, and for Rin’s sake, they become mortal enemies.

It’s not such an unusual plot, honestly. Though screenwriter Tetsuya Oishi complicates things with one side plot about Anotsu’s quest for acceptance and another about a rogue band of bounty hunters, the film basically boils down to one guy taking remarkable injury as he dispatches others due to sworn vengeance.

For two and a half hours.

Miike populates the corpse-strewn landscape with intriguing characters. Sure, they mainly exist to be dispatched by Manji, but each brings enough fresh personality and style to keep battle fatigue from setting in.

As is the case with his best efforts, Miike’s flair for fight staging, action choreography and bloodspatter—all of it in abundance—is on display. The result is a gorgeous, bloody mess that treads familiar ground but never wears out its welcome.