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The Last Samurai Review: “The Last Samurai” surely has everything that one would expect from an epic film, such as intense battle sequences, stylish sword fights, heroism, love, and honor. However, the film's centralities are its human and cultural aspects, and director Edward Zwick does a masterful job of telling this epic story. The film takes place a few years after the Civil War, and finds Captain Nathan Algren (Tom Cruise) as a depressed drunk that is out of luck and money. Though a renowned war figure, the horrors of war, which include the slaughtering of Native Americans, have left Algren without much left to live for. His life is changed, when he is given a proposal for his expertise that will pay him five-hundred dollars a month. His new job consists of him going to Japan to train the emperor's soldiers in the art of war by American standards, which includes arterially and strategy. Japan at the time is a society that is leaving behind its heritage to become more Western, also know as Pragmatism. Once arriving in the foreign land, Algren learns of the Japanese's current enemy, which are their own Samurai soldiers led by the great warrior Katsumoto (Ken Wantabe). The Samurai reject Japan 's Western change and want to maintain their values and way of life, by any means necessary. As Algren continues to learn of the revolt by the Samurai soldiers, he is ordered to go into battle with many untrained men. Pleading that the soldiers are not ready, the army is ambushed by the Samurai warriors and in the process Algren is captured by Katsumoto and taken prisoner to a hidden community. Katsumoto does not kill Algren, due to the fact that he wants to know his enemy, and what he is teaching the Japanese army. Wounded and rattled, Algren becomes frustrated with Katsumoto's many conversations of war, by constantly yelling, “What do you want from me?” Over the next months, Algren is taken care of by the Katsumoto's beautiful sister, Taka (Koyuki), whom he widowed by taking the life of her husband in battle. Algren is placed in a different setting, a different culture, and begins to understand the Samurai's way of life, which consist of courage, honor, and loyalty. The unlikely friendship between Katsumoto and Algren develops, and the American Captain begins to find his identity within the peaceful and compassionate culture. Edward Zwick, who has previously directed the superb films “Glory” and “Legends of the Fall,” delivers another great one with “The Last Samurai.” The film is beautifully shot by Zwick and the great cinematographer John Toll (“Legends of the Fall,” “Braveheart”). The beautiful landscapes and colors of Japan are vividly presented. The battle sequences are powerfully captured, to where the chaos is felt, but the violence is never overblown. The sword fight scenes are also a treat to watch. As mention previously, the human aspects and levels of the film are what rises above all else, and Zwick maintains its consistency through out the film. The clashing and acceptance of values are realistically revealed as well. An example is that it takes time for Algren to learn the Japanese language; he does not just learn it over a few days. There are some scenes in the film that are reflective reenactments of Zwick's previous choices in “Glory,” but the choices work in this film nonetheless. Hans Zimmer also delivers a vibrant and striking score to contribute to the film's quality and feel. Zwick also co-wrote the film with two other writers, including “Gladiator” scribe John Logan. The script works significantly as a blueprint for the film's exhibition and sequencing. There are aspects in the script that could have been really cliché, like the quiet villain with a birth mark on his cheek or the perceived winks at treasonism and epiphanies. Though some of the aspects in the finale of the film go a little overboard, the script never really falters, it maintains composure and overall is pretty well conceived. Tom Cruise delivers a courageous performance as Captain Nathan Algren. Though not the best of his career by any means, Cruise is still shows his range as a movie star that is actually a fine actor as well. As Katsamoto, Ken Watanabe delivers the film's boldest performance with his wonderful tactics and demanding facial gestures. Watanabe might be mention in the category of Best Supporting Actor this Oscar season for his performance. The rest of the cast serve their purpose well, which includes the beautiful Koyuki as Taka, the great Billy Connolly as Algren's close friend, and Tony Goldwyn as an egotistical commanding officer. “The Last Samurai” is very similar to Kevin Costner's “Dances with Wolves” in a lot of ways, especially with the cultural aspects. The feel of the film itself is similar to other epics such as “Braveheart” and “Rob Roy.” This is a very entertaining film that could very well receive numerous award nominations. Edward Zwick has woven together another engaging and impressive film. “The Last Samurai” is one of the best films of the year. Grade: A 12/05/03 By Joseph C. Tucker Who and what were the illustrious Japanese warriors known as “samurai”? What were their ideals, who did they protect and who did they wage endless battle against? Furthermore,
where did they go? It is that final question that looked
at in the feature film, “The Last Samurai”. Bagley brings a disgraced Nathan to meet some prestigious men who have journeyed from Japan. The men want an American war hero to help train and arm their troops as they wage war on some rather brutal rebels. In a drunken stupor, Nathan agrees. Nathan is whisked off to Japan where he finds that there are two worlds within the evolving Japanese society. A lot of these ways reflect highly upon Nathan and his experiences as an officer. How will this distant land affect a lost man like Nathan? Who are these rebels known as “samurai”? And how will Nathan make it home alive when confronted by them? The best way to describe the “Last Samurai” is that it’s an amalgamation of “Dances With Wolves” and “Glory” but set in Japan. The script writers and director Edward Zwick, who uncannily directed “Glory”, have found a way into the world of the samurai without forcing away the audience. We learn, understand and feel for these people as we pull back the curtain to see the way they once were. Casting Tom Cruise is actually a good thing for this film because we need someone so out of place and alien to the world so that we can experience it through his eyes. It is always nice to have a “tour guide” character in a historical epic. The reason being is that it’s hard for modern thinkers to relate to times without modern conveniences. I liked how Cruise brought some of his Oscar-nominated “Born on the Fourth of July” performance to his incarnation of Algren. Just like his character in “Born”, this character is betrayed by war and frustrated at his over-seers. Cruise develops a raw intensity and it works well against the controlled and methodical “bushido” code of the samurai. The relationship between Algren and the Japanese mother, Taka (Koyuki), was wonderfully laid out. The filmmakers resisted the temptation of a tumultuous relationship between the characters. It is almost a poetry of eyes and unspoken thoughts. It is beautiful, eloquent and so memorable. Probably one of the most amazing parts of this film is the attention to detail that was paid in carving out the rural “samurai” village and crowded 18th Century Tokyo streets. The tiniest little detail is paid in each frame of the film. “The Last Samurai” is probably the best film about westerners and the samurai since the epic landmark mini-series “Shogun”. There is a lot of homage here and it often took me back to that series. The battle sequences and restructuring of the Japanese world years after the events in “Shogun” make “Samurai” stand on its own. I love the epic feel of feudal Japan and the history of the lost traditions. On a personal level that is probably why I loved this film so much. I did however find a couple flaws in its depiction. The film’s ending feels tacked on and it so takes away from the majesty of a lot of moments housed within the film. I am not sure all of it was necessary. Well
what happened to the “samurai”? Like all great
things they were probably replaced with a microchip. But
it is safe to say that the bushido code does live and evolve
in a lot of us. Writer-director Zwick has a way with complex movies about bravery and honour (Glory, Courage Under Fire), although he also tends to slightly overcook the material (The Siege, Legends of the Fall). This film brings out both tendencies in an entertaining but uneven battle epic. By the mid-1870s, Nathan Algren (Cruise) is a bitter veteran of the US Army's attempts to subdue the Native American population. He accepts an offer of work from the Japanese government, just to get away from the demons that haunt him ... although he's still working with his bloodthirsty commander (Goldwyn)! The new job is to train and equip the army of the Emperor (Nakamura) to suppress the Samurai rebellion, but it doesn't quite go to plan. Soon Algren is captured by the Samurai lord Katsumoto (Watanabe), who's curious about this tenacious, troubled American. And as Algren begins to understand the Samurai code of honour, he begins to find his real self. There's a terrific central story here that really draws us in, and Cruise's strong performance engages us in Algren's quest. As usual, Cruise throws himself headlong into the role--physically, emotionally and dramatically--and even if it's a rather self-conscious performance, it's some of his best work, with moments of gut-wrenching drama and astonishing physicality (he does all his own fighting and stuntwork). Watanabe is excellent as his spiritual foil; supporting characters such as the Samurai played by Sanada and Harada (and others) are fascinating and very well-played; and the amazing Spall shines in a small but key role. The film also looks amazing, with spectacular New Zealand scenery standing in for 19th century Japan. But Zwick's choices as a director are more troublesome--the film is choppy and over-edited, even in the quiet moments, with action scenes that rarely grab hold simply because we can't see what's happening. And the script refuses to immerse itself in the complexities of the culture, continually defining everything in Western terms. At first this echoes Algren's experience, but as he embraces the Samurai ways, the film finds itself at odds with him. Depth is only glimpsed in the complex emotions in the actors' eyes; everything else is simplistic or muddled. And while the film still has seriously powerful moments, it's never as profound or telling--or as gripping or emotional or even as sexy--as we know it could have been. 1876, consumed by guilt over his actions during the military campaigns against the Native Americans, Captain Nathan Algren (Cruise) had taken to drink to numb his pain. Tales of his deeds on the battlefield however, had spread as far as the orient and the Emperor of Japan himself had requested that Algren be recruited to train his troops in modern combat techniques. The army was needed to quell a rebellion by samurai leader Katsumoto (Watanabe), who though his country was becoming too obsessed with western ideals at the cost of the old traditions. When his newly trained troops are sent into battle far too early, Algren is captured and taken prisoner by the samurai but during his time in their custody he begins to find redemption in their accent customs.
Honour is the true essence of the way of the Samurai and filmmakers behind The Last Samurai have treated the story of the 1877 rebellion with that very much in mind. Director and screenwriter Edward Zwick combines with Gladiator scribe John Logan to bring us a movie filled with exhilarating fight scenes, invigorating battles, captivating characters and most importantly a story that is filled with respect. This is film that pulls no punches in showing American’s push for global industrial dominance and its wiliness to arm a nation in exchange for an iron clad trade contract. In fact the advancing wave of industrialisation is the real villain of the piece, as the once great traditions of a nation fall by the wayside under this inevitable assault. Along with this march to be modern, the film showcases the traditional ideals of the samurai’s way of life. Every aspect of their lives, from their code of honour and training to their religious beliefs are shown in respectful detail making you understand why Captain Algren was drawn into their world. The attention to historical detail echoes the respect given to the themes. The set and costume designs are superb capturing the time exactly make the whole production look very authentic. From the Japanese army uniforms to the exquisitely recreated samurai armour and the brilliant recreation of a tradition village, the whole production is steeped in respect and admiration of the era and the story they are trying to tell. The fighting and battle sequences are quite simply exhilarating and the filmmakers stick with the modern philosophy of no-holds-barred, authentically detailed re-enactment. The camera takes you into the thick of the action and then pans out to show the sheer spectacle of what is going on. As howitzer cannons and Gatling guns pour down their flak and bullets onto the charging samurai, you witness the dying embers of a soon to be forgot age disappear before your very eyes. It is heart wrenching and harrowing but you can help but feel a sense of honour for these brave warriors. Historical accuracy, a good story and an astonishing look would be nothing without great performances and The Last Samurai is filled with them. First and foremost is Tom Cruise’s best and most challenging role since Magnolia. While he explored his darker side in that film and Vanilla Sky, this movie is a whole different ball game for the actor. We all know he can excel in the physical elements of the script but it is the way is reveals the character’s mental anguish over past deeds and his growing sense of self worth that sets this performance apart from the rest. This is a tour-de-force for Cruise, proving that he is a character actor that you can take seriously and not just a megastar paid to bring in the big opening. He seems to come into his own with projects he feels passionate about as he did with Magnolia and Born on the Fourth of July, where the emphasis is the story or the character and not him. Ken Watanabe’s role of Katsumoto steals some of the limelight from star however. This is a commanding performance from the Japanese actor. Every time he graces the screen he grabs your attention such is his presence. He oozes honour and respect as the leader of the rebellion, pulled between loyalty to his Emperor and the traditions he wants to live on. Good support comes from the every reliable Timothy Spall and Tony Goldwyn. Both play their parts superbly, with Goldwyn’s Colonel Bagley an instantly dislikeable thorn in Algren’s side. Koyuki as Katsumoto’s bereaved sister Taka and Hiroyuki Sanada as his second in command Ujio as also extremely good in their roles, with the hostility between Ujio and Algren been a highlight. While Edward Zwick and his team might have taken a few liberties with history (the samurai revolt is real but an American was never involved), this is still a riveting story that emphasises Japanese culture more than just America wanting to rewrite history. This is historical story telling mixed with the pure spectacle of modern cinema at its very best and you will end up wishing that all movies were made with the same amount of honour and respect as The Last Samurai.
Star Rating = * * * * *
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