13 AssassinsPower is like a sword; it is an extension of oneself and may be used for good or evil. Power, like a sword, may be used to kill, but that grave act may sometimes be one of noble purpose. It is a serious matter to consider the idea of assassination as a course of action, but in Takashi Miike's 13 Assassins, it is one which is essential not just for the way of life at the tail end of the Tokugawa Shogunate in the pre-Meiji era Japan of the 19th century, but to restore a sense of purpose to the all but defunct caste of samurai, who find in this unified noble purpose a chance to exemplify their code of bushido.
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13 Assassins begins and ends with title cards, establishing the events of the film in the context of Japanese history, and providing background for those not familiar with the political climate of Japan in that era. While not strictly based on true events, the film paints a picture of the inherent dangers with the political system which would soon find itself facing extinction. While an era free from war was purported by the government, this Japan clearly still experienced the vulnerability of being committed to supporting a despotic and cruel sadist like Lord Naritsugu Matsudaira (Gorô Inagaki), brother to the shogun and head of the Akashi clan. So notorious is his wanton viciousness and disregard for life that officials convene with the Minister of Justice, Doi (Mikijirô Hira) to implore that he be removed from power. Regrettably, the never seen shogun disapproves, leaving Naritsugu to inevitably rise to power and it becomes clear that he will draw Japan into a state of horror and warfare without a care. So as a result of the inaction of the established system of government, Doi recruits the best and most noble samurai he knows, Shinzaemon Shimada (Kôji Yakusho) to assassinate Naritsugu. While Shinzaemon is apprehensive to play a part in a game of politics, it is when Doi shows him the carnage left behind by Naritsugu that Shinzaemon understands just what kind of monster this really is, and his samurai soul is stirred into action. Shinzaemon organizes a party of highly capable samurai under his wing, and though time is against them, they coordinate and enact a daring plan to bring Naritsugu to justice at the point of a katana. 13 Assassins is unquestionably an action movie, although the action to follow in the monumentally climactic confrontation--one which occupies the last third of the film--is built upon the foundation of creating a fellowship between the samurai and establishing Shinzaemon's relationship not just with his comrades, but with the chief samurai in the service of Naritsugu, Hanbei Kito (Masachika Ichimura). Shinzaemon and Hanbei are shown to have been rivals since their earliest days as samurai, with Hanbei ultimately taking office with the Akashi clan in his to race to catch up to a level of prestige matching Shinzaemon. Their relationship, which could best be described as a begrudging respect, is salted with Hanbei's inner jealousy of Shinzaemon's success. Their conflict is a philosophical one, in which they debate more than once about the role of the samurai in their society. Shinzaemon makes proclamations that his purpose is one in defense of the people; Hanbei proclaims that a samurai's role is to enact the will of his master...just as his sword is an extension of himself, so too is Hanbei the executer of Naritsugu's will. "My country, right or wrong." As Shinzaemon consolidates power, Hanbei predicts his actions as well as possible, leading to a riveting game of cat and mouse between the two cunning tacticians, who know each other so well that they can speculate as to the other's purpose in a duel of wits prefacing their inevitable duel of swords.
What makes Naritsugu such a compelling villain is that he represents all that we detest about abuse of power, but he carries out his will as if it were not just his birthright, but his obligation. He portrays a sociopathic lack of empathy and a hideous level of depravity which marks him as a fitting entry into Miike's rogue's gallery of sadistic antagonists, although he does so without any hint of anger. , As Naritsugu marches home from the capital, Edo, the father of a couple he murdered upon one of his unfortunate visits blocks his path in protest; Naritsugu's response is to stride forth to strike down the impudent commoner. He expresses no shame, and carries himself as though he were invincible by his position in society. This attitude has been reinforced by his samurai's devotion to protect his life at all costs, one which Naritsugu exploits at nearly every opportunity. He is a villain not only because he sneers at the people who support him, but has such a warped world view that he believes he must carry out punishment as though it were a divine proclamation. The argument against Naritsugu is an argument against this system of government which allows him to thrive, one which history shows would be dissolved a little more than two decades later. 13 Assassins shares no small similarity with Akira Kurosawa's samurai epic, The Seven Samurai, with the key distinction being that in the latter, the samurai are recruited by the villagers to stop the impending invasion by bandits. In 13 Assassins, the samurai buy out the town of Ochiai to orchestrate an elaborate trap for Naritsugu and his entourage, confronting this representation of the Shogunate directly with every tool at their disposal. In The Seven Samurai, the samurai deflect waves of bandits, with moments of respite in-between; in 13 Assassins, when the time comes for the thirteen warriors to spring their trap, there is no rest from then on, and the action becomes an endurance match with no small amount of bloodshed and martial combat. The final confrontation remains tense and exciting, but we sense the fatigue of the heroes as they battle through legions of samurai, their swords falling again and again in a massacre of retribution. When Naritsugu comments to Hanbei that if the Warring States period was this exciting, that he would strive to bring back war as a way of life, our shock mirrors that of Hanbei's expression, because we are witness to an example of the grisly portrayal of such a terrible scenario in this battle, and know that no sane man would wish to see this as a way of life going forward. Naritsugu's disconnect from reality is clearest at the denouement of the film, as is his reaction at finally understanding that this is the result of Shinzaemon, who represents the will of the people in as much as the basic human desire for dignity and justice. When all of the arrows have rained down and all the swords remain plunged into the earth, we doubt that the common folk will every truly know the significance of the battle of Ochiai, although they were ultimately the prize in this big gamble.
Recommended for: Fans of an intense samurai action film, with a colorful band of engaging characters and a serious and riveting political backdrop. Even for those unfamiliar with the period, enough background is provided to keep you informed without overwhelming you with extraneous details.
What makes Naritsugu such a compelling villain is that he represents all that we detest about abuse of power, but he carries out his will as if it were not just his birthright, but his obligation. He portrays a sociopathic lack of empathy and a hideous level of depravity which marks him as a fitting entry into Miike's rogue's gallery of sadistic antagonists, although he does so without any hint of anger. , As Naritsugu marches home from the capital, Edo, the father of a couple he murdered upon one of his unfortunate visits blocks his path in protest; Naritsugu's response is to stride forth to strike down the impudent commoner. He expresses no shame, and carries himself as though he were invincible by his position in society. This attitude has been reinforced by his samurai's devotion to protect his life at all costs, one which Naritsugu exploits at nearly every opportunity. He is a villain not only because he sneers at the people who support him, but has such a warped world view that he believes he must carry out punishment as though it were a divine proclamation. The argument against Naritsugu is an argument against this system of government which allows him to thrive, one which history shows would be dissolved a little more than two decades later. 13 Assassins shares no small similarity with Akira Kurosawa's samurai epic, The Seven Samurai, with the key distinction being that in the latter, the samurai are recruited by the villagers to stop the impending invasion by bandits. In 13 Assassins, the samurai buy out the town of Ochiai to orchestrate an elaborate trap for Naritsugu and his entourage, confronting this representation of the Shogunate directly with every tool at their disposal. In The Seven Samurai, the samurai deflect waves of bandits, with moments of respite in-between; in 13 Assassins, when the time comes for the thirteen warriors to spring their trap, there is no rest from then on, and the action becomes an endurance match with no small amount of bloodshed and martial combat. The final confrontation remains tense and exciting, but we sense the fatigue of the heroes as they battle through legions of samurai, their swords falling again and again in a massacre of retribution. When Naritsugu comments to Hanbei that if the Warring States period was this exciting, that he would strive to bring back war as a way of life, our shock mirrors that of Hanbei's expression, because we are witness to an example of the grisly portrayal of such a terrible scenario in this battle, and know that no sane man would wish to see this as a way of life going forward. Naritsugu's disconnect from reality is clearest at the denouement of the film, as is his reaction at finally understanding that this is the result of Shinzaemon, who represents the will of the people in as much as the basic human desire for dignity and justice. When all of the arrows have rained down and all the swords remain plunged into the earth, we doubt that the common folk will every truly know the significance of the battle of Ochiai, although they were ultimately the prize in this big gamble.
Recommended for: Fans of an intense samurai action film, with a colorful band of engaging characters and a serious and riveting political backdrop. Even for those unfamiliar with the period, enough background is provided to keep you informed without overwhelming you with extraneous details.