The Last Samurai (2003)
Rarely does a film have an emotional
resonance as strong as "The Last Samurai." This is
a film of epic proportions and yet it possesses a
subtle, quiet and honest dignity. Fascinating, unique,
eminently engrossing, the film takes us on a journey
unlike any other we've seen in American cinema.
Tom Cruise has a fascinating character
to portray here and he does so with a manner which
perfectly personifies the ideals and traits of that
character. Truly, when one witnesses Cruise's performance
here, one realizes that he is worth every penny of
the huge salary he commands. Sure, Cruise is a highly
attractive man, but he does not rest on his physical
attributes usually and this is especially true here.
While he is always physically appealing in the film,
this heart of the story really has nothing to do with
that. Cruise is playing a character with a troubled
history who is haunted by demons of conscious and
his performance, aided by wonderful filmmaker Edward
Zwick's direction, provides many dimension in which
the themes of the story play out.
Cruise, playing Nathan Algren, a
retired and troubled Civil War hero, ends up in Japan
during the time of the Samurai, or, to be more precise,
during the end of the time of the Samurai. His is
an interesting journey, one that gets him stranded
in a Samurai village, and Algren, at first reluctant,
soon learns to accept, honor and live by the code
of the infamous warriors. It is through Algren's ignorance
that we are taught, like him, the ways of the Samurai
and begin to respect them as does he.
"The Last Samurai" is remarkable
for its ability to take two approaches to film genres
and make each work together in a single piece. The
story and characters are paramount here. Without these,
the film would fail. Likewise, the battle sequences
are of utmost importance to the story and characters.
Without these, the film would not be whole. Zwick
moves seamlessly and beautifully between these somewhat
diverse structures and redefines the "war" movie for
us. His characters are rich and their evolutions amazing
arcs. We love the characters and stories here and
are transported to another time, another country and
another way of life. And when the film ultimately
culminates in an epic battle, with knives, swords,
guns and cannons all at play, Zwick and Cruise are
as amazing at presenting this action as they are at
the telling of the story. The battle sequences are
not only amazingly choreographed and action packed,
keeping us on the edge of our seats, they are also
perfectly realistic. Everything in the film rings
of authenticity. The costumes and props are amazing.
The images here are often breathtaking.
I know nothing really of Samurai
films. I'm not ever sure that I have ever seen one.
If you are looking for an in depth comparison of this
film to the traditional models of the genre, you will
have to look elsewhere. (And I'm sure there is a plethora
of sites out there with just such analysis of the
film). But if you are like me, someone who has never
really seen a Samurai film and are not sure what they
are all about, I can assure you that this is one of
the best you will ever see. And it acts as a wonderful
introduction to the genre because Cruise's Captain
Algren, like our uninitiated selves, knows nothing
of Samurai culture either. We learn and begin to understand
the concepts of the ideals with him. Together, we
take an amazing journey.
Note:
In English and Japanese with subtitles.
Also with Timothy Spall, Billy Connolly
and Tony Goldwyn.
Produced by Zwick, Cruise, his partner
Paula Wagner and others. Cruise took no "up-front
money" for doing the film.
Score by Hans Zimmer, his 100th
film/TV score.
Filmed in Japan, New Zealand and
America.
Not to be confused with the 1990
film starring Lance Henrickson or the 1974 Japanese
import, both with the same name.
Viewed in Austin in December 2003.
