Director : Sato Junya
Subject : from the novel by Yoshimura Akira
Screenplay : Sato Junya, was Itaru
Cinematography : Kawakami Koichi
Running Time: 137 min.
Release Date: 16 October 2010
Score ★★☆☆☆ 2/5
PIA: Comments: 3.5 / 5 At the exit of the rooms: 65/100
On March 3, 1860, in Edo, a group of Samurai mostly from Mito domain killed in an ambush at the exit door Sakurada Prime Minister Ii Naosuke, the opening agreements signatory with Western countries and a proponent of a highly repressive policy towards opponents. The attack, in fact known as “external incident Sakurada gate”, symbolically marks the beginning of the bloody internal transformations in politics and Japanese company that led to the end of the Tokugawa era and the advent of the Meiji Restoration.
The incident has given rise to many novels, dramas and films, the most significant of which is perhaps Samurai (Samurai Assassin) Okamoto Kihachi (1965). Taken from a different novel from the one that inspired today’s films and filmed primarily in the rain and snow or at night with a black and white exasperated, that of Okamoto is a memorable film that provides a grim picture of that era and vibrant deep contradictions and transformations through the story of a ronin without ideals that, while ascending the social ladder does not hesitate to kill before his only friend found guilty of treason (later found innocent) and then the prime Minister Ii, which ignores to be illegitimate son. Mifune, abandoned the tone of arrogant and gigioneschi Y ō jinb ō or Sanj ū r ō , is a negative hero incattivito and sore that in his desperate search for social ascent lost the sense of reality: Looking to become samurai when the world of the samurai It is about to end and does not recognize his real father. A Greek tragedy in Edo snow.
The film of the journeyman veteran Sato Junya (His is, among many, Otokotachi no Yamato 2005), begins almost where it ended to Okamoto, that is, with the great scene of action that leads to the killing of Ii. The rest is a long and verbose reconstruction of the events preceding and subsequent developments the attack, with the systematic capture and beheading of all attackers. The intention seems to be the historical and educational validation, judging by the hagiographic tone in which are portrayed the different actors and the last scene where, in Tokyo today, you are shown the door Sakurada same over the centuries and then, with a zoom, the palace of the Diet, as if to say that that company heroic helped found the modern Japan.
The result, however, is fairly flat. Not only lacks a Mifune (Osawa Takao, perhaps chosen for great success as chief physician in the drama Jin , bears no comparison) but also lacks an imprint directorial able to offer some minimal excavation in different psychologies of the protagonists. As always very appreciable Emoto Akira, who manages to infuse deep into every role he plays.
A historical and cinematic curiosity: the door of Sakuradamon was rebuilt for the occasion in the Mito area, the place of origin of the protagonists of historical events.