Director and screenplay: Motoki Katsuhide
· Sasaki Kuranosuke
· Ihara Tsuyoshi
· Fukada Kyokō
· Nishimura Masahiko
· Ishibashi Renji
· Jinnai Takanori
· Dobashi Akihiro
· Emoto Tokyo
Running Time: 119 minutes
Release Date: June 21,2014
Official Site: www.cho-sankin.jp/sp/
In the long period of peace of the time of Edo (1603-1868), the Tokukawa Shogun invented the practice of sankin kōtai (alternate presence) which required feudal lords, daimyōs, to stay alternating years to Edo, the shogunate capital, leaving Edo was able to heal the year when they returned to their possessions.
The purpose was to prevent the daimyōs from strengthening both economically and politically. In fact, they had to keep two official residences and finance expensive courtesies for their return and return to Edo. Moreover, they could not make anti-government plots because they were present in their territories only for alternate years, and because in fact their families were hostages of the shogunate. With hundreds of daimyos who went and came from Edo, a whole system of roads and places of welcome along the way, often depicted in ukiyoe, developed the polychrome prints of the period.
Starting with this historical detail, the film builds a simple but effective story that sees the wicked Nobu-chi, Shogun’s adviser, impose a false pretense on Masaatsu, Yunagaya’s squated daimyō of returning within five days to Edo as soon as these, finished ‘Year of stay in the capital, has come back to his possessions. Nobutoki’s design is to eliminate the Yunagaya clan to seize its lands.
After several consultations, Masaatsu decides to start a shameless procession, given the lack of funds, but to reach Edo himself with a handful of loyalists. By doing the road, he will meet a ronin master of ninja practices that will help them reach the goal. And she will also meet a prostitute she falls in love with. The rest I leave to the imagination of those who read …
Motoki is not an “author,” but has directed several films related to the box office, such as some episodes from the Tsuribaka Nishi series or the latest Okaeri Hayabusa (2013) and Subete wa kimi ni aeta kara (2013). While telling a graceful story, she has a certain amount of work and is able to make the spectator a little fun, even though the film lacks a minimum character characterization and almost completely resolves in pure action, more than once haughty.
Sasaki Kuranosuke in the role of daimyō does his best but can not erase the comedy actor’s footprint. Fukada Kyōko succeeds better in the role of the prostitute, though it could be better used. A successful secondary figure is that of Danzō, played by Ihara Tsuyoshi, who recalls several, unreadable, forgiving samurai that Mifune Toshirō interpreted for Kurosawa repeatedly when he does not cite verbatim.