User reviews

Kitano's update on the legacy of one of Japan's most iconic cinematic figures is an exhilarating watch, the more tender moments conflicted by a barrage of bloody violence. Takeshi remains true to his source, undergoing the sedate transformation to play the blind swordsman and part time masseuse Zatoichi himself, as well as co-ordinating the action. His purists will no doubt abhor the witty sense of fun laid on thick in certain characters (a gambling sidekick and an insane neighbour) and the little nuances of irreverent genius (a drum dancing soundtrack and a ho-down finale orchestrated by Japanese dance troupe 'the Stripes'), but this isn't the Yakuza bloodletting of his earlier films, rather a more charming reflection on feudal life, with a distinct post-modern twist. Further confirmation of this is provided by Takeshi's story, which focuses more on the plight of two avenging Geishas (one male) hunting for the prestigious killers of their parents, rather than the motivation for our titular hero, yet Zatoichi does leap into action when he agrees to assist the siblings. Each frame is a Kurosawa-esquire masterstroke. This is Zatoichi for a new era, and with such a breathtaking start, it will be hard for Kitano not to return to his new-found alter ego any time soon.

This is the second Zatoichi film I watched after Zatoichi vs the One Armed Swordsman.. it was better than the one I watched earlier.. a lot of scene with added CGI make it better although the CGI might be dodgy or low budget but all it lacks he make it up in acting.. the plot is Zatoichi saves the small village terrorised by two Yakuza clan and the Naruto family vengeance by both brothers and Sisters act as geisha... every character depicted in the movie is interesting from the Ronin to the aunt... initially I was going to rate the movie 8 but the closing act of dancing and the song make me rate it a bit higher.

It is fantastic movie. I surprised that actors plays "Batto-Jutsu" which uses Japanese swords and battles with enemy. It is Japanese traditional act, but I had never seen such a beautiful and cool act. It is action and a period film. However, it is little grotesque because there are bloody scene in it, so I was little scary. The director is Takeshi Kitano. This movie is full of entertainment and some scene like musical. Actors dance tap dance with wearing "Geta" which is Japanese traditional shoes. It was amazing. I like that musical scene. Very rhythmical and powerful scene will make people enjoyable. I recommend to watch it not only Japanese people but also foreigner. I think this movie holds Japanese traditions and new entertainment.

The blind masseur and former samurai Zatôichi (Takeshi Kitano) is drifting and arrives in a small village dominated by three tyrannical lords, Inosuke Ginzo (Ittoku Kishibe), Tashichi Ogi (Saburo Ishikura) and Funahachi (Koji Koike). He helps an old woman and she lodges him at her home. Zatôichi gambles and the old lady's nephew, a complete loser, becomes close to him and Zatôichi helps him in the bets. They meet the geishas Seitaro 'Osei' Naruto (Daigorô Tachibana) and Okinu Naruto (Yuuko Daike), actually a brother and a sister that have been chasing the killers of their parents, Inosuke, Tashichi and Kuchinawa, for ten years seeking revenge. When the ronin Shinkichi (Gadarukanaru Taka) offers his service of bodyguard to Ginzo, the boss decide to destroy the Funachi gang and join to Ogi later. But Zatôichi decides to help the village and get rid off the criminals.

"Zatôichi" is a good movie of Takeshi Kitano visibly inspired in "Sanjuro", of Master Akira Kurosawa. The gore story has adventure, excellent choreography in the sword fights and lots of humor; there is a samurai without a master offering his services of bodyguard to a gang in a small town; and in the end, the gangs are destroyed; therefore there are many points very similar to Sanjuro. The parallel plots are well constructed and the cinematography is very beautiful, highlighting the blood in the sword fights. My vote is nine.

Title (Brazil): "Zatoichi"

beat takeshi's tribute to shintaro katsu has been a little controversial as one could have predicted. The final entry of the series, directed by shintaro katsu himself, was also controversial, since it is the bloodiest, most uncompromising, and most swiftly paced of that series, presenting us with pretty raw film with some unsettling themes. - ultimately, zatoichi leaves the world pretty much as corrupted by yakusa as he first finds it.

takeshi's zatoichi comes to us very stylized - blond, with clean clothes, a very neatly crafted sword cane. The violence is augmented by CGI blood spurting (in the documentary accompanying the film on DVD, takeshi is frank that he wanted the blood to look a little phony). And then there is the dance segment at the end, foreshadowed throughout the film by rhythmic natural sounds of men and women at work.

After trying to get a hold on this film and its clearly complex relationship to the original series, through multiple viewings of the film, I think I've finally grasped that the dance sequence is really the heart of the whole film. no matter what you think of it in relationship to the rest of the film, it's extremely entertaining ; so, perhaps that's all we need to know about this film - perhaps it's all we need to know about the original zatoichi series as well.

There is a strange question that recurs again and again in Takeshi's films - what do we do to entertain ourselves when death is near, and there's neither need nor possibility of accomplishing anything with a purpose? In most of Takeshi's films, the proper response to that question is to live life like a circus. Here, obviously, salvation is to be found in dance. I'm not sure that these answers are satisfactory; but the question is too disturbing to ignore.

Takeshi Kitano's take on the legendary character of Zatoichi has finally arrived and its a great film.

As Zatoichi wanders the country side he helps an older lady carry a load. She allows him to stay the night and before long he's involved with the lives in the near by town and two sets of travelers who are there for their own purposes.

That's about the best description of the plot that you can get with out revealing too much about whats going on in the movie. The danger is not in you knowing whats going on, rather its the joy of finding out as the film progresses what all the stories are. The stories are told in a disjointed, almost haphazard sort of way, much like the the memories they are. The flashback device is both a strength and the film's only real flaw, in that at times we can't be certain for a good portion of the flashback when its occurring. Its a bit jarring and while I'm certain it will play better on later viewings, here on the first viewing, it kept breaking the spell.

The spell the film weaves is unique, as is fitting a truly unique film. How many other "samurai" films end with a huge tap dance number? The movie is funny and touching; at times very serious, at others considerably less so; there are explosions of violence and moments when nothing happens for a stretch. It tells a simple story of a town over run by criminals but it also asks you to consider other issues, like what would you do to survive?

The film is very bloody, but not overly so, especially considering that all of the fights involve edged weapons and that Takeshi strove for a realism of sorts by having the battles over almost before they start. There are limbs and blood flying about.

I really like this film simply because it confounds your expectations. It doesn't go and do what you want when you want. There are one or two things I thought were being built up for a punchline, but it never came. There are also a couple of times when I thought things were over but they kept going. This film has a rhythm all its own. There is a music, literally, in what happen on screen, be it farming, training, building, or dancing. It is what it is and makes no apologies for it.

If you love movies, samurai, off beat or otherwise just see this movie. It will probably stay with you well after you see it.

9 out of 10.

Zatoichi is a blind old sword master. He happens to find himself in a village with oppression of common people. He never hesitates to get himself involved, hence facing quite a few conflicts and fights.

The movie is never sentimental. The movie is at all stages relieving. The humor and the main characters' distance to himself makes this movie a pure joy to watch. Also the artistic music parts of the movie makes you happy. But the movie never looses it's excitement, and the sword fights are master pieces in fighting skills and originality.

Personally I am fed up with "Crouching Tiger", "Hero" etc look a likes, where everyone and everything is so dead serious and the fighters become even magical in their powers. In this movie you know that you're still in this world at all times. People are just people and not semi-gods, and clearly limited to the constraints of this world.

The Japanese culture and traditions are contradictionary well expressed by the steps away from them, by how people react to these cultural breaks. The movie is full of life wisdom, and joy of life.

This is simply an exciting and very creative master piece. 9/10

I must admit that I'm not really familiar with the samurai genre so can't say how it compared to similar films however just looking at it as an action film I really enjoyed it; it had plenty of great action, several nice comic scenes and characters the viewer can care about.

Beat Takeshi plays the eponymous Zatoichi, a blind masseur who is also a master swordsman. He moves into a village that is being oppressed by a local gangster. Here befriends some locals and a couple of geisha who aren't quite what they appear to be. Into the mix is thrown a samurai who has taken a job with the gangster to pay for medicine his wife needs.

The opening scene where Zatoichi is confronted by a group of gangsters shows how the film will continue with both action as he fights them off and slapstick comedy where one of the gangsters accidentally cuts one of his comrades when he draws his sword. The blood spray from sword cuts seems exaggerated but not to an excessive level.

Takeshi is great in the title role and is ably supported by a good cast including Tadanobu Asano who was great as the samurai and Gadarukanaru Taka as Zatoichi's somewhat humorous friend.

It isn't often one can view a foreign film with a sense of wonder and artistic creation. The film "Zatoichi, the Blind Swordsman" arrives with such a directness of purpose that upon viewing it, anyone with an appreciation for beauty and culture is easily awed with the unique elements which conjure up this magical surprise. This film is laced with numerous threads of genuine uniqueness which when viewed simultaneously, creates a true rendering of Japanese storytelling. Seen through critical western eyes, one can see the many amateurish brush-strokes rendering this film as nothing more than Asian aesthetics. But seen through the visionary artistic eyes of any viewer which seek compelling drama within a Japanese canvas, this is a masterpiece. The surface story is that of a blind masseur and former samurai Zatôichi (Takeshi Kitano) wondering about the countryside. Entering the sphere of a troubled village over-run with rival gangs and war-lords, a duo of beautiful Geisha girls (Brother/Sister) seeking patricidal revenge and a deadly Ronin, Shinkichi (Gadarukanaru Taka) offering his protective services as bodyguard. The film offers insight into what is lacking in American films, but can only be found in a few. All in all a classic in many ways. I champion such efforts. Well done indeed. ****

Kitano's remake of the classic multi-part samurai tale keeps with the spirit of the old pictures, but adds a feeling only 'Beat' Kitano could add.

Zatoichi again finds himself in a heap of trouble not his own when he takes shelter in a village controlled by violent gangs. At first half-heartedly avoiding the conflict, he is soon drawn in when he meets up with some colorful characters with vengeance in mind.

Kitano is has never been shy about bringing on the bloody shed and this samurai swash-buckler is no different. Limbs get sliced off, skin gets split open, geysers of red spurt left and right, but he treats the violence with a near comic over-representation; it's simply too exaggerated to be taken seriously. He has also chosen to incorporate his off-beat sense of humor which makes for an interesting union with the traditionally serious trappings of a samurai piece.

On the technical side he is at the top of his game. Color, lighting and sound are all excellent. The only real down side to the film is the actual plot; while the writing is good, the story is all to familiar and cliché.

Recommended to any one who wants to watch a good, fun movie, but especially to samurai film fans as this is the best one of it's kind to come out in a number of years.

9/10

Came upon this film by chance when flicking through the channels last night and was not disappointed at all. The story is similar to the Seven Samurai but done in a way as not to feel you have see it before. The action is well paced and realistic and the storyline and Characters have been really well written with even the humour coming across (one humorous scene reminded me of the 3 stooges).

I shall be looking out for any other films by this director (who is also the main Character) though I'm worried that they may be disappointing in comparison. Highly recommended (I shall be looking to buy it on DVD now).

While many may be put off by the Japanese audio with English subtitles, this is one of those films when even those critics will be silenced. Combining incredible action with vivid cinematography Zatoichi is a film that can be watched by anyone.

Takeshi combines humour, violence and story in a way few directors manage. The fight scenes are incredible to watch, and will leave you impressed even if you are a student of such arts. The flair given by the blood work leaves one in a state of visual wonder. The humour is well paced and works so very well within the film. Even the moments of great sadness are woven together with such skill that you will wonder how the director and actors managed to say so much while speaking so little.

A modern great, heartily recommended.

If you liked Kill Bill you will like this movie. It is not a 'blockbuster' according to American standards but when we see the film we have to take into account that this is not an American filmmaker. Zatoichi is a fascinating story about a man who is blind and can still kill you! Kitano has taken this story and, by perfecting his own swordsmanship, created a beautiful action movie. Instead of glorifying the death and fake, showy samurai he has shown us traditional techniques and made it accessible to a 21st century audience. This movie is not for everyone but it is certainly one of the best action features of its time. The Japanese culture is a beautiful one and one of complete respect and restraint. You see in this film that neither the Ronin nor Zatoichi expends more energy or movements then necessary. A fantastic tribute to the blind Ronin.

Take a blind, aging, shuffling masseur in 19th century Japan who still possesses incredible and deadly precision and match him against several gangs of bad guys and ex-Samurais and voila, you have a mixed bag of comedy and a series of blood baths. The Japanese auteur Takeshi Kitano, director of such masterpieces as `Fireworks' and `Sonatine', embraces the iconic character of Japan's longest-running and best-loved film series, `The Blind Swordsman: Zatoichi' as the lead actor and the director.

Best known for his gripping Yakuza gangster films and as a famous comedian, Kitano has laid down his guns and taken up the keen edge of the Samurai sword, slicing and dicing the bad guys in Shakespearean quantities. This white-haired, shuffling and bowlegged masseur masquerades as a harmless old man, however quickly dispatches the villains with lightening speed without remorse or hesitation.

This film is distinctly an oddity. It combines awesome and mesmerizing swordplay, corny humor, wonderfully choreographed and delightfully performed Japanese dances, cross-dressing, a creative glimpse into classical Japanese culture, combined with captivating cinematography and spiced with one gore fest after the other. It is fascinating that the gore has such an innocent and comical quality to it that even the most squeamish of us would not take it too seriously

While wandering through villages earning his living as a masseur and using his unique senses to beat the gambling casinos all the while posing as a shuffling old man, it comes as a amusing surprise that he is a Samurai warrior without parallel. At the one village, he finds the mountain people there at the mercy of Ginzo, a ruthless gang leader. Typical of such gangsters, Ginzo disposes of anyone in his way. Ginzo goes so far as to hire the out-of-work Samurai, Hattori (Tadanobu Asano), to annihilate a rival gang. After befriending a deadbeat gambler and breaking the bank in the primitive gambling hut, Zatoichi is forced to dispatch the entire gambling crew, who are also in Ginzo's gang. He then meets the lovely Geisha brother-sister team who have come to town to avenge the killing of their parents at the hands of Ginzo.

The storyline is really not all that original, however the execution and style are fascinating to behold. Instead of six-gun justice, the swift and deadly swordplay emanating from the incongruous blind old man is sort of a delight in of itself. After a while, the spurting blood takes on a persona much like the old westerns where dozens of evil cowboys would clutch their chests and fall off their horses after being shot by the dude in the white hat. Interwoven in all this triteness, rises the unique Japanese culture, music and dance that trump all the violence. A captivating and absorbing saga that delivers a delightful variety and a symphony of beauty, culture, and humor.

Seeing as Zatôichi came out between Kill Bill vol. 1 and vol. 2, and both films include the same kind of bloody samurai fun, a comparison might be warranted.

Both are part comedy, part drama and part mindless slaughter, an explosive combination to say the least.

Kill Bill kept the drama to a minimum, and instead indulged in an often ridiculously funny bloodbath, never letting the audience come too close to the characters. In other words, mindless fun. Zatôichi, on the other hand, is less comedy, less mindless slaughter and more sinister drama.

We engage the characters and become emotionally involved - and this is where Kitano's Zatôichi fails. Kitano crosses the line, and makes the film too dark for comedy, and yet pushes on with some genuinely hilarious scenes that just seem jarring.

On the bottom line, Zatôichi is still a good film, and definitely worth watching, despite its flaws. The acting, scenery and camera work is excellent, and the result is enjoyable.

I will not begin to compare the overall qualities of Zatôichi and Kill Bill; such a comparison would be meaningless. One is pure fun, the other is quite sinister in places. Both excellent themes - just, perhaps, not in the same film.

The story of a blind masseur, who turns out to be a superb swordsman, and master of martial arts. Visually the movie is a feast, plenty of colour in the costumes shot against the backdrop of bland buildings and countryside, in bad weather as often as not.

As previous commentors have said, arty direction, interesting characters, and excellent swordplay. While it is not too gory, there is plenty of blood, and on the whole it's well done, although there are many places where it is ovious that the blood is digitally edited in after filming. The subtitles are well placed on screen, very readable, and not intrusive at all.

I give this a 9, with slightly better CGI, this would have been a 10.

Although in the line of the new hype of samurai epics, Zatoichi is an outstanding movie. In one sense it seems to be a remake of Kurosawa's Yojimbo (The Bodyguard), because of the similar story of an excellent swordsman freeing a town from a criminal mob. On the other hand it is in one line with Tarantino's Kill Bill and Edward Zwick's Last Samurai. Compared to both the choreography of the fighting scenes is sword art at its best and shows the convincing authenticity, the other two lack. So in my humble opinion Zatoichi is standing on top of the line of recent samurai epics and right next to Kurosawa's masterpieces. One of the best movies I have seen in this genre.

Although in the line of the new hype of samurai epics, Zatoichi is an outstanding movie. In one sense it seems to be a remake of Kurosawa's Yojimbo (The Bodyguard), because of the similar story of an excellent swordsman freeing a town from a criminal mob. On the other hand it is in one line with Tarantino's Kill Bill and Edward Zwick's Last Samurai. Compared to both the choreography of the fighting scenes is sword art at its best and shows the convincing authenticity, the other two lack. So in my humble opinion Zatoichi is standing on top of the line of recent samurai epics and right next to Kurosawa's masterpieces.

One of the best movies I have seen in this genre.

If like me you found KillBill the biggest anti-climax of 2003, then a remedy awaits your blues in the form of Takeshi Kitano's blind Samurai Zatoichi. The story echoes Eastwood as The Man With No Name - the lone warrior righting the wrongs - and certainly has the flavour of a Leone tale with beautifully structured flashbacks that enhance rather than negate the story. It is also gloriously amusing with a slapstick slant that entertains amongst the carnage. Blood spews like fountains of red wine and Tarrantino can only watch in awe to the choreography that makes you accept as opposed to watching Uma Thurman and saying 'As If!'

Zatoichi is the blind wanderer with a shock of blonde hair, a cane that transforms into a sword, and a legendary mastery of samurai warrior technique.

As a film, Zatoichi is distinctly oddball. It combines awesome and mesmerising martial arts, zany humour, varying types of beautifully performed Japanese dance, rhythms from everyday sounds, violent buffoonery, cross-dressing, beautifully depicted classical Japanese culture, wonderful cinematography and artery-popping gore.

If you are not too squeamish. Zatoichi is an unmissable feast. It's also subtitled, but as it's a very visual movie the minimal dialogue won't be a problem for you even if you tend to avoid anything other than English dialogue movies.

Zatoichi earns his living as a masseur and by a spot of gambling. Posing as a shuffling old man, it comes as a neat surprise (within the first few minutes and repeatedly throughout the movie) that he is a swordsman without parallel. He generally rights wrongs where he finds badness - and, as there is no shortage of badness, there is no shortage of baddies inventively split open in the delicate twinkling of an eye. We also encounter a cross-dressing orphan posing as a geisha, a mad neighbour posing as a samurai, and a plot-thickening bodyguard fighting to save his wife. They are woven into what is little short of a modern masterpiece of Japanese cinema from the diverse and accomplished Takeshi Kitano (who artistic career includes directing films like Battle Royale, acting in films as varied as Johnny Mnemonic and Merry Christmas Mr Lawrence, writing novels, winning major awards and being a cult figure of Japanese television.)

Seeing as I am a fan of both Beat Takeshi films and the old school Zatoichi films my anticipation for this film was killing me. Well, I saw it yesterday in Toronto at the Elgin Theatre and by the end of the film my expectations were surpassed.

Those who know Zatoichi will be happy to finally see Ichi, the travelling, gambling, masseur anti-hero back in action and bloodier then ever with some gore as well. Those who are happy to see Kitano back will be happy to know that he has reedeemed himself since Brother which seemed lazy and rushed for a Kitano film. Zatoichi is an exellent film nicely paced combining old school samurai film elements with Kitano's own sense of pop-culture, strong characters and of course great bloody swordplay and lots of it. A great film by an even greater director.