Impoverished samurai meets beautiful and sweet samurai woman, man marries woman, man meets a wealthier woman, man throws wife’s body into the river and marries his new sweetie, terrifying ghost of ex haunts man. Tamiya Iemon is the absolute worst. … Continue reading Tamiya Iemon is the Worst
A crumbling ruin. A mist-shrouded forest. A lone samurai making his way home late at night meets a seemingly defenseless young woman. So begins the horror of Kaneto Shindô’s tale of ghosts, vengeance, and the wrongs visited upon women by … Continue reading Kuroneko
Samurai films have a curious knack for expressing compassionate, humanist ideals via soul-crushing bleakness and violence. One would be hard-pressed to find a bleaker, more violent indictment of the romance of the samurai — and the culture of violence in general — than director Tai Kato’s blood-drenched and aptly named Brutal Story at the End of the Tokugawa Shogunate. This is samurai drama stripped entirely of any pretense, robbed of the myth of the noble samurai code, and devoid entirely of any sense of heroism. In the eyes of this film, the samurai of the historic Shinsengumi clan are brutish exploiters and backstabbers at best, and murderous, paranoid psychopaths at their worst. The Shinsengumi were an actual group of samurai, charged with keeping the peace in Kyoto and defending the Tokugawa Shogunate from threats both foreign and domestic — this being the period in which Japan had finally been pried open to contact with the Western world. In popular Japanese culture, the Shinsengumi have been portrayed as everything from heroic defenders of the Japanese heart to thuggish throwbacks mercilessly defending their own power at the expense of progress. Brutal Story at the End of the Tokugawa Shogunate is a particularly harsh look at them and at the entire concept of samurai.
Researching the history of Japanese yokai in cinema is a difficult task. At least, it’s a difficult task if, like me, you don’t read Japanese and are kind of lazy. Almost all of the English language writing about movies involving these bizarre and multitudinous creatures from Japanese folklore focuses on the three loosely related yokai movies released by Daei in the late 1960s — Spook Warfare, 100 Ghosts, and Along with Ghosts — or on Takashi Miike’s more recent take on those old movies, Great Yokai War. A few people will talk about the history of yokai in popular Japanese culture and the role Shigeru Mizuki and his manga series, GeGeGe no Kitaro, played in turning this bizarre assembly of ghosts, demons, monsters, and goblins into pop culture icons. But beyond that, the field of cinematic yokai studies is largely empty even though, as Ghost Stories of Wanderer at Honjo illustrates, someone was out there making yokai movies even before Mizuki published his comic book.
This movie was treading into precarious territory before I even saw it. Hidden Fortress is one of my favorite movies and not one I felt was in any need of being updated or remade. Still, I’m nothing if not fair-minded and bored late at night, so I decided to give this remake from 2008 a chance. While I told myself that I was going to judge it fairly, by the measure of it’s own merits rather than through the rosy lenses of my bias, I have to admit that i probably went in with a small chip on my shoulder regardless. Journalistic objectiveness is, after all, a myth. But I’m also not someone who is instantly offended by modern film makers remaking a classic, or what I consider to be a classic. To say The Last Princess is not as good as the original is, I think, fairly obvious. But the original notwithstanding, The Last Princess managed to be entertaining, if unspectacular. The very definition, I think, of adequate film making.
There’s a lot of things I love in life. Good food, good friends, travel, a fine kungfu film, a crappy kungfu film — the list goes on, but few things can make me all warm inside quite like a ghost story. Growing up in the rural South, ghost stories and folklore about haints, beasts, and certain death lurking in the woods were a given, and like many Southerners, I developed a healthy dark streak and affinity for the more macabre side of life — or death. Whichever. I think it probably comes from the fact that the South is a very bloody, death-filled part of America. From the Revolutionary War to the War Between the States, on to the struggle for civil rights, the soil of The South is as rich with the blood of countless Americans as it is with the history of America itself. You have to learn to deal with the dark stuff, and it’s a lot better to deal with it as “a spooky but familiar friend” than some sort of antagonist.