A fantasy of romanticized Japan

Rating: 7/10 (18 December 2003)

The Last Samurai is an epic that features Tom Cruise, in a film that seems to draw some inspiration from either Dances with Wolves or Lawrence of Arabia. The similarities extend to some degree where these films all share a common trait that features a protagonist who is confronted by an alien culture, but who grows to appreciate it enough to sacrifice his life upon its defense. The similarities cannot resolve the inevitable differences, though, when it becomes clear that the Last Samurai does not delve more deeply into the culture that the movie draws other facets of wonder.
The film describes a tribulation of a certain Nathan Algren, who is wasted with guilt for having taken part of systemic massacre of native Americans during the nation's expansion toward the west. He is called upon by his former colleagues to help modernize Japan's army. Despite reluctance Nathan travels to Japan, only to be haunted by his old fears and but this time strives to challenge them...
There are more than a few novelties or liberties that can be counted upon when it comes to manipulating the viewer's perspective on a different culture as depicted in film. How Tom Cruise's character, Nathan, survives his first conflict with the Samurai is a prime example of how Japanese code of honor is fused with Western ideals of compassion. How Nathan resolves his guilt with the widow of a fallen warrior in the prime showcase of forgiveness triumphing over a cycle of vengeance is another such example. What amounts to be a fairly detailed and appealing rendition of Japanese culture ends up being a hopelessly romanticized view engendered only for your viewing pleasure. Also, it does not certainly hurt that Tom, an embodiment of the collective conscience of viewing public, embraces the culture fully.
For me, however, this implausible and sweeping depiction of the culture is the greatest failing of this movie. It is a fairy tale, and what with one principle character drawn from the real life equivalent in that particular era of Japan, among other things, it is a mishmash of parameters for a setting that confuses rather than informs.
However, if one is prepared to accept the setting as it unfolds and view the film with an open mind while negating preconceived notions of anything realistic that one would expect of Japan, this film delivers on many levels. Tom Cruise's acting is fairly sound, although his character does not require him to exert a wide range of emotion. Ken Watanabe plays a superb supporting role as Katsumoto and very much becomes an integral force carrying the film. Other notable roles including subdued yet tender presence of Koyuki as Taka to always enjoyable contribution from Billy Connolly round out an impressive cast, even more so given obvious communication issues and the enactment of numerous battle scenes with fairly hectic swordplay.
The camera is obviously enamored with the natural beauties of Japan, of which they are plenty in the film. Set against a backdrop of serene pastoral landscape of Japanese countryside, the panorama of all four seasons are established upon it. Especially in the spring time where cherry blossoms bloom, it is a great sight to behold. Only that they were attributed as an example to some philosophical mumbojumbo between Katsumoto and Nathan is irritating.
In summary, this film is a beautiful to watch, except for vicious battle scenes that only ends up providing a stark contrast in a way that has been done in other films of this ilk, but very striking notwithstanding. The story is an illuminating journey of a disturbed man, who is rejuvenated by his admiration for something alien yet compatible with his sense of honor. However contrived and unconvincing the movie finds itself in the end, set against the shameless and incongruous depiction of fictitious Japan, I was captivated by the film's various individual parts each of which are superbly conceived and acted. Feats that their sum, unfortunately, does not fulfill as resoundingly.
7/10