"Life in every breath . . . That is Bushido"

Rating: Null/10 (17 December 2003)

Honor. Integrity. Loyalty. And Bushido (translated, `way of the warrior'). What place do these hold in life and all it encompasses. Warner Bros. `The Last Samurai' attempts to depict the epic and time age tale of traditional norms versus a new and modernizing society.
The story takes place in Japan. However, not Japan as we know it today, but just as it was emerging from its bloody, feudal cradle. A feudal bloodbath entailing Japanese ways of life no more than 150 years ago.
`The Last Samurai' begins with a Japanese empirical advisor who needs the samurai eliminated in order to finish his railroad. At first the samurai are viewed as imperial rebeliests; `barbarians' with no sense of what is right and wrong. The advisor hires an American Civil War veteran, Nathan Algren (Tom Cruise), and for $500 a month he trains a small army of men to fight the samurai. But when the samurai attack a railroad construction village the advisor becomes impatient and orders Cruise's superior officer Colonel Benjamin Bagly (Tony Goldwyn) to lead the small and unprepared force against the samurai. The skilled and experienced samurai easily overpower the unpolished army and take Cruise as their prisoner. Katsumoto (Ken Watanabe) the group leader of the samurai, along with other agendas, wishes to `know his enemy.'
Cruise eventually grows to love the simplicity and stillness of the samurai way of life. He adopts the concept of Bushido (Japanese for `way of the warrior'); a theme that flows compassionately throughout the film. Over the course of a year he learns samurai ways, their fighting methods, and even eventually begins to learn their language. But when his new found life is threatened by the old, he chooses to fight with the men he once considered his enemy.
Tom Cruise plays Nathan Algren, a downtrodden Civil War veteran who douses his troubles in alcohol. He suffers from flashbacks that give Cruise's character a sense of shame and weariness. And while Cruise's performance is exceptional even he cannot take precedence over the grandeur and scope of what `The Last Samurai' does symbolize. The death of an era, and the usherance of technological assimilation.
Asian actors Ken Watanabe (Katsumoto), and Koyuki (Taka), play their roles brilliantly; and while their dialogue is not as numerous as Cruise's, their actions speak for more than themselves. Katsumoto, is a proud, thoughtful, and an integrible samurai leader. For more than 900 years he and his ancestors have protected the ways and honor of his people. He and Cruise periodically converse in philosophical meetings sprinkled with humor. Taka shines as Cruise's caretaker.
SPOILER ALERT: However, very early in the movie we find out that Taka is a widow of a samurai that Cruise has killed in battle; an enigma that lends a sense of depth and responsibility to both characters roles throughout the movie.
Perhaps one of the more historical points is the weakness of the Japanese Emperor, Meiji, played by Scichinosuke Nakamura. At this point of Japan's history, the Emperor became more of a figurehead, controlled by a group of economist advisors only wishing to fatten their wallets. But this is portrayed in more of a symbolic matter throughout `The Last Samurai.'
Both the complexity and simplicity of `The Last Samurai,' enjoy ubiquity throughout the film. There is never a moment in which both must not be weighed equally. With every scene there is a sense of duty and honor, while there is at the same time enjoyment in the stillness of life. A concoction of artsy filmography and articulating background music allow the plot to encompass all aspects of the movie; never will a moment take precedence over the plot or all that it strives to facilitate. The facts of the matter are perhaps best but in a quote from the movie:
Algren: `Life in every breath . . .' Katsumoto: `That is Bushido'
All in all I would have to say `The Last Samurai' will be going on my all time favorite list. Never have a watched a movie with such compassion and dedication towards one fervor. Every fight scene is not without purpose, and a message. And the action does not sway the viewer from the movie's ultimate and undeniable essence.
Several comparisons by other film critics have compared the movie to `Lawrence of Arabia,' and `Dances with Wolves,' in which the westerner becomes infatuated and then eventually assimilated into the natural culture; I even noticed several parallels to `Glory,' which was also directed by Edward Zwick. And while these aspects may have lended something to the movie, simply enjoy it for what it is; volumes could be written on the parallels to Akira Kurusawa's `Seven Samurai.' No matter how many similarities there may be, there are just as many original concepts to be beheld.
SPOILER ALERT: (IF YOU'VE SEEN "DANCES WITH WOLVES") The only one complaint I have is the `Hollywood' ending. Hauntingly familiar to `Dances with Wolves,' it was ending that did not seem befitting of such a cinematic masterpiece. However, I would have to say that it is worthy of any notable DVD collection.
After the movie was over and the credits began their usual scroll, I noticed that nearly half the people in the audience sat there while the other half stood and enjoyed the music. I would like to think that they remained in deep contemplation and awe of all that this movie put into essence. I know I did . . .