The Last Caucasian.

Rating: 8/10 (19 December 2003)

In my high school writing class, I was told that when writing a paper I should do tell the reader what I was going to say, say it, and then explain what I said. While that is an excellent primer for the written word, the method doesn't translate as well to the big screen, as effectively illustrated in this film of great themes, which is slightly marred by heavy-handed redundancy. **Warning! Mild Spoilers Ahead!**
"The Last Samurai" tells the story of Nathan Algren, played by Tom Cruise, a unhappy and drunk Army captain who is recruited by the Emperor of Japan to train the incompetent Japanese troops in the ways of modern weaponry. The purpose is to combat the (ahem) last samurai, led by the fearsome Katsumoto. Before long, Algren falls into enemy hands, and the bulk of the film follows his experience as the prisoner of the samurai, who indoctrinate him into their culture.
As the main character, Cruise plays a part akin to every other role he's had, a cocky yet talented guy who learns his lesson over the course of the film. But he once again nails the part, this time with more human emotion than normal. In a role that could have easily been done in an over-the-top manner, Cruise chose not to do so and proved very effective. I don't think it's an Oscar-caliber performance, but it does rank among his best work. I do think that Ken Watanbe as Katsumoto is worthy of an Academy Award nomination. A new face to American cinema, his pathos-packed performance is the soul of this film, a physically imposing presence who fills the screen literally and figuratively. A la Chow Yun-Fat, he appears primed to make the Pacific leap to stardom in the United States.
As is apparent from the advertising, this is intentionally a film of epic scope, and that theme enjoyably oozes through the technical aspects of the movie thanks to an experienced top-notch crew. Director Edward Zwick ("Glory," "Courage Under Fire") again provides a sure and steady hand in getting what he wants and needs out of all participants. In a musical style reminiscent of his "Black Hawk Down" work, Hans Zimmer presents his usual excellent orchestral accompaniment with clear and ear-pleasing tinges of Eastern music. Editors Victor Du Bois and Steven Rosenblum, who both worked on "Braveheart," accomplish the underrated achievement of comprehensibly piecing together chaotic battle scenes. And speaking of that film, Cinematographer John Toll also shot "Braveheart" and "The Thin Red Line," and one can see visual similarities between the films. Toll provides the mandatory sweeping battlefield shots, along with numerous slow pans that allow time for the passion of the Japanese culture to bleed through the screen. While some movies thrive with the help of or in spite of their behind-the-scenes aspects, Last Samurai excels because of the firm technical foundation.
The main annoyance I have with "Last Samurai" is its single-minded intent to hammer the virtue of Japanese culture into the thick American skulls. Within the first half hour, the theme is made evident, but that does not prevent the filmmakers from iterating and reiterating it to the very end of the film. Before long, this wears on the audience, leaving them a bit antsy over the last half hour, which would have been better off shortened or altered, instead dragging down the film in the final act. I don't say this to minimize the importance of culture in this film. In fact, I think it was portrayed very well, but even something done well becomes bothersome when repeated too many times.
Bottom Line: This film still attains near-greatness. In a lackluster cinematic year, it will assuredly be on my top ten list, entrenched a cut below the top tier as a film that is better than most and will deservedly earn a handful of nods come January. 8 of 10.