The Last Samurai
Tags: murder, violence, flashback, psychedelic, romantic, revenge, historical

Plot synopsis:
In the summer of 1876, Captain Nathan Algren (Tom Cruise), is a disenchanted ex-United States Army captain and an alcoholic. He has been traumatized by his experience fighting in the Civil War and the Indian Wars. In the years following his army service, Algren makes his living by telling war stories to gun show audiences in San Francisco, an experience which further hampers his mental state and stimulates him to drink. Fed up with Algren's perpetual drunkenness, his employer fires him. Algren reluctantly accepts an invitation from his former commanding officer Colonel Bagley (Tony Goldwyn), whom Algren deeply hates and blames for his waking nightmares about his role in Indian massacres. On behalf of a Japanese businessman, Mr. Omura (Masato Harada), Bagley offers him a job helping the new Meiji Restoration government train its new Western-style Imperial Japanese Army. Japan is in the middle of drastic civil change and the new Western-style additions to society have not gone unopposed. The samurai are conducting an insurrection against the modernization campaign, which has motivated Omura to seek Bagley's assistance.Under the command of Bagley, Algren and his companions travel to Japan. They are assisted by Algren's former army colleague Sergeant Zebulon Gant (Billy Connolly) and Simon Graham (Timothy Spall), a British translator with a deep interest in the samurai. The newly-formed Japanese Army is formed of poorly-trained and equipped conscripts, peasants who completely lack combat experience. Algren does his best to remedy this, but before the men are trained to his satisfaction, the leader of the insurrection, Katsumoto (Ken Watanabe), attacks a railroad outside his province. Bagley orders Algren to lead the inexperienced conscripts to engage Katsumoto. Algren protests and offers a demonstration of the army's inexperience and inadequate training. Bagley dismisses Algren's concerns and orders a regiment to track down and engage Katsumoto.When the regiment arrives at the battlefield, Bagley moves to the rear and orders Algren to do the same, since the Americans are technically non-combatants. Algren refuses and takes personal command of the regiment. Algren then orders Sergeant Gant to report to the rear as well, but Gant refuses out of personal loyalty to Algren. During the battle, despite Algren's best efforts to command and encourage them, the conscripted peasants panic.Samurai swarm the wholly unprepared army and the soldiers flee in disarray. Algren and Gant stand their ground and manage to kill several samurai, but Gant is killed by a red-masked samurai named Hirotaro and Algren is thrown from his horse. On foot, he desperately fends off several samurai with a broken spear embroidered with a flag depicting a white tiger. The flag on the spear reminds Katsumoto of a vision he had during meditation. Hirotaro, Katsumoto's brother-in-law, prepares to kill the wounded Algren, but Algren seizes a spear from the ground and stabs Hirotaro through the throat, killing him. Believing what he has witnessed to be an omen, Katsumoto stops his warriors finishing off Algren and takes him prisoner. His forces take Algren to their isolated village, where Algren gradually recovers in a house belonging to Hirotaro's family, including his widow Taka, her two sons, Higen and Magojiro, and Katsumoto's son, Nobutada (Shin Koyamada).Over time, Algren overcomes both his alcoholism and the nightmares of his traumatic past, and begins to assimilate to village life, although he does not adopt many Japanese customs. Eventually, he meets Katsumoto, who takes an interest in Algren and begins conversing regularly with him, each gaining a healthy respect for the other. Algren confides in his journal that he has never felt entirely at peace until he came to live among Katsumoto and his people. Despite lingering fidelity to her dead husband Hirotaro, Taka develops romantic feelings for Algren, particularly when she notices his fatherly relationship with her children. Algren studies swordsmanship under skilled swordmaster Ujio (Hiroyuki Sanada), gradually gaining skill and the rising respect of the village samurai, and becomes fluent in Japanese as he converses with the local residents, earning their admiration.One evening, during an open-air torchlight performance (Takigi Noh), Katsumoto parodies the comic role of a kygen actor. The villagers' carefree respite is interrupted by an attack by ninja assassins. Algren raises the alarm and then takes up a sword to help defend Taka, her children, and Katsumoto. He fights skilfully, killing a number of attackers, earning Katsumoto's respect. The samurai defeat the ninjas but with many losses. Though Katsumoto does not confirm it, Algren deduces that the attack was ordered by Omura.In spring, Algren joins Katsumoto in a trip to Tokyo that has been approved by the Emperor. Algren learns that the army under Bagley's command is now better organized and outfitted with howitzers and Gatling guns from the United States. Omura offers Algren a new contract to assume command of the army and crush the samurai rebellion, but Algren politely declines by agreeing. In private, Omura orders his men to kill Algren if he attempts to warn Katsumoto of their intentions. Katsumoto offers his counsel to the young Emperor, to whom he was once a teacher. He learns that the Emperor's hold upon the throne is much weaker than he thought, and that he is essentially a puppet of Omura. When Katsumoto refuses to observe a new law that forbids samurai to carry their sword in public, Omura orders him arrested and confined to his home in Tokyo. Anticipating an assassination attempt on Katsumoto, Algren attempts to warn him. On the street headed for Katsumoto's quarters, he is ambushed by several of Omura's men. Unarmed, Algren kills all of his attackers, narrowly escaping death by using the skills he learned while living among Katsumoto's people. With the assistance of Ujio, Nobutada, Nakao, the Silent Samurai, and Graham, Algren frees Katsumoto from custody. During their flight, Nobutada is mortally wounded and stays behind to aid his father's escape; Algren watches a mortally wounded Nobutada charge their foes, only to be cut down by gun fire.Katsumoto is still mourning the loss of his son when he receives word that two battalions totaling about 2000 Imperial Army soldiers, commanded by Omura and Bagley, are marching out to engage the samurai. A counter-force of samurai, numbering only 500, is rallied. Algren tells Katsumoto about the Battle of Thermopylae in which a small force of 300 Greeks held an opposing force of one million Persians to a standstill for three days by using the terrain and the enemy's overconfidence to their advantage. Algren suggests using a similar tactic in the current situation to reduce the effectiveness of the enemy's artillery. On the eve of battle, Katsumoto presents Algren with a katana. Taka also gives him her dead husband Hirotaro's armor and they kiss as Algren leaves.When the Imperial Army confronts the samurai's rebel forces, the samurai fall back to higher ground, preventing the Imperial soldiers from using their superior firepower. As expected, Omura immediately orders the infantry to advance. Bagley expresses misgivings and advises sending in scouting groups first to assess the area, but Omura overrules him and insists on a full attack, and the infantry marches straight into a trap. They set fires that cut the enemy's immediate fighting strength in half and the samurai then unleash volleys of arrows on the infantrymen. A wave of samurai swordsmen, Katsumoto and Algren among them, attack the disorganized body of soldiers before they can recover from the arrow attack. A second wave of Imperial infantry follows behind, only to be countered by samurai cavalry, and a savage mêlée ensues that leaves many dead on both sides before the remaining Imperial soldiers finally retreat.Realizing that fresh Imperial forces are coming and that defeat is inevitable when they arrive, the surviving samurai resolve to make a final, fate-charged mounted assault. During the battle, Bagley shoots Katsumoto in the shoulder, but before he can finish off the samurai, Algren hurls his sword at Bagley, killing him by spearing him through the chest. On approaching the Imperial rear line and progressing far enough to scare Omura, the samurai are finally cut down by Gatling gun fire. Moved by the sight of the dying samurai, who charged fearlessly despite the Imperial soldiers' superior firepower, the captain of the Imperial troops (who was originally trained by Algren) orders the Gatling guns to cease fire, against Omura's wishes. Katsumoto, observing Bushido, asks Algren to assist him in performing seppuku; Algren obeys, ending Katsumoto's life. Led by their captain, the Imperial soldiers show their still-lingering respect for the old order by kneeling and bowing before the fallen samurai.Later, as the American ambassador prepares to receive the Emperor's signature on a treaty that would give the U.S. exclusive rights to sell firearms to the Japanese government, a wounded Algren offers the Emperor Katsumoto's sword as a gift and remembrance of his former teacher's honor. The Emperor receives the sword and realizes that, while Japan must modernize, it also must never forget its own history, cultural identity, and traditions. The Emperor then tells the American ambassador that his treaty is not in the best interests of Japan. When Omura objects, the Emperor realizes that Omura is not acting in the best interests of the people, and he confiscates his estates and fortunes. When Omura tries to protest, the Emperor then offers him Katsumoto's sword, retorting that if the dishonor is too great to bear, he should commit seppuku. The cowardly but respectful Omura merely lowers his head and backs away.In a voice over, Simon Graham reveals that Algren was never heard from again, but he surmises that Algren likely returned to the samurai village and to Taka. Graham philosophically concludes that Algren has "found some small measure of peace that we all seek, and few of us ever find".

Review: It was a lot more like Braveheart meets Seven Samurai with elements of inculturation a bit reminiscent of Wolves and Seven Years.Rarely does a movie have excellent acting across the board, but all the Japanese actors were outstanding, and the Americans and Europeans were excellent ...
Even the requisite (American-made movie) romance with Take (Koyuki in this role was wonderful) furthered the cross-cultural elements of the plot in such a way that neither culture was violated - and above all the `chemistry' was discreet in Japanese fashion, taking a necessary backseat without overshadowing the main story line, actually adding richness to the process of "going native" for Captain Algren (Cruise).
This film deserves more credit however, it is truly Oscar worthy, for Watanabe's acting and battle scenes mainly.The story is basically about an American captain (Cruise) who is tormented by his gruesome past that is hired to train the army to kill the samurai which are raiding the country.
After a the long slow process of trying to find out information about his enemy, Algren (Cruise) simultaneously begins training in the way of the samurai and comes to love their way of life and develops a friendship with Katsumoto.
After a series and turn of events the story develops like a roller coaster ride and fight together for their survival.This film is honestly one of the best dramas/war dramas I have ever seen, combined with a superb story, and action of amazing creativity in the dialogue, setting and all the scenes!
A story of honour, integrity, tradition, courage and love entwined with great battle scenes, beautiful scenery and superb acting, especially in the lead roles of Cruise and Ken Watanabe.For me personally I have no faults with this film.
From the research of the historical Japanese Meiji period, the mannerisms, the way different classes of people dress, the settings, the battle weapons and armory, how the Samurai train and fight, to the study and appreciation of the Art of War - where men of honor and integrity in service to the Emperor is the thing to die for.
From the producer-lead actor Tom Cruise and Zwick's film-making partner Marshall Herskovitz, cinematography by John Toll and film score by Hans Zimmer, to the costuming details, diverse casting, location scouting all the way to New Zealand and training of the supporting cast - even the official Web site with extensive production notes - all provide enhanced appreciation of this remarkable film.
Amazing cinema.Top notch movie from Edward Zwick having high class drama & action.Great acting by Tom Cruise & Ken Watanabe.Wow,their conversations are riveting.Casting is superb.Dialogues are appreciative.Cinematography is perfect.This movie is all about the American Captain Nathen Algren (Tom Cruise) who captured by the samurai tribal leader Katsumoto(Watanabe) begins to differ on loyalties.Whether he is a samurai or a captain who was to suppress the rebel samurai.Brilliant movie to watch.You would love to watch it over again & again.I don't understand why its not in the top 250.Sure its in my top 250.Fantastic soundtrack.The ending is superb.For honor & for this movie i give it my personal best 10.Katsumoto said "The perfect blossom is a rare thing.
This film combined American history and Japanese history that practically no public school teaches as far as i know.In The Last Samurai we see a lot of betrayal Japanese vs Japanese and Americans vs American.Many battles are fought during this film not just against Beliefs but their inerselfs.Characters in the movie have to brake the law to do what is right for their country or to just become a symbol, a symbol of hope for other Japanese to not forget their culture.
It's grand and spectacular and it gives so much of it's self and of it's story the power that it releases is in small capsules that slowly but surely open one at a time releasing strong and bracing scenes from each of them.Tom Cruise deliverer's one of his finest performances of his career as the battered Civil War hero.
It's a little late to rehash the old "Searchers"/ "Emerald Forest"/"Dances With Wolves" tale of the white man being captured by enemies and siding with his captors -- unless it's aimed primarily at people who have never seen "The Searchers" or "The Emerald Forest" (Arthur Penn realized this thirty years ago, and made the hero and the journey of "Little Big Man" primarily comedic -- one of the main reasons the film works as well as it does).But in the post-Altman/Ashby/Penn era -- where nearly all films -- especially action/adventure films -- have returned to the grandiose seriousness of their 1950s counterparts (with little or none of the wit and satire that crept through in the 60s and 70s), it is therefore pretty much expected that we will get the typical grandiose, serious, high-gloss and overlong treatment all the way through, with very little humor.
Because a lighter touch could have gone a long way towards getting the audience more involved, and making Cruise's character more likable (indeed, the few humorous lines and scenes he has are among the film's most memorable moments; they humanize his character and endear us to him).And this is one reason "The Last Samurai," despite a bunch of probable Oscars, is going to miss its target of becoming a beloved classic, an action/adventure epic for the ages.
So by making a film like "The Last Samurai" in an old-fashioned, traditional way, it constantly invites comparison -- to great stars, to great directors, to the great age of studio filmmaking which, like the Samurai, is now gone -- never to return.The sad fact is that the great movie-makers are dying off, leaving us with imitators, not originators.
Is anyone really expecting to see some sort of masterpiece by a T.V. producer/director named Ed Zwick?!Still, "The Last Samurai" manages to succeed in a number of ways -- mainly in presenting nineteenth-century Japan in a remarkably realistic way, and in its brutal battle scenes, shot in gory "Braveheart"-style by the great cinematographer John Toll.
It is in these terrifying, agonizing moments of sword-versus-rifle battle that Zwick comes closest to emulating his obvious hero, Akira Kurosawa, and manages to comment on the tragedy and insanity of war.Flashbacks are used unnecessarily to try to enforce Cruise's sense of guilt in participating in the the slaughter of the Indians (so we will understand his desire to defend another endangered species, the Samurai).
What I wanted to shout out after watching this movie was, "Thank you Tom Cruise and Edward Zwick!!"From a Japanese viewer's point of view, it is evident that the story is all fiction, inspired by what actually happened.
However, these issues are never irritating, as we could always sense a very strong, pure and innocent message coming from Tom and Ed, which I felt as a message coming from certain caring and intelligent American individuals to the nation of Japan and the Bushido (Samurai) spirit which still continues to live and influence our Japanese culture and our Japanese way of life.It is no wonder American viewers have mixed feelings about this movie, partly unaware of (and lacking true interest in) the history of Japan and partly noticing the similarities between this movie with other movies made in the past.
From my perspective, however, being a Japanese national born and raised in Japan and knowing the dramatic history our country has gone through, I could not help but cry feeling the respect and sympathies coming from a very successful movie star (Tom) and movie director (Ed), bothering to spend a "Hollywood Budget" on what is a very "personal" story for the Japanese.
It is the fact that this film was made by Hollywood which makes this film all the more important for Japan, as it would have been just another corny self-appraisal film if created by the Japanese themselves.Again, we know this is all fiction inspired by a true story and can't escape its small flaws, but I love the film all the same, and would like to thank from the bottom of my heart, Tom, Ed and others who deserve credit for thinking of creating this film in the first place.I don't think a film of this nature would ever be able to receive an oscar (as I can imagine how difficult it may be for an average American viewer to appreciate the true and deep meaning of this film, not being Japanese), but I believe this is a film which should deserve some kind of a "Thank you" award from Japan.
Duelling advisers competed for his heart and mind in the film and in real life.Cruise's trained troops the first time they're in battle with the professional samurai turn and run.
The Last Samurai is a great story and Americans should see this story about a Japan they only know from World War II films, both good and bad.
Tom Cruise is Captain Nathan Algren,who in 1870 is hired by the Emperor of Japan to train the Japanese Army in modern warfare.The Emperor than hopes to bring about an end to the Samurai,who have remained with the old way of fighting.As events unfold,Algren is captured by the Samurai and while treated with indifference and disdain at first,he slowly becomes part of the community.he begins to learn the Samurai ways,and gains their trust and friendship.in turn,he develops a newfound respect for the samurai way,and in time,becomes a better man for it.
Even if you are not a Tom Cruise fan,you should still like this movie.Cruise plays Algren as a man who is at first,deeply flawed,with no hope.Then,as the movie progresses,Cruise convincingly portray's Algren's slow,but noticeable change into a humble man who regains his humanity and discovers what it means to be a man.This Movie is directed by Edward Zwick(Glory,Legends of the Fall.The screenplay was written by John Logan(Any Given Sunday,Gladiator).the action scenes are well done and look authentic.the dialogue is well written,leading to some very touching scenes.the movie is also visually stunning.
Set in 1870's Japan, `The Last Samurai' is most effective when it sticks to the harsh realities of its blood- soaked battle scenes and avoids the softening effects of its two-bit philosophizing.Tom Cruise is stoic and stolid as Nathan Algren, a former captain of the United States army who is having trouble coming to grips with the part he played in slaughtering a village of innocent American Indians.
The film, thus, becomes a study in redemption as this one man attempts to find his place in the scheme of things and to erase the life-crippling guilt of his past actions.Director Edward Zwick, who made one of the best war films of modern times (`Glory'), has had less success here, mainly because he stacks the deck so shamelessly in favor of the samurai that we can't help feeing manipulated all throughout the film.
Omura bars Katsumoto's way, standing unarmed before a master swordsman who could cut his head from his shoulders with one well-practiced motion, and says, `We are a nation of laws.'  Omura stands in the shoes of many Japanese who stood up for law against Japan's feudal reactionaries, and happily he wins, instead of being defeated and murdered like many of the militarists' opponents in the 1920s and 1930s1.The message Zwick wants to get across is simple; the samurai lived for honor, therefore they were good.
This film should have been nominated for best picture, and Tom Cruise should have been nominated for best actor -- and, in my opinion, both should have won.The Last Samurai is everything one wants in a movie.
The film touches you on a personal level with the character development and it also gives you a nice history lesson about Japanese culture and politics.Tom Cruise's character begins the film a drunken mess, disillusioned with his experiences in battle with Native Americans.
Tom Cruise stars in (arguably) his finest role to date, as the American Captain Nathan Algren, who is captured by the samurai warriors he is training the Japanese army to defeat.
Throughout much of his time in the village Cruise says very little, but his silent wonderment at the samurai life gives off a dramatic effect unreachable by many effects-driven blockbusters, and it is this part of the film that Zwick shows off his talents as a director.
Here's a half dozen: 1 - bad guys shooting from close range and never hitting good guys; 2 - a final battle scene with thousands and thousands of bad guys dying and only 499 of the good guys dying; 3 - only survivor: the good guy Tom Cruise; 4 - he's let go by the enemy; 5 - Eastern religious gets full credibility while the hero is the one, of course, who turns his back on Christianity and the U.S. Military (two evils of American Liberals); 6 - Cruise learns to speak FLUENT Japanese in a matter of months or weeks!Too bad such a beautiful-looking film has to be so dumb and biased..
The music is horrible and adds to a terrible movie-experience.Highlights:* Tom Cruise becomes a GREAT samuraj (with everything that comes with that) in a couple of months...* Learns to speak japanese quite alright during a winter...* Tom realizes that alcohole is bad for him...* Tom finds love in a woman, which husband he has just killed...* The last words of the great samuraj kotamura is in ENGLISH...* It takes an american to teach japan's emperor to understand the way of the world (an emperor who, unfortunately, resembles Michael Jackson)...The worst movie of the year...
Yay again for this all American wonder of a hero.They've also thrown in some romance for good measure and a whole bunch of epic fight scenes you've seen so many times before and the obligatory moral conundrum to put some more weight behind the leading character self-righteousness.End of story.
In fairness, if you're gonna watch a movie by Edward 'Glory' Zwick starring Tom 'overdoing it' Cruise, you shouldn't be surprised of the result 'The Last Samurai' is: a powertrip by the last combining the over the top 'dying with honour' crap from the first.
The sweeping vistas, the way too serious actors and the very decidedly 21-first century feel of Cruise's acting choices led the viewer down a familiar path to an expected conclusion culminating in a Braveheart battle that's just dripping in Kurosawa lore.Tommy's character development is executed in hyper-reality from drunken lout to honorable Japanese-speaking samurai in 60 seconds.What are the Samurai rebelling against?History's door is slammed shut, locked, barricaded and rewritten.And if Master and Commander, arguably a better film, never reached the coveted number one spot -- why should this trite film.Furthermore it pointedly ignores romance to the shock of including a widow/ Tommy possibility.
Nathan Algren (Tom Cruise) is under orders to wipe out the Samurai, but is captured during battle and learns to live along side them and take spiritual fulfilment from their ancient way of life.Some fantastic battle scenes (a little braveheart like in their imagery), strong characters and brilliant direction, result in a thoroughly entertaining movie, that is not what i expected at all.(not even close)If you're looking for all out action, this isn't the right film for you.If you want a spiritually moving insight into what it may have been like to live as a Samurai, and how modern day Japan was born, then that is what you will receive.9/10.
If you like Tom Cruise and the cast mentioned above and want to see some great sword fighting action then I strongly recommended you watch The Last Samurai today!.
In The Last Samurai, Tom Cruise and Ken Wantanabe star in an original historical fiction film that takes place during the Meiji restoration period of Japan.
The film follows the story of Captain Nathan Alrgen (Tom Cruise) who is an American war veteran in the late 1800's and is hired to train Japanese soldiers how to use guns to quell a rebellion by a group of Samurai.
Zwick's film is slick, sweeping, beautifully shot and frequently involving, backed up by a strong performance by Tom Cruise in one of those roles that remind you just what a good actor he can be.In the role of Algren, Cruise begins a dejected man living out of a bottle, bereft of purpose & suffering post-Civil War nightmares of a man touted as a hero despite feeling the guilt of slaughtering Indians crushed under the might of a military machine; in that sense, The Last Samurai is very anti-war in its message, John Logan's story painting the Americans and specifically the Imperialist Japanese not in the greatest light.
Well directed by Edward Zwick and Tom Cruise is amazing in samurai!Its one of the best movies of all time.
I did read some other recommendations, and i cant understand some of the criticism.This film portrays an american soldier, Colonel Nathan Algren(played by Tom Cruise), who has both nightmares and moral issues with what he has seen of slaughter in the indian wars, and his demons makes him seek comfort in alcohol, like  so many soldiers do when not coming to terms with their beliefs and the reality of having done horrible things in battle.So when the Director draws parallels from the native americans to the samurais, he actually shows us the last days of two dying cultures.Now the samurais in this movie are not evil, nor is the imperial army.
Tom Cruise said this movie was an ode to the Japanese Samurai culture.
American veteran Tom Cruise is asked by the new Japanese government to fight the remain samurai in Japan.
If people are interested in samurai-movies or the Japanese (old) culture, please watch Kurosawa instead of this Tom Cruise crap..
While there are a number of good actors, only two carry the story -- Ken Watanabe, superb as Katsumoto, the leader in a remote village of last remaining Samurai in 1876 Japan, and Tom Cruise, equally superb as Nathan Algren, a battle-scarred  American soldier who is in Japan, along with others, to help them come into the modern world, and part of that is to develop an effective force of soldiers.