NYAFF XXIV Review: In SAMURAI FURY, Liberty Or Death!

January saw the Japan theatrical release of writer/director Yu Irie’s period jidaigeki, “Muromachi Outsiders” from Toei. Official announcements are yet to be made as for its international title following Well Go USA’s acquisition late last year, although the film’s current programming for this year’s NYAFF as Samurai Fury may just be that. Thus, that’s the title I’ll be refering to for the purposes of this review.

To this, we’re given a fresh look at leading man Yo Oizumi in his first-ever action role, based on Ryosuke Kakine’s 2016 Shinchosha publication. Set in a famine and pandemic-ridden, and lawless Kyoto six years before the Onin War, we meet Hyoe (Oizumi), a vagabond presumably in the service of the Shogunate’s head of security, Doken (Shinichi Tsutsumi). Little does Doken know that Hyoe has his own ideas for the future, including planting seeds for the very uprising Doken wishes to quell in the villages as he looks to elevate himself to Lordship.

Joined by Saizo (“Naniwa Danshi” member Kento Nagao), an impoverished slave with unrefined staff skills, Hyoe commences the latest step in a ten-month process to prepare the local villages for a full-on liberation from the Shogunate’s greedy tax hikes at tolls, and the abusive monks loansharking couriers villagers who can’t pay their way. That includes leaving Saizo in the hands of an old master (Akira Emoto) to train and sharpen his skills for the fight ahead, while Doken and his spies are hard at work to beat Hyoe at his game.

Irie’s heroic bloodshed adaptation does immense wonders in bringing this period fable to life, with casting Oizumi as one of the smartest and more interesting choices for films of this nature. The film’s focus on Hyoe’s growth throughout the film also brings its share of dimensions. He’s charismatic and self-assured, optimistic in his goals while inherently realistic in trying to achieve them, regardless of the unavoidable risks.

Hyoe’s teetering comity with Doken is also core to the story, exploring layers to their friendship, and revealing a history that outlines their dichotomy as foes going forward. A seven-story pagoda fortified by the Shogunate’s forces is often a point of reference for Hyoe who shares that he dreamt of sharing his vision with Doken for a greater Kyoto, a vision otherwise ensnared by war and personal ambition.

Hyoe’s burgeoning friendship with Saizo is another pertinent aspect of our story with co-star Nagao crafting an underdog character who transforms volumniously into a revered hero in his own right. Part of this effort also entails Hyoe educating Saizo on the philosophical essentials of life, be it money, or messaging; It’s almost peculiar when refering back to these aspects as we follow Hyoe during his travels. At one point, he wanders with Saizo back to the same area we first meet our main protagonist, kneeling down to pick up an old scarf only to realize a gruesome discovery. It’s a truly powerful scene that I think speaks to another aspect of life that moves perhaps even faster than money and communications.

Samurai Fury also deals in a nifty handful of supporting cohorts, including famed martial artist and actress Rina Takeda. It’s a relatively small part as a Korean orphan, rendered mute from childhood and groomed as a skilled warrior under the old master who trains Saizo. There’s also the hulking Emontaro (Yasushi Ami) who aligns with Hyoe along with a group of other would-be rebels. Actress Wakana Matsumoto plays Houji, a courtesan who also serves as Hyoe’s love interest, additionally sharing his interests despite her concerns for his safety, and in at least one instance, sharing Saizo.

The action explodes well into the second half of the film’s over two-hour duration, spilling into the following day with grand, fiery action setpieces. It’s also where several of our select cast get to shine, featuring action sequences by Tomoaki Kawasumi who is no stranger to helping craft big, full-scale action shots. With Nagao’s relentless performance, the cinematography is especially accomodating.

It’s fascinating how timely an arrival a film like Samurai Fury is. At a time when soft democracy is the seemingly only way to go, Irie’s latest incredibly holds a candle to unscripted real life as we know it, and conveying just how different things would be if hard democracy was remotely a viable option. To add, Hyoe isn’t exactly a fictional character either, so take that into consideration with a film like Samurai Fury, a thrilling period epic where liberation, clearly, is the only way forward.

Samurai Fury enjoyed its U.S. Premiere at the 24th New York Asian Film Festival.