6.5 min. read
The Blood Of Wolves and A Lesson In Murder helmer Kazuya Shiraishi is back with another offering to the festival masses. This time, his work comes inspired by a classic rakugo play that serves as the basis for author Masato Kato’s novel which released in March, and Shiraishi’s subsequent samurai drama which Kato also penned.
Released in Japan back in May as Gobangiri (a.k.a. Goban Cut), Shiraishi’s new film gets a frontal rebrand as Bushido, which bodes as an aptly fitting title to welcome moviegoers abroad. And not for nothing either, with the story of a vagrant samurai whose longstanding peace post-service results in a slew of accusations that put his honor at stake in the worst way.
Set in Yoshiwara, we meet Kakunoshin (Tsuyoshi Kusanagi), a widower, and seal maker who lives in a poor tenement house with his daughter, Okinu (Kaya Kiyohara), who makes kimonos. When Yanagida isn’t working or existing peacefully in his own space, he’s enjoying a good game of Go, something he’s become masterful at over the years, particularly while serving his domain.
It is not long before Yanagida stumbles upon and engages in such a game with local merchant and Go enthusiast Genbei (Jun Kunimura). The result is a chance friendship that grows between two very different people, and even Genbei himself is stricken with admiration by his Go opponent – enough to change the way he does business.
Shiraishi’s exposition here is brilliantly crafted and orchestrated, thanks especially to Kusanagi’s commanding and measured performance as a protagonist whose stoicism is matched only by a resonant peace he conveys on a regular basis. It is a perfect segment of a story that gradually transitions into tumult for our humble ronin when invited to Genbei’s home for a Moon festival celebration, Samon (Eita Okuno), a member of Kakunoshin’s former domain finds Kakunoshin to update him on a slew of shocking revelations.
Not only does Kakunoshin learn he was framed for stealing a scroll from the daimyo, we also learn the truth of its theft in connection to his bitter rivalry with another samurai named Shibata (Takumi Saitoh). Additionally, the film also contextualizes the tragedy he suffered with the brutal death of his wife, in connection to the allegations.
Making matters worse in the hours after is when Kakunoshin learns that he’s suspected of stealing a pouch of gold repaid to Genbei by one of his clients. It will be up to Genbei and his assistant clerk, Yakichi (Taishi Nakagawa) to get past the stigma that now stains Kakunoshin as a thief and a coward, and find the missing money.
As for the disgraced ronin, however, with his honor on the line and seppuku far from an exceptional solution for the distressed Okinu, Kakunoshin is forced to make the only viable choice he can, mainly if he’s to have any chance to get even, and make himself and his family whole before it is too late.
Bushido marks Shiraishi’s first dive into jidaigeki territory. It’s also being hailed as another high mark in the genre by critics, and deservedly so. The cast performances are fantastic, and even more so is the story which also leaves room to acquaint ourselves with other characters pertinent to the story.
There’s an underlying romantic build-up between Okinu and Yakichi, who are brought together only by the shared interests of their seniors, which of course is Go. At one point, Yakichi dismisses Genbei’s notions of learning how to play Go as well, at least until Genbei alludes to learning under Kakunoshin and he sheepishly changes his mind realizing it could bring him closer to Okinu. It’s a small touch of levity that contributes to the greater arc between the two, and the stakes at hand when Yakichi learns of the potential consequences of the allegations levied against Kakunoshin who is already on a quest to Nakasendo to find the man who wronged him.
Complimentary to the film’s core development is a flashback sequence that highlights the upheaval that originates between Kakunoshin and Shibata. The Shin Ultraman star’s performance here continues to be exemplary of how awesome he is on screen, carrying the role of the shameless Shibata with antagonistic fervor through and through to our delight in just the few scenes he appears in.
One crucial aspect to Bushido is the sudden transition Okinu is forced to make as she awaits her father’s return. Barring any details, I will add that Shiraishi’s film makes amply clear just what lies ahead for Okinu in a number of scenes and ways. One form of this comes courtesy of a character who seeks Okinu’s services, and at one point this same character is later seen telling her in part “…This place may seem like paradise, but hell lurks in the shadows…”
Culminating all these in the tapestry of Bushido, of course, is the use of Go as a modifier for conflict resolution. Much like the use of snooker or poker or basketball in movies, Go is a medium applied by Shiraishi as Kakunoshin’s way of testing his own strength through peaceful competition. Fun fact is he’s gotten so good at it that he knows when he’s got the upper hand, and will even throw the game in his opponent’s favor if it will stave off conflict. It’s worth bearing in mind too, especially in the latter half of the film when Kakunonshin finally goes toe to toe with his foe in an end-all-be-all Go duel, and his usual pacifistic approach goes entirely out of the window.
There’s a scene earlier in the film that points to something Genbei acquires in the form of a special Go board that is said to ward off evil spirits from all angles. That Go board plays a huge role in the climactic final half hour of Bushido, a film that makes certain to dish out a few prominent thrilling sword fights and sequences. The second of these action scenes is terrific in the amount of energy, suspense and spectacle it delivers. These action scenes are bloody, and make good in full on what fans of jidaigeki expect from films like these.
There’s only one aspect of the film that I felt was rushed a bit between two of the supporting characters by the end. It doesn’t take away from the film’s enjoyment though, and you have Kato and Shiraishi to thank for that. I’m also curious to know if anyone else can see the more poetic optics in the film regarding Bushido and its use of Go both literally and figuratively since I’ve never played it. Nevertheless, the movie is an endearing contribution to the samurai genre, and a hearty action drama that tells us Shiraishi is far from an amateur when bringing his A-game.
Bushido was reviewed for the 23rd New York Asian Film Festival which runs from July 12 through 28.
Lead photo: ©2024 “BUSHIDO” FILM PARTNERS