filmbore pick of the week - 13 Assassins

13 Assassins

Director: Takashi Miike
Screenplay: Daisuke Tengan
Starring: Koji Yakusho, Takayuki Yamada, Goro Inagaki, Masachika Ichimura, Yusuke Iseya
Year: 2010
Language: Japanese
UK rental release: September 2011

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It's been a while since I headed East on filmbore. Therefore, I feel it's time to talk about the surprisingly excellent 13 Assassins: a remake from the acclaimed, controversial Japanese director Takasho Miike.

After years of horrific war, peace is starting to find its way through feudal Japan. As welcoming as this is, it means that the era of the samurai is coming to an end.

Yet, terror still infects the country. One channel for this horror manifests in the Shogun's half brother, Lord Naritsugu (Goro Inagaki, Saimin), who is rising through the ranks of power, looking likely to be the next leader of the Akashi clan. Corrupt and putrid, he is truly a disgusting individual who thrives off danger and controversy.

Many fear Lord Naritsugu's pending reign, some feeling that there should be a more noble heir to the shogun's throne. The shogun himself has stated that he wants the matter handled quietly.

Shinzaemon Shimada (Koji Yakusho, The Eel, Shall We Dance) is introduced to Yukie Makano, who has his own vendetta against Naritsugu. His daughter-in-law was attacked and raped by the cruel leader, who went on to slay his son directly afterwards. The girl went on to take her own life through the terror.

A plan is forged to rid Japan of this cretinous, oppressive creature. Shinzaemon start to put a task force together made up of true samurai. While this "bladed battalion" starts to take shake, Shinzaemon visits his nephew, Shinrokuru (Takayuki Yamada, Train Man, Crows Zero) to draft him in. A gambler and drinker, his life has no direction. He questions whether his existence is righteous. His involvement in this mission could bring some meaning to his heritage as samurai, justifying his place in this world.

Over time, they form a team of twelve and set off on their quest. Their final party member comes in the shape of mountain dweller Koyota Kiga (Yusuke Iseya, Casshern, Memories Of Matsuko) who guides the team through the woods they got lost in en route to Ochiai. He claims to be of samurai blood, but the rest mock him, laughing at his statement. Nevertheless, whatever his ancestry, he's a crazed and furious warrior; incredibly acrobatic and lethal with a slingshot. He's a credit to the assassins.

Hanbei (Masachika Ichimura, known game voice over artist), Naritsugu's chief samurai has seen his master's despicable acts, but is compelled to stand by him through the code and way of his heritage. The way of the samurai. His honour is deep, going back to his youth when he trained next to Shinzaemon from a young age. When he hears of his old comrade's task, he is primed to react.

Hanbei's actions will find it hard to penetrate this pack that sweat devotion to the cause, serving Shinzaemon with their skills and lives. At the end of the time of the samurai warrior could this journey, this mission into death, bring them all the honour they crave to achieve?

 

We open on a shot of a samurai committing harakiri. Surprisingly, for a Miike film, we do not see the gore, instead receiving a close up on the samurai's face as he slowly endures his bloody fate to his own blade and hands.

This first scene typifies Takashi Miike's approach to this picture. Instead of doing the obvious, he takes a measured hand, keeping dignity in the film's execution. This was necessary for two reasons. One, being a period piece, there is some historical fact in this tale. Although clearly sensationalised, Lord Naritsugu, for example, was a real lord of the Edo era. In keeping a tasteful eye, it allows the piece to go deeper; allows it to question loyalty to your master over loyalty to the good of the state. It rips open the Bushido code and exposes and scatters it throughout the whole tale.

Secondly, this careful attention will thrive from the history of the source material itself, what with it being a remake of the film-of-the-same-name by Eiichi Kudo in 1963. I'm not a huge fan of re-do's, but this is one of those rare gems...a decent remake! (see my article, Top 10 Decent Remakes from back in August last year). Even though a remake, and also influenced by a little known Kurosawa film involving 6 six less warriors than this one, it still feels like it's own film. 13 Assassins takes on this challenge with a cultured brush, even with some of the shots from the classic version being referenced with a modern twist; as if infused with the honour of one the story's warriors.

But Miike fans, don't despair! There are still shocking moments and gore galore, all captured in a pocket of period film making and used at poignant moments to raise tension, while keeping the tone at a respectful level. The action is fierce and relentless too, delivering some sensational choreography. Miike holds no punches with these fight scenes, especially in the final onslaught, where the powerful furore of the finale is held to a high standard thanks to its partnership with some wonderful set pieces.
 
It in this final act, that we see the culmination of an epic showdown of the 13 against Naritsugu forces in the town of Ochiai. This town is a citadel of terror when construction is complete, each pore of it's taught skin peppered with arrows and katanas ready for extracting, to lay pain and blood upon the enemy. There truly are some smart battle concepts paired with some interesting traps, adding further excitement to an already brewing tale.

The builders of this "fortress of killitude" are some intriguing characters. In this makeshift clan of assassins, all performers bringing a little of their own style to this ensemble. There's no doubting however that the show stealer is the 13th assassin, Yusuke Iseya's Koyota. He feels like a nod to the brilliant Toshiro Mifune in Seven Samurai - the maverick rogue; a bandit up for a challenge. With his energy, and a sprinkling of a little humour in parts, Miike ensures that he checks a little of his cheekiness at the door. This comedy is usually reserved for his more "out there" films, but it's refreshing to see it here, even in its subtle form.

What you clearly can see though is a film that is no less than beautifully shot. Striking overheads, awkward angles, foreground objects framing art-house looking shots, it's a collection of filming techniques gently placed together so hardly noticeable. Cinematographer Nobuyasa Kita effortlessly "jigsaws" the shots together with a seamless precision. Not only that, but there is a definitive template to the overall piece. Some parts are sharp but shadowed, portraying a silhouetted yet luminescent look. At other points, there is an almost rustic but cool filter, that coats the scenes with an historical presence. Yet, these styles complement instead of jar against each other.

Most impressively however, you cannot ignore the stunning use of the natural Japanese landscape, effortlessly taking you back to more ancient times. Shooting mainly on location in north Japan, there is an epic, if discreet air thanks to the beauty of the surroundings incorporated into this tale. Some shots are so well crafted, you'll want to take a still for yourself, framing it for your wall.

Miike, while out of his comfort (even though he was made over 80 films since the early 90s), has poured his vision into Kita's lens and built a visual delight with this picture. I have to say it...it's Miike's masterpiece!

   

Classy and completely unlike Miike's forays into the bizarre and insane, this is a formidable tale that blends classic Chambara, honourably through homage, with the modern, through it's frenetic action and stylistic film making. A blend of absolute brilliance.

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