Customer Reviews

Zatoichi the Blind Swordsman, Vol. 8 - Fight, Zatoichi, Fight

5 star:		(7)
4 star:		(1)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

The over 20 films Zatoichi films comprise arguably the most beautiful film series ever made. Every frame is a work of art.
If you like moral ambiguity look elsewhere. The plots are simple but classic fables (i.e.: "fabulous"). Zatoichi, the humble blind masseur, is a 15th century Columbo amiably bumbling along, and is played with great skill by Shintaro Katsu in all films. But when a band of villains threatens some damsel, watch out, as Zatoichi pulls the sword from inside his walking cane. Blind but sensing all movement around him, he becomes a whirling dervish of lethal steel. No villain ever survives, though actual blood is rarely seen.

Having watched these films for the last five years or so, I can't believe I missed this one. It is now my favorite of all the Masseur Ichi films.

Our hero's relationship with the baby he is protecting is very touching. And I love the humor in this one, especially when he does the pseudo-breastfeeding to try to calm the crying child. Ichi's expressions in that scene are priceless. I was also touched by his inability to sleep (because of his protectiveness toward the child) even after he has paid a woman to look after the baby so he can finally get some sleep.

My favorite scene of this film is the gambling one, where Ichi exposes the dice fraud, helping the other underdogs win too. I am again impressed by the lack of gore in this movie, just as I am with the other Zatoichi films. The storyline is classic and well-done. I definitely recommend this one.

Having recently become interested in the Zatoichi movies, I've been trying to watch the movies in sequence. Having been somewhat disappointed by volume 6, and not overly impressed with volume 7, "Fight, Zatoichi, Fight" was a pleasant surprise. The story basically revolves around Zatoichi's attempt to return a child to his father after he had inadvertantly caused the woman's death. Not able to handle the responsibilities on his own, he hires a light-fingered woman to look after the child. Naturally, Zatoichi is all the while followed by men bent on collecting reward money. All in all, an entertaining movie.

-
Usually on Saturdays I catch the Samurai feature (or at least part of it) on IFC while I eat my lunch. While I love Zatoichi movies (I have about 7 on tape and DVD respectively) usually I can't focus on both the subtitles and my lunch at the same time so I usually flip to TBS so I can hear a movie rather than try to read and eat.

This time however I caught Fight, Zatoichi, Fight and was completely enthralled. Any good Zatoichi fan worth their salt doesn't just like the character and the movies because he is a total badass with his cane sword...it is because he is completely human at the same time. He is fallible and is often more prey to his own emotions than to the regular old scheming Yakuza or ornery samurai warrior. This movie has all the things you like about Zatoichi films. The drama, the emotion, the [fighting], the humor. This movie yo-yoed my face like you wouldn't believe...at times I was laughing while the next minute I was feeling quite sad...or hell, even touched. Do you know how hard it is for someone like me to say that?

Anyway, if you like Zatoichi movies, or any movies whatsoever...this is a great one to watch.

This 8th episode of the Zatoichi series is not to be missed: It is truly magnificent and entertaining. The film begins with a tragedy, [what else is new?] involving Ichi. He takes a ride in a palanquin; however, hearing a woman with a child in dire need of help, he gives her his seat in the palanquin and decides to walk the rest of the way. Unknown to him, a group of assassins is lurking nearby for him. Tragically, they attack the woman in the palanquin thinking that Ichi is inside. Feeling responsible, Ichi sets out to find the father of the infant. All the while these low-life samurai assassins are trailing him.

This clan of samurai assassin's tell Ichi that they have never failed a job yet. Little do they know that Zatoichi is no ordinary swordsman. Therefore, Ichi must hurry to his destination and get the baby to his father while eluding the paid killers. These killers have no scruples whatsoever: even trying to kill Ichi when he is changing the baby's diapers. So much for the Bushido code. There are many comical elements thrown in the film in regard to Ichi, the baby and a female pickpocket he teams up with on the road. Meanwhile, the journey Ichi undertakes in locating the father is fraught with peril.

When Ichi finally locates the father of the baby, Unosuke. The father denies the baby is his; and even denies the slain woman, Toyo, was his wife. Therefore, what is Ichi to do? Zatoichi has to deal with a confrontational father, decisions concerning the childs welfare, and the assassins still on his trail. What will become of the father? What about the baby? It all makes for a tragic conclusion. I will let you see for yourself, as this is a terrific Zatoichi episode. [Stars: 5+]


Beautifully fimed, the cinematography is outstanding

Zatoichi has the responsibility to care for a young child, while fighting off Yakuza thugs. Great action, powerful story, and lots of humor. Fans will not want to miss this one.

Despite the title, FIGHT, ZATOICHI, FIGHT (1964) is not a film of violence or action. There are a couple of short, quick bursts of swordplay, with a slightly longer confrontation at the end, but for the most part, Zatoichi, the famed blind Japanese swordsman, takes great pains here to avoid fighting when he can. And it's a better film because of it, thanks to the richer portrait we get of Zatoichi, one of the most appealing and enduring figures of popular Japanese cinema. The chief reason for Zatoichi's sudden caution is his responsibility for the care of a baby boy after the baby's mother was mistakenly killed by hired swordsmen seeking Zatoichi. As a result, Zatoichi (Shintaro Katsu) feels morally obligated to travel to the baby's father in Miyagi, a town 60 miles away, and deliver the baby to him. Along the way, he gets help from various people, including a female pickpocket who joins him for a time posing as his wife. When Zatoichi finally locates the baby's father, he's in for a rude surprise.

The movie was directed by Kenji Misumi, who directed five other Zatoichi films, as well as four "Lone Wolf and Cub" films through which he became associated with a flashier style of action filmmaking, characterized by abundant carnage and delirious, over-the-top violence. This film, however, is shot with austere beauty, with long, uninterrupted takes of character interaction and simple, beautiful compositions utilizing the deep focus photography that was a trademark of the best Japanese films from the 1950s and '60s. Such an approach gives star Katsu the opportunity to focus on his character and bring out sides of him we don't often see in other Zatoichi films, particularly in his scenes with the baby and his encounters with the women he meets.

There's a funny scene where Zatoichi hires a prostitute to take care of the baby for the night while he tries to get some sleep, yet he keeps getting up and startling the prostitute in order to check on the baby. Later, we meet Miss Ko (Hizuru Takachiho), the pickpocket, and Zatoichi recruits her to help him with the baby on the final stretch of the trip to Miyagi and agrees to pay her for her trouble provided she doesn't steal anything. They have some interesting arguments along the way, culminating in her threatening to walk out, but then offering to stay with him and join him in raising the baby as their own. These are moments of honest human behavior not usually experienced in a format more likely to be filled with frequent challenges designed to explode into bloodshed. Plus, it helps that the baby is so adorable.

If you're a fan of Japanese cinema and enjoy Katsu's portrayals of Zatoichi, you owe it to yourself to see this one. If you watch these films only for the violence, then you may be disappointed. To those viewers, I suggest watching these films for more than just the action. You'll get more out of them that way.

about the way an unreluctant hero gets tangled in a fight not his out of wanting to do good. Here we see a blind person having to play baby sitter and "fend" off the bad guys as well as the person who is supposed to be his assistant. As usual great fight scenes and humor abound.

Zatoichi has always had an affinity for the weak, elder, children and downtrodden. Here he is the protector of an infant and pitted against the child's father in the end. Zato simple dotes on the child and the formula allows for some clever puns on the way a blind man would raise a child. Whenever children become present in Zato films I usually cringe a little, however the infant does not become terribly annoying in this film. The idea is actually quite likeable by film's end.

Again, a beautifully told story with fine acting.