THE LAST SAMURAI
----------------
In 1876 San Francisco, Captain Nathan Algren tries to poison his memories
of Custer's last stand and his participation in the massacre of native
American Indians with alcohol, but he's roused from his torpor by former
colleague Zebulon Gant (Billy Connelly, "White Oleander") with an
interesting proposition - training the first modern army for the Emperor of
Japan. The cynical and soulless Algren takes the monetary bait but he's
unprepared for the spiritual rebirth he will undergo in the hands of "The
Last Samurai."
Director Ed Zwick ("Glory") combines his love of Kurosawa and the
militaristic lost cause in this epic adventure tale. An overly actorly
Cruise derails the picture at its start, but when the action moves to Japan
things get back on track. An inability to call an end to the proceedings
at the appropriate time, however, makes the film's wrap an unfortunate bit
of Hollywood hokum.
After being presented to the Emperor (a delicate Shichinosuke Nakamura),
Algren begins his job in earnest. Discovering that the army's first job
will be to quell a rebellious Samurai, Algren finds the irony in the
situation - 'I've been fated to repress another tribal leader.' When news
comes that Katsumoto (Ken Watanabe) is approaching, Algren is insistent
that the new army is not ready, but his hated former Colonel Bagley (Tony
Goldwyn, "Abandon") will not budge. The terrified band of farming peasants
goes up against Katsumoto's warriors and their guns prove no match for the
seasoned swordsmen. Algren fights valiantly, even killing the red-armored
Samurai who was about to execute him, and so impresses Katsumoto that he is
spared and taken prisoner.
The film's midsection will be familiar to anyone who watched the 1980
miniseries "Shogun." Algren is initially boorish and wary of his captors,
but comes to find incredible beauty in their way of life. Housed against
her will with Katsumoto's sister Taka (Koyuki), Algren is bemused by what
he views as her kindness. The beauty is also the widow of the red-armored
Samurai and the mother of two young boys seeking a father figure.
Katsumoto tells Algren that he is being held because Katsumoto wishes to
know his enemy, but by the time enemy ninja invade his camp, Algren is
clearly loyal to the Samurai leader. When an attempt at political
resolution to Katsumoto's conflict with the Emperor fails, Algren
masterminds his escape and rides with the Samurai against the Emperor's army.
After an overly earnest and politically correct bout of excessive
suffering, Cruise characterizes Algren as a physically adept soldier both
honorable and humorous. His initial, uninterpretted ramblings to a
bodyguard he names Bob are amusing takes on his situation and his hesitant
admiration of Taka simmers. Cruise works very well with Watanabe, the
highly educated warrior and leader of men. Watanabe's early request for
'con-ver-SA-shuns' with Algren are uncomfortably close to Yul Bryner's
portrayal of a Siamese King, but the man brings such stature to Katsumoto
that that affectation is quickly forgotten. Watanabe is equally compelling
looking for the perfect cherry blossom or fiercely in battle and a heroic
and touching figure. Hiroyuki Sanada ("Ringu") is imposing as Ujio,
Algren's enemy and Samurai instructor. Goldwyn cuts a fine figure to
despise, not overdoing the villainy. The terrific Timothy Spall ("Nicholas
Nickleby"), however, is wasted in the role of interpreter Simon Graham, a
character who is used as a Western touchstone in foreign Japan.
Through Algren, Zwick and his cowriters John Logan and Marshall Herskovitz
pair the American Indian with the Japanese Samurai as noble warriors being
eradicated by the West (the Japanese Emperor has been encouraged to
Westernize by greedy businessman Omura (Masato Harada), who wishes to
profit by trade). When Katsumoto's son Nobutada (Shin Koyamada) is shorn
of his topknot by a Japanese soldier, the image is supposed to evoke
thoughts of scalping, although the comparison is backwards. Algren's
description of the Indians to the Emperor, 'They were very brave,' is a
foreshadowing of the final fight of the Samurai. The weapons of the
Samurai and Indians are eventually crushed by the white man's mechanical
firepower.
Zwick stages terrific battle sequences with his physically demanded upon
actors. Even Algren's training scenes have tension and excitement. Zwick
knows the importance of conveying military strategy to the audience and the
'David vs. Goliath' nature of his final confrontation is dissipated by the
intelligent trickery employed by the underdog. Cruise is 'Easternized' by
his wearing of the red armor (costume design by Ngila Dickson, "The Lord of
the Rings" trilogy), and, lest I give away too much, all I can say is that
was some armor. Production values, save one obvious matte of late
nineteenth century San Francisco, are what one would expect from such a
high profile film.
B
For more Reeling reviews visit http://www.reelingreviews.com
==========
X-RAMR-ID: 36413
X-Language: en
X-RT-ReviewID: 1223381
X-RT-TitleID: 1127779
X-RT-SourceID: 386
X-RT-AuthorID: 1487
X-RT-RatingText: B
NOTE: This review was posted on the usenet
to the rec.arts.movies.reviews newsgroup.
Mooviees.com accepts no responsibility for the contents of the review.
Unless stated otherwise, the copyright belongs to the author.
Movie Database
In Theaters
