In the end, these foes have a shared respect of their common, dying past; despite the violence that ensues and this seeming paradox is the basis of what Zwick calls the "film language" of The Last Samurai.
"It seems to me that every movie has its own particular language and it usually evolves in the course of filming. It is at times a celebration of yin and yang and that manifests itself in images and movement," offers Zwick, "as in the scene where Taka dresses Algren for battle Algren, the warrior, for once is passive while she does this but she ends up kneeling in front of him in a traditional pose of submission. It is a love scene, there are definite sexual undertones, but not in the typical way. The kneeling position is also associated with prayer. In another scene Katsumoto, the quintessential Samurai, appears prostrate in front of the Emperor. There is a ritual, almost loving way a sword is handled; the Kendo drill, a martial exercise, is also a graceful dance. All these peaceful expressions of respect and dedication arise in a film also about violence and death. There is a lot of duality, as there is in the Japanese culture. These recurrent movements and ideas become the film language; I dont plan them necessarily, they happen naturally."
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