A thrilling samurai epic about loyalty and lordship from a master of the historical drama. A kagemusha, or ‘shadow warrior’, is a body double used to avoid the lord being put in danger, or to trick the enemy. The film begins with prominent warlord Shingen Takeda’s brother Nobukado (Tsutomu Yamazaki) having found a perfect double of the lord, a former thief who he saved from hanging. Although he is nothing like the fearsome lord in manner, he is the spitting image of him (Tatsuya Nakadai plays both Shingen Takeda and his new kagemusha). At this time three mighty leaders are vying for control of the county: Ieyasu Tokugawa (Masayuki Yui) and Nobunaga Oda (Daisuke Ryu), who have formed an alliance are in bitter conflict with the third, Shingen Takeda. Takeda is close to victory, when he is shot and wounded by a sniper. Following his death, the kagemusha must step in to take his place, as per the lord’s wishes, for three years. This presents a problem for Takeda’s supporters as this doppelganger risks exposing himself as an imposter. Meanwhile, Tokugawa and Oda move forward with their campaign to unify Japan; and Takeda’s son Katsuyori (Kenichi Hagiwara) attempts to win power in his own right.
“Kagemusha” is set during the warring states period, a pivotal moment of Japanese history. It takes for its basis one of the possible stories about Takeda’s death and spins a fantastical tale of deception and feudal conflict culminating in the Battle of Nagashino. The film has a theatrical feel to it, beginning from the opening scene in which we have a long dialogue between Nobukado, Takeda and their new kagemusha. Simply staged with a fixed camera it relies on the excellent performances and framing to tell the story. Throughout the film this carefully considered tone is maintained. Kurosawa is known to have painted out his own storyboards and it shows in the composition of each shot. Background details take on great significance, whether the suit of armour that hangs in the background as Tokugawa sits in his hall, or the incredible landscapes of crashing waves at the shore. Each detail is carefully calculated to enhance the drama, drawing out the power of the surrounding environment to bolster the unfolding drama. Kurosawa also knows how to use extras to maximum effect, from scores of corpses showing the horror of battle, to the triumphant marching of spearmen and cavalry. The use of colour is also notable with scenes lent vitality through the reds, greens and blues of armour and banners.
Kurosawa uses long takes and scenes to excellent effect in “Kagemusha”, giving the actors space to express themselves and ideas and emotions time to take on real significance. One example of this is in the scene where the sniper explains how he shot Takeda. Rather than a quick explanation, we are given an extended sequence where he runs step by step through his actions. It is in Kurosawa’s measured pacing that scenes such as this are leant dramatic weight. In the scenes with Takeda’s grandson and mistresses the unbearable tension that he may be exposed is drawn out, creating a palpable sense of threat.
The soundscape also feels inspired by theatre, with the use of traditional instruments played for reactions or mood setting. As the film progresses we get a more traditional epic score that begins to play over the battle scenes. Equally noteworthy however is the film’s use of silence in many scenes, allowing the acting to speak for itself. Again an example of Kurosawa’s still, contemplative style that allows the audience to really empathise fully with the trials and tribulations of the kagemusha.
While much of the film is a tragic lament on the loss of nobility and the horror of war, it also features plenty of humour to lighten the tone, such as hapless servants walking over an area they have just brushed, the kagemusha discovering Takeda’s body, or crude jokes about how the kagemusha should deal with Takeda’s mistresses in the same way he does the horse (by claiming he is too ill to ride that day). Kurosawa’s belief in his actors is justified, with Tatsuya Nakadai delivering an incredible performance as Takeda and the kagemusha. We watch him transform from a lowly thief to the embodiment of honour and calm surety.
The film is at once an historical epic, with the clashing of great martial forces for the future of Japan, and at the same time a highly personal tale of one man’s journey to discover a sense of honour. One of the bloodiest periods of Japanese history, the warring clans knew that whoever triumphed would control the fate of the country. The opening and closing of the film show the great sacrifices that were made to achieve what they believed was a unifying mission, with hundreds upon thousands killed. The film offers little praise or condemnation of the actions of Tokugawa, Oda and Takeda, giving a stoic appraisal of their actions. All are shown to be great leaders and there is little indication that any one of them is better or worse than the others. In the story of the kagemusha we are given an account of a man who is forced to become someone better than he is. When the film begins he is disloyal, avaricious and immature; by contrast Takeda is shown to be a thoughtful and fearsome warrior. The film might be read as a commentary on how individual will can be forced into subservience to a lord or master, necessitating complete destruction of the ego in service of a higher power. However, the film also suggests that Takeda is truly great and that this transformation of the lowly thief into a lord is something of an honour. One interesting aspect of the film is the kagemusha’s relationship with Takeda’s grandson, who immediately marks him out as an imposter. He states that he is no longer afraid of him, and later their relationship becomes one of genuine warmth. This indicates a more nuanced view of the difference between Takeda and kagemusha, showing what the first had to sacrifice in order to become a fierce warlord. An incredible film that speaks to what it means to be a leader and giving an insight into this bloody period of history.
