A daimyo (feudal lord) is forced to move province on the orders of the shogun in this historic comedy drama. Lord Matsudaira (Mitsuhiro Oikawa) of Himeji receives word that he is to move his entire clan to a smaller distant province. This means a halving of their revenue and a vast logistical challenge. Matsudaira enlists the help of a librarian, Harunosuke (Gen Hoshino), who is tasked with organising the move and cutting costs. Harunosuke is helped by Oran (Mitsuki Takahata), a single mother whose father Ikuta led the last great clan move 15 years before; and his friend and fellow samurai Takamura (Issey Takahashi). Harunosuke is faced with various problems, not least of which is to tell many samurai that they are to be left behind as farmers, as the new province will not be able to support them.
You may think it would be difficult to make an interesting film about moving house, and you would be absolutely correct. The film’s central issue is that the stakes are relatively low and there is little suspense. While Harunosuke’s task is monumental, we only rarely see the human cost of this venture. The comedic take on events is perhaps the best that they could have done with the story, but also goes to undermine the challenge they face. One of the best scenes is when a samurai is asked to discard many of his prized possessions, priceless ancient artefacts that nevertheless have little to no use outside of ornamentation. This is one of the few moments when we see genuine distress at the thought of what they are losing, albeit still played for laughs. In a fight scene later in the film, the clowning and family friendly nature of the film again mean that it is hard to feel any sense of danger. Towards the end the film attempts to underline its themes about belonging and the importance of a sense of community, but it comes late and with little to back it up. Harunosuke returns to those left behind at a point when they are only able to tell us what they have been through, rather than showing us the effects of Harunosuke’s decisions. Similarly, any sense of the enormity or difficulty of this move is somewhat undermined as they subsequently move several more times in the film in a brief expository scene. Harunosuke is a likeable character, played by popstar Gen Hoshino who brings charm and charisma to the bumbling everyman role. Issey Takahashi and Mitsuki Takahata are also supremely enjoyable in their supporting roles, playing very much the by-the-numbers friend and love interest. The film does a good job at recreating the period, but the stages and costumes often feel like just that rather that presenting a believable setting.
“Samurai Shifters” gives us a look at an unusual practice of the period, albeit an exaggeration of the historical reality. At heart the film is about discovering what is important in life. The samurai who is forced to part with many of his possessions, and Harunosuke himself who is forced to destroy many of his prized books, emphasise this most clearly. It is the people that make the clan what it is, rather than any objects or place. The film also offers some commentary on the role of class and status in a historical context, with Oran’s father receiving little reward for his duties as he was not of the samurai class. The most moving moment of “Samurai Shifters” is when Harunosuke returns to those samurai who were left behind, who have now become peasant farmers, cultivating the land and raising families in their former domain. Their realisation that this ostensibly poorer lifestyle in fact makes them infinitely richer due to the happiness it has brought them is a message that deserved more time. “Samurai Shifters” rarely drags in terms of the narrative and features many enjoyable performances, but it is unlikely to be a film that is received with much enthusiasm.
