Matt Cooper Films

Rurouni Kenshin: The Final (2021) by Keishi Otomo

Taking place several years after the previous film, Himura Kenshin’s (Takeru Sato) peace is once again disturbed by a figure from his past. Enishi Yukishiro (Mackenyu Arata) bears a major grudge against Kenshin, for causing the death of his sister Tomoe (Kasumi Arimura), who was briefly married to Kenshin. Enishi is also working alongside Shanghai mafia boss Wu-Heishin (Takuma Oto), who is under investigation by Hajime Saito (Yosuke Eguchi).

Following on from previous instalments in the saga, “Rurouni Kenshin: The Final” features the familiar stylish action sequences and a lot of nostalgia for the first three films. As well as the return of most of the cast, including Yosuke Eguchi, Emi Takei, Munetaka, Aoki and Yu Aoi, the film also sees the return of Ryosuke Kamiki in another superb fight. There is a nostalgia to seeing the gang back together again and taking on a fresh challenge, and with the same director, composer and cinematographer it is almost as if no time has passed between the releases. The story this time around feels like a more personal affair and Kenshin and Enishi’s backstory and rivalry is a strong thread on which to hang the as-ever impressive action sequences. We learn through flashbacks of their history together, including how Kenshin got the crossed scars on his cheek. Once again the action choreography offers an amazing spectacle, from Enishi’s first fight in a train, through large scale battles and emotionally charged duels later on, there is an endless creativity and skill in each of these set-pieces. The sight of dozens of extras engaged in combat is an incredible sight, the vitality and skill of the actors a marvel to see. The story of the Shanghai mafia investigation is given short shrift, being far less interesting than Enishi’s main plot, but again the film gives ample time to several supporting characters, helping to flesh them out a little.

Despite a run time of over two hours, in keeping with previous films, the story is well-paced and rarely drags. The screenplay, also by director Keishi Otomo, is continuously pushing the plot forward, slowly revealing details about either Kenshin’s history, or the characters around him, building up a sense of connection to events and people that allows the fight sequences to land with a genuine sense of threat. Everything about this project proves not only a serious budget, but a dedication to making something that looks incredible. The costume and set design perfectly recreate the period, while adding colour and vibrancy to the characters, building a believable world around the fantastical plot. Takuro Ishizaka’s cinematography is also beautiful to look at and the film uses light, locations and weather, to emphasise certain moments. Snow softly falling over a tragic death, fires tearing through the city, using the background details to heighten the emotional content of certain scenes. Naoki Sato again provides an incredible score that slips easily between drama and action.

“Rurouni Kenshin: The Final” sees a darker side to Kenshin, similar to when we first encounter him. Despite his easy-going appearance, the film makes clear that he was a killer and has caused great suffering in the past. Enishi’s desire for revenge is understandable and we are left with difficult moral questions about both of them. The film is one of the best big-budget action films in the genre and a welcome return for these characters.

Matt Cooper Films

Rurouni Kenshin 3: The Legend Ends (2014) by Keishi Otomo

The final part of the Rurouni Kenshin trilogy tells the story of the legendary swordsman Kenshin Himura (Takeru Sato) as he battles against Shishio (Tatsuya Fujiwara), a fellow former assassin who has turned to a life of crime. This film picks up where the last one ended, with Kenshin training with his former master, Seijuro Hiko (Masaharu Fukuyama) and asking him to learn the ultimate technique of his “High Heaven” style.

The biggest fault with this film comes from the fact that, after an incredible build-up in the previous film “Kyoto Inferno”, we return to Kenshin training to take on Shishio again. This almost seems like a backwards from where we were in the story, but it is understandable that they cannot rush straight to the climactic battle scene. The film has a much slower pace, and more time for character development, in many ways a more sedate affair than the previous films. While it is a little frustrating to have to wait for the climactic duel, this does allow us to see a different side of Kenshin, a more vulnerable, mortal, human than the unbeatable hero that he had become. When the film does reach the final fight it is as spectacular as anything that has gone before, and you can appreciate the build-up as it adds a definite weight to their struggle to defeat Shishio, and Shishio’s own hatred of the government. Again there are certain characters in the ensemble who fall by the wayside, receiving only a short amount of screen time, but the film is told with such assuredness of direction that it is easy to forgive its flaws. Having the same director and cast ensures that each film is of comparable quality, and they do their best to introduce new elements to each story. The score, by Naoki Sato, emphasizes the sense of scale and it is hard not to feel emotionally engaged when various themes begin, familiar from previous films.

This is really a part two with “Kyoto Inferno” bringing to a close a trilogy of fantastic historical action epics, probably one of the best live-action adaptations of a manga out there, which respects its characters enough to spend significant time developing them and also takes its story seriously. The consistency in quality, with the same cast and crew, mean that if you enjoyed the earlier films, you are very likely to enjoy this final instalment, which brings things to a satisfying conclusion.

Matt Cooper Films

Rurouni Kenshin 2: Kyoto Inferno (2014) by Keishi Otomo

The film opens with an atmospheric sequence in which we see police chief Hajime Saito (Yosuke Eguchi) tracking down the dangerous gang-boss Makoto Shishio (Tatsuya Fujiwara), a figure who was believed to have been killed at the battle of Toba-Fushimi, which brought about the new age of peace in Japan. This opening sequence establishes Shishio as a dangerous villain, intent on exacting revenge on the world. We pick up the story of Himura Kenshin (Takeru Sato), and his friends Sanosuke (Muneta Aoki), Kaoru (Emi Takei), Megumi (Yu Aoi) and others from the first film, when he is asked to travel to Kyoto to find Shishio and kill him. Kenshin reluctantly agrees, setting up a series of thrilling encounters with Shishio’s gang.

With the same cast and director as the first Rurouni Kenshin film, this includes much of what made that film great. The action sequences are exciting, well-choreographed, both one-on-one duels and fights against larger numbers. The film introduces a few new characters, including Sojiro Seta (Ryunosuke Miura), who has one of the best fights in the film with Kenshin. The story has a darker tone than the first, with a much more intimidating villain. Shishio appears wrapped in bandages after being betrayed and burnt in his last battle, and is believed to be equal in strength, speed, and skill to the semi-legendary Kenshin himself. The imagery of fire and hell in the beginning is a fantastic introduction to this character and sets the scene for an epic showdown. The film does a reasonable job of distinguishing itself, although the basic elements remain unchanged. Once again the film benefits from Takuro Ishizaka’s incredible cinematography and an epic score by Naoki Sato.

A fine sequel to the first film, with everything that was enjoyable about it reproduced here. The film-makers succeed in upping the tension with a darker, more violent villain and some incredible action set-pieces. The film is the first part of a two-part story, meaning that the end of the film builds to a climax that doesn’t arrive. However, it does an great job of setting up that confrontation for the next film.

Matt Cooper Films

Rurouni Kenshin (2012) by Keishi Otomo

A new age is dawning in Japan, one of peace following the bloody struggles of rival samurai. After the last battle of a long war, legendary swordsman Battosai (Takeru Sato) determines never to kill again, leaving his blade on the battlefield. 10 years later Japan is a very different country, narcotics are pouring in and wealthy businessman Kanryu Takeda (Teruyuki Kagawa) is taking full advantage of this, building an opium empire that he intends to spread around the globe. Himura Kenshin, formerly known as Battosai, is living peacefully in this new world when events force him to fight. He is met on his adventures by a fellow former samurai (Yosuke Eguchi), now chief of police, a dark figure who stole his sword named Jin-e Udo (Koji Kikawa), and several friends and allies, including a young woman Kaoru Kamiya (Emi Takei) who runs a dojo, Megumi Takani (Yu Aoi), on the run from Takeda, and a street fighter, Sanosuke Sagara (Muneta Aoki). Kenshin must struggle to protect his friends from Udo without resorting to killing, which he has forsworn, and defeat the corrupt businessman Takeda who rules this new order.

“Rurouni Kenshin” is based on a popular manga, and does a fantastic job of bringing the story to the screen with a blend of serious action and colourful characters. The villain of the piece is an over-the-top caricature of a corrupt, wealthy drug baron, showering people with money to get what he wants, and with a monomaniacal sociopathic scheme of world domination through drug trafficking. There are several other characters who are larger than life, such as Sanosuke, who wields an improbably huge sword. But the joy of the film is that all the characters and scenes are played straight, with even the more outrageous moments taken seriously. The quieter moments between Kenshin and his friends help build empathy before the action begins, and the characters, although not particularly deep, are all given convincing motivations. The choreography of the swordplay is particularly impressive, giving a sense of elegance and brutality at the same time. Keishi Otomo directs the action in such a way to make the movement clear and easy to follow, allowing you to appreciate the skill of the actors. Naoki Sato’s incredible score creates several distinct tones that work well together. Examples include the use of a limping, comic theme for the main villain, which is juxtaposed against the more sombre music when Kenshin is recalling his past as an assassin. Takeru Sato’s Kenshin is a likeable lead, and something of an enigma in the movie. Although we first see him carving a bloody path through a battlefield, he appears as a kind-hearted, even naive, soul throughout most of the film, except when he is pushed to show his prowess with a katana. His sword, the “back-blade” (with the cutting edge on the side facing him) is a nice touch, representing his desire not to kill, and makes him even more of a hero.

A thrilling action epic with a timeless story and enjoyable characters. Kenshin is an excellent conflicted protagonist, with a dark past and a vow to not kill balanced against his supreme skills as a swordsman. “Rurouni Kenshin” is a film about the value of peace, and turning away from death and slaughter, and also about the power of friendship.

Matt Cooper Films

Two Portraits of Miyagino (2010) by Tatsuji Yamazaki

A tale of love and betrayal in Edo-era Japan, touching on the relationship between art and life. The film opens with an introduction to Toshusai Sharaku, a historical ukiyo-e artist, whose prolific output over a short period and unknown identity have led many to speculate about who he was, and the details of his life. Miyagino (Tomoko Mariya), a prostitute, explains in a monologue to police officers that she was responsible for his death, although the details of what has happened are unclear. The story returns us to 1794 where we find the artist Yataro (Ainosuke Kataoka), working under his master Sharaku (Jun Kunimura), on portraits of various kabuki actors and actresses. Yataro begins a relationship with Okayo (Aimi Satsukawa), Sharaku’s grand-daughter. He is constantly reminded of his relationship with Miyagino, which began some time before, as he works on a portrait of a female impersonator playing the role of Miyagino.

“Two Portraits of Miyagino”, directed by Tatsuji Yamazaki, from a screenplay by Masaaki Sakai, is a film that plays with theatrical alienation techniques, wrongfooting the audience at times and blurring the line between reality and performance, or history and artistic representation. Many of the outdoor sets have stage-like painted backgrounds; shots of city streets have miniature character models being moved around a small set by a puppeteer; and we see black-clad ‘invisible’ figures in the background providing the musical accompaniment to scenes. The careful use of light and staging all increase the sense of watching a drama unfold that has the distinct sense of artifice. This is also evidenced in the script. From Miyagino’s opening soliloquy, the film will often break into dialogues or monologues that could easily be direct from a stage production, taking pains to distance us from the drama, while capturing the emotional power of each scene. This is helped by amazing performances from all the leads and a small cast of extras, including Kirin Kiki. They show a depth of emotion, with purposeful movements and expressions again reminiscent of theatre.

The beautiful cinematography and direction make this film joy to watch. Each shot is carefully staged as if the actors were a living painting. There is a moment when the film slips into highly stylised kabuki performance, and it is clear to see the threads of inspiration in the way this film is constructed. There is a focus on minutiae, such as a single falling leaf, or technical effects such as wind blowing across the set, that give the impression that everything has significance. The soundtrack includes both traditional instruments, the clack of woodblocks breaking up a scene, or the strains of koto providing background music, along with a more modern score of strings and piano. Again giving the sense that we are immersed in a theatre production, standing on-stage beside the actors, or stepping into the portraits they are creating.

The story is told achronologically, building mystery around the relationship between Yataro and Miyagino. As the title may suggest the film’s central focus is on Miyagino, as much or more so than Yataro. Her opening scene shows us a woman who society has cast aside, a pitiable figure whose job makes her an outcast. We learn that she has been abandoned by her family and everyone around her, including Yataro. It gives an insight into the status of women in society at that time with modern parallels. The film also asks us to question the relationship between art and reality, with the prints Yataro creates never capturing the fullness of Miyagino’s life. It draws out a tension between the ‘performance’ of this story and the genuine emotions that are expressed by the actors. This is compounded by the fact that Yataro is creating prints of actors portraying characters, who are in turn played by actors in this film. While it may sound confusing, the film’s meta-elements rarely detract from the narrative, which is compelling.

Perhaps the most difficult idea the film poses is in the constant criticism Yataro receives from his master. Namely that he is lacking a soul. The suggestion perhaps that Yataro, while skilled, is still lacking something vital for the creation of great art. That he is never quite breaking through the superficial to find some deeper significance to his work. It is never quite clear what Sharaku wants from him, or Miyagino, or what Yataro wants for himself. As with much of the film we are left to question this and many more of the character’s peculiar behaviours, left to wonder what their true nature is, much as the people who look at Sharaku’s drawings.