Save for exceptions like Shinya Tsukamoto‘s “Killing,” the quality of jidaigeki pictures in the past few decades is all over the place, a far cry from the 1950s and 1960s when it seemed that praiseworthy gems were a regular occurrence. Yet, Kazuya Shiraishi‘s newest picture, “Bushido,” is not only a great return to form reminiscent of the golden age of samurai cinema but an excellent film destined to be considered a classic in the years to come.
Bushido is screening at Vesoul International Film Festival of Asian Cinemas
Following the completion of his politically charged tokusatsu series “Kamen Rider Black Sun” and his psychological drama “Lesson in Murder,” Kazuya Shiraishi brings viewers to feudal Japan in his first period film for a more realistic portrayal of the age of the samurai, albeit with his usual stylish direction still present. The source of influence is a classic rakugo story called “Kakunoshin Yanagida,” Featuring a star-studded cast, Shiraishi also worked with Masato Kato as the screenwriter, whom he had previously worked with. Following its release, “Bushido,” also known as “Gobangiri” in Japan, has been met with acclaim.
Within Edo (now Tokyo), a ronin named Kakunoshin Yanagida lives with his adult daughter Kinu in a tenement house after being thrown out of the Hikone Domain following a false accusation against him for a crime he didn’t commit involving a sacred scroll. However, he lives a happy life with his supportive offspring, making a decent living as a seal maker and having a generally positive reputation within the community. The lead is often highlighted for his honesty, including when he partakes in his hobby of playing Go, something local merchant Genbee Yorozuya quickly catches on to, who ends up befriending the friendly samurai and regularly playing with him. Yet, things start to go south when Genbee receives a payment of 50 ryo during a game night, which goes missing.
One night, Kakunoshin is visited by his old friend Kajikisamon, who informs him that the truth behind the false accusation has been revealed, with the culprit being fellow clan member and nemesis Hyogo Shibata, who devised the stolen scroll scheme. To make matters worse, Shibata drove the main protagonist’s wife to die by suicide. He is enraged by this revelation and determined to get revenge. However, he’s nearly pushed to a breaking point when Genbee’s heir, Yakichi, suspects the honest ronin is responsible for the missing gold, leading to rumors circulating and the warrior almost committing seppuku to preserve his samurai honor. Kinu, however, steps in before he fulfills this act. To help clear her father’s name, she borrows 50 ryo from a stern brothel owner with a soft side, named Okou, on the condition that if this loan is not paid back, she will force the young woman to work for her. With this deal established and Genbee handed the funds, Kakunoshin sets off to avenge his late wife and save his daughter from forced labor, and eventually, a confrontation between him and Shibata commences.
“Bushido” has a lot going for it. Moving at a deliberately slow pace, Kazuya Shiraishi and Masato Kato take their time to establish the period of feudal Japan through worldbuilding while developing their characters. There’s plenty of subtle historical attention to detail throughout, not just with the costumes and sets but also with the culture itself. A good example is the evolving capitalism, as other methods of financial gain were taking off beyond just agriculture, which was the country’s primary source of income. Go plays a significant part in the story and makes perfect sense since it had long become popular in Japan by this point in time. Aspects like these do a major service in enhancing this world’s complexity.
Furthermore, the story is paced and structured wonderfully. The first half unfolds calmly, with nice touches of humor. We see the touching bond between Kakunoshin Yanagida and his daughter and how he partakes in his hobby of playing Go, a game he’s immensely skilled at, which remains surprisingly engaging, even with dedicated screentime to this. The transition into a revenge story is seamless, as the lead learns the truth behind the false accusation and his deceased wife, igniting his determination to avenge her and uphold his samurai honor. Additionally, there are never jarring tonal whiplashes, even with a significantly darker second half, as clever humor and haunting drama are balanced perfectly, adding a touch of realism to the narrative.
Check the interview with the director
Best of all, you have great characters who keep the story engaging. Kakunoshin Yanagida is a terrific main character to follow. He’s initially calm and laid-back, at times downright stoic, yet his demeanor and honest personality have believable sincerity. However, when he learns of the revelations, the anger and repressed inner emotional side pours out, further humanizing him. His conflicts certainly are helped that his archenemy, Shibata, is a great villain, a truly despicable scumbag that the audience grows to hate along with the protagonist. Additionally, the father-daughter dynamic between Kakunoshin and Kinu is touching and believable, further enhanced by Kinu’s likable personality and strong spirit. Moreover, the side characters are just memorable, including charismatic merchant Genbee Yorozuya, his well-intended but naive heir Yakichi, sympathetic yet intense brothel owner Okou, and Kakunoshin’s supportive comrade Kajikisamon.
This film is a profound exploration of feudal Japan, a historical period that, while beautiful in many regards, was also extremely gritty. Kazuya Shiraishi critically examines this era, such as the relentless cruelty that regularly occurred, as highlighted by the working conditions at Okou’s brothel and how Hyogo Shibata drove Kakunoshin Yanagida’s wife to kill herself. Additionally, Shibata’s character shows how corruption affects multiple people in this era, along with a system that failed the falsely accused lead. Then there’s the grounded portrayal of the samurai moral code, Bushido. Viewers can root for Kakunoshin to seek justice against the man who wronged him. Yet, it doesn’t shy away from showing the strict principles and the psychological complexities that come with that devotion.
Along with those subjects, another theme that remains prominent throughout “Bushido” is preconceived notions. Frequently, characters perceive one another solely based on personal judgments or blatant assumptions, which are then turned on their heads through progression and twists. This idea even addresses extreme devotion to the samurai code in such circumstances. Sometimes, even the audience may be led into a similar position to assume. As demonstrated through examples like false accusations, eccentric beliefs, or biased profiling, viewers see the heavy negative impact of preconceived judgment, including social inequalities, prejudice, and limiting worldviews, while pushing people further apart. Even with the film set in feudal Japan, this powerful theme is universal.
Along with great storytelling, the acting is terrific. Tsuyoshi Kusanagi‘s performance as Kakunoshin Yanagida may be the actor’s finest performance to date, bringing a range of emotions to the role as he transitions from a calm ronin into a vengeful samurai. Kusanagi’s chemistry with his costars is remarkable, particularly Kaya Kiyohara as his caring daughter Kinu, who also does a great job, as does Takumi Saitoh in portraying the hero’s archnemesis Hyogo Shibata. A strong supporting cast that includes Jun Kunimura, Taishi Nakagawa, Kyoko Koizumi, and Eita Okuno further enhances the immersive experience.
Production values are meticulous here, from the costumes and make-up to a nice mixture of set pieces and on-location shooting. It’s a gorgeous movie and noticeably more gritty in its presentation than many samurai movies today. This aspect is largely due to the creative choice of natural lighting, which is visually striking and adds historical authenticity. Additionally, while light on action, when sword fighting does occur, Kazuya Shiraishi delivers intense, superbly choreographed samurai fights that are also quite brutal. Encapsulating all of this visual glory is the excellent cinematography by Jun Fukumoto. Lastly, the music score by Umitaro ABE is very nice and appropriately utilized.
“Bushido” is a must-see for longtime fans of samurai cinema and a stellar introduction for newcomers to Chanbara. Coupled with lavish production values and stylish direction, Kazuya Shiraishi treats viewers to a compelling revenge tale while showcasing powerful themes of deconstructing preconceived judgment during a gritty period of Japanese history. Despite intentional pacing and minimal action, the film remains engaging thanks to a superb script and great performances.
