In this feudal class system, a highly personalized arrangement of identity-politics labors to serve the aristocracy. Through the testimony of several eyewitnesses who are brought in to appeal for the vengeance of our central hero, Shinzaemon (Koji Yakusho), we learn of the outrageous depravities of the film’s villain, Lord Naritsugu (Goro Inagaki), the half-brother of the current Shogun and son of the previous Shogun, who stands to be untouchable if he is able to return from Edo to his home in Akashi. Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. 13 Assassins is all about the payoff. A remake of Eiichi Kudo’s 1963 film, Miike’s version of 13 Assassins begins by offering many of the hallmarks of such noteworthy, classic samurai films as… In one evening scene, for instance, Kiga daydreams, and we witness his beloved consuming a fleshy substance–perhaps cannibalizing her fetus. None of this content may be excerpted, reprinted, redistributed, or otherwise used by anyone--either in digital or printed form--without prior written permission from its author(s). A veteran samurai named Shinzaemon is recruited to accomplish the suicidal task, assembling a ragtag group of twelve warriors (plus one enigmatic vagrant) for one last chance at an honorable death in an age of peace. Here, the filmmakers develop many ironies, but the film’s main theme illustrates how traditional civic relationships are often arranged fallaciously, for the appeal to tradition that allows Naritsugu ample clannish protection also permits Sir Doi to persuade a Shogunate samurai, Shinzaemon (Koji Yakusho), to see how such arrangements work against virtue and justice.Miike has long been known as an evangelist of experimentalism, a tireless ironist who varies his narrative work and directorial choices, often working his preoccupation for hematology into his films (with mixed results). This is not to say that 13 Assassins does not have its impressive components. In short, Naritsugu is the sort of guy who mischievously plays soccer with his own bodyguard’s decapitated head and believes that  “punishment is a master’s duty.”. Lord Naritsugu is the younger brother of the shogun, which affords him the unchallenged right to murder, rape, torture, and mutilate on a whim. 13 Assassins is a 2010 chanbara film from director Takashi Miike.. Mereka lalu selekasnya membuat gagasan untuk … As we watch Naritsugu patiently execute bound women and children in front of his men, we are unsure if his overtly cruel acts are the result of dementia or a severe demonstration of political power. A group of assassins come together for a suicide mission to kill an evil lord. Change ), You are commenting using your Twitter account. Based on Eiichi Kudo’s The Thirteen Assassins (1963), director Takashi Miike and writer Daisuke Tengan take some very traditional Japanese beliefs about bushido and contextualize them with ideas about subjectivity and individual agency.The plot centers around the pending appointment of Lord Naritsugu (Gorô Inagaki) to the powerful Shogunate Council. Clearly, both are free to choose alternative ways of living, and the film empathizes with their circumstances.Within the conflictual differences between the orthodoxy of Hanbei and Shinzaemon’s heresy, the film suggests that virtue can be found in acts of qualified heresy (from hairesis, meaning “choice”) when one veers from upholding and embodying a master’s conviction to defending a more individualized position. Change ), You are commenting using your Facebook account. Though Naritsugu’s grimy death spares the land from his homicidal despotism, Shinzaemon dies willingly, for he understands the severity of his crimes, so he allows Naritsugu to stab him lethally before beheading him. In this sense, he is  not afraid to transgress social custom and transcend conventional wisdom because he believes in the agency and authority of his own reasoning. But even with surprise and skill on their side, can the small group of assassins possibly hope to prevail against Naritsugu's private army of more than 200 soldiers? Evil on this Train: A Review of Murder on the Orient Express, “We Do What We Can to Endure”: A Review of David Lowery’s _A Ghost Story_, Capitalist Impulse: A (brief) Review of THE BELKO EXPERIMENT, Quick Hit: Eric Takes on Mad Max: Fury Road. A remake of Eiichi Kudo’s 1963 film, Miike’s version of 13 Assassins begins by offering many of the hallmarks of such noteworthy, classic samurai films as Kurosawa’s Ran and Rashomon. At every turn, Lord Naritsugu exercises his moral authority to govern, and his authority raises many problems with a social code that allows a leader to manipulate his followers into defending his illicit behavior. The film attempts to pay homage while also adding the requisite twists that presumably will make it original or at least up the ante on the genre. With Kôji Yakusho, Takayuki Yamada, Yûsuke Iseya, Ikki Sawamura. Either way, his pathology creates conflictive differences between his loyal samurai and Shinzaemon’s heretics, and the film seems to argue that a political system focused on upholding aristocratic traditions is too narcissistic in its composition and too trapped by its own political ambitions to use its moral authority to help others.Though we’re unsure about the origins of his bloodlust, the despot-in-the-making Naritsugu is distinctly drawn, and the filmmakers create assassins who are mostly unique in their composition; however, the film does develop one puzzling oddity in Koyata Kiga (Yūsuke Iseya). Still better than Naritsugu and his forces, who all end up dead. Goochelaar 15:36, 25 June 2011 (UTC) Original work, Kiga I have to confess that I was enthralled with the first twenty minutes of director Takashi Miike’s recent entry into the jidaigeki genre of Japenese cinema. Although these behavioral characteristics may serve the surface-oriented nature of nepotistic politics, they do not offer substantive psychological insight.Because of this shortcoming, we are left to deduce Naritsugu’s actions a few ways: one, he is more symbolic than flesh, emblematic of a fallaciously-arranged political system that compels the samurai to commit self-defeating acts; two, he is a pathological killer, or some sort of devil or nihilist, one who finds pleasure in destroying.

Jonathan Clements takes on the dirty baker’s dozen: Takashi Miike’s 13 Assassins. To combat the evil that will descend upon the land if Naritsugu is permitted to reach Akashi unmolested and thus bring about a return to the times of war, a senior government official pleads with Shinzaemon—the most trusted of this dying breed—to form a team of assassins who will stop Naritsugu before he is unstoppable. Well, it puts the guy down for the rest of the battle, at least... For all the explosions, elaborate traps and badassery, there's nothing to suggest any fantasy elements until Kiga, the 13th Assassin survives despite having a, Hambei's head after he sacrificed himself to protect him. When Naritsugu uses Hanbei’s head as a kickball, we understand that the Way of the Samurai is one of shackled servitude.

Shinzaemon is stabbed in the stomach by Naritsugu at the end. 13 Assassins is a 2010 chanbara film from director Takashi Miike.That itself is a remake of a 1963 film by Eiichi Kudo, but we're not talking about that one here. I think the only one I've seen before is AUDITION, which I thought was a pretty good romantic comedy but not quite up to the hype as the most fucked in the head movie you ever saw. Confronted on the road with an obstacle that a less crazy man would not attempt to overrun, Naritsugu backs down not because he fears the consequences but because taking a different route would be “more fun.” Then he vanishes from the road altogether, forcing Shinzaemon to exercise patience rather than succumbing to panic, only to see Naritsugu’s superior numbers multiply threefold when he finally emerges. While this may not seem important early in 13 Assassins, it leaves us numb to their fates when the trap is finally sprung on Naritsugu and his men. But he is a relative of the Shogun, and hence beyond the reach of the law. However, Naritsugu’s intense fascination with death coupled with his pathology for killing compel him to arbitrarily (and often clumsily) kill commoners and nobility alike. ( Log Out /  Lord Naritsugu Matsudaira is the younger brother of the shogun, which affords him the unchallenged right to murder, rape, torture, and mutilate on a whim. The point of view of his flashback to the event, his. Lord Naritsugu Matsudaira is the younger brother of the shogun, which affords him the unchallenged right to murder, rape, torture, and mutilate on a whim. It is a matter of honour – the young Lord Naritsugu (Goro Inagaki) has a terrible reputation for rape, murder and unspeakable cruelty. Naritsugu takes out the thirteenth assassin this way. Naritsugu has an even bigger breakdown as he lies dying in the mud, sobbing and whining that he doesn't want to die. Because demons are common in Japanese mythology (when asked, Kiga denies he is a ghost), Miike contextualizes this feudal land as a haunted place where a fear of ghosts and goblins is displaced by a fear of a murderous nobleman, one who willingly breaks sacred codes of trust to victimize his vassals.In one sense, the impish, disfigured Kiga (with his priceless, thorny comments about the uselessness of the samurai) serves as simple comic relief.

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