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THE HIDDEN BLADE
Directed by: Yoji Yamada.
Produced by: Hiroshi Fukazawa & Ichiro Yamamoto.
Screenplay by: Yoshitaka Asama & Yoji Yamada.
Original Story by: Shuhei Fujisawa.
Director of Photography: Mutsuo Naganuma.
Edited by: Iwao Ishii.
Music by: Isao Tomita.
Released by: Tartan.
Language: Japanese with English subtitles.
Country of Origin: Japan. 132 min. Rated: R.
With: Masatoshi Nagase, Takako Matsu & Yukiyoshi Ozawa.

Fans of Yoji Yamada’s 2002’s The Twilight Samurai will not be missing much by passing on The Hidden Blade, made two years after the internationally-acclaimed former film and seemingly even directly patterned after it. Once again set in Japan during the politically turbulent mid-19th century, the low-ranking country samurai Katagiri (Masatoshi Nagase), like Seibei in The Twilight Samurai, is the kind of warrior whose honesty and gentleness are increasingly challenged by his politically corrupt clan. When Katagiri’s comrade is accused of treason, the chief retainer suspects Katagiri of being similarly involved in a plot to overthrow the shogunate; Katagiri must kill his friend to prove his loyalty. His fidelity to the centuries-old code of the samurai even prevents him from pursuing personal happiness – like finally admitting he is in love with Kei (Takako Matsu), his housekeeper whose lowly status does not make her marriage material.

As Katagiri, Nagase remains stiff throughout; he needs to develop at least some lines on his face to distance himself from his usual Tokyo-hipster roles. With Nagase lacking the gravity to play a world-weary and aging samurai, even pop star Takako Matsu gives a trite performance that severely compromises their onscreen chemistry. But as the beloved director of the Tora-san comedy series, director Yamada excels at good-natured humor involving middle-aged men acting adorably helpless. Country bumpkin samurais desperately learning how to run, march, and fight like English soldiers make for some of the film’s best slapstick moments. Also, the cinematography has spectacular visual artistry with its precise compositions, effused with an elegant, warm orange light. But with much of the story unraveling like vignettes rather than a cohesive whole, even the final sword fight lacks tension from a want of sufficient buildup. The glimpse into a samurai’s internal vulnerability felt like a refreshing and gentle breeze the first time around, but this second take is more tedious than poetic. Marie Iida
June 23, 2006