Veteran director Yoji Yamada’s final entry into his loose trilogy of films about the decline of the samurai way of life may have the least action, but is the best of the lot. A simple story of a young samurai tragically blinded and how it effects his marriage makes for a deeply emotional movie told with great sensitivity and beauty. Faced with adversity, he has to to choose between love and honor.
The mid to late 1800s in Japan was marked by the waning of the old feudal systems along with the associated samurai culture. Being a period of great turmoil affecting every level of society, the Bakumatsu transition to the Meiji Restoration is a fascinating time period in Japanese history and great fodder for movies. Domestic conflicts caused trouble within and interventions by foreign powers starting with Americans, then the English, French, and Dutch made it a time of violence and intrigue.
When Yamada decided to set his films Twilight Samurai, The Hidden Blade, and Love and Honor during this upheaval, he made the unusual choice of going small in scale rather than large. Adapted from novels by Shuhei Fujisawa, the stories featured intimate portraits of dissatisfied samurais breaking with tradition, or at least bending it nearly to that point, for the women they loved. It was a brilliant move that produced three incredible movies that rank with the best to ever come out of Japan.
Love and Honor begins in typical samurai film fashion, which means text explaining the setting filling the screen, in this case about the role of poison tasters in the service of feudal lords. Quickly we are shown the morning routine of a lower level samurai household on a lovely spring day. Here we are introduced to the three central players in the story: Shinnojo Mimura (Takuya Kimura), his wife Kayo (Rei Dan), and his sole servant Tokuhei (Takashi Sasano).
Shinnojo is quiet and shy, yet can’t resist constantly teasing his lovely wife in a flirtatious way. Theirs is a sweet relationship filled with obvious affection for each other. Assisting them in maintaining the small house is the aged and occasionally highly opinionated Tokuhei. A distinct impression of harmony is present, yet a sigh from the young samurai reveals his discontent with his lot in life. His job is getting him down and Mimura questions the validity of the old ways.
We soon find out why he feels this way once his breakfast duty is shown. It’s a deadly dull affair of taking one mouthful of the specific dish put before him. There are jobs that are fun, there are jobs that can be made fun, and then there are jobs that sap one’s very life force. From the boredom of the other tasters and the sight of the elderly supervisor dozing off, it is an obviously soul crushing duty driven by ornate ritual.
The return trip home shows a playful side to Mimura, one that offends his servant’s sense of propriety. Not content to just tease only his wife, the sight of a couple of boys fishing is irresistible to the samurai. Later that night, the reserved man opens up to his wife about his dream of starting a school to train children in the art of swordsmanship. Dissatisfied with the rigid caste system, he wants to teach commoners alongside nobles.
It’s a terrific scene that also allows Kayo to show her nature. Reduced status and income means nothing to her, though he’s worried it would make things difficult for his wife. Such an endearing couple I have not seen in any other samurai film and I dare you not to like them. Of course the appeal of the young couple makes the tragedy that follows hit harder than if they were unlikeable.
Ever wondered what would happen to a food taster if something actually did go wrong? That wonder is answered in an extraordinarily well executed depiction of a normal routine turning into panicked chaos. Events go from 0 to 60 mph at breakneck speed, shaking up what had been a very laid back movie.
Back at home, Kayo is notified about her husband, but can’t see him due to the castle lockdown. The rain falls as the distraught young woman stares outside in shock, perfectly conveying the somber mood. It is an example of how nature plays a constant supporting role throughout the film, gently adding to the emotional atmosphere in a masterful display of directing.
Fallout within the castle from the culinary disaster ranges from the merciful to the unforgiving. Once responsibility is assessed and a resignation is accepted in classic samurai style, a barely alive Shinnojo is returned home on a cart. Tutored by a doctor in how to administer medicine, Kayo lovingly cares for him while trying not to fall apart.
I should mention that many a “modern” person watching this may find the way the prescribed medicine was administered disgusting, but that is how it was done in Asia for centuries. To me it was touchingly intimate and Rei Dan’s acting shines in a scene with no dialogue. There can be no doubt about Kayo’s feelings about her husband.
Or can there?
Eventually the felled samurai awakes to find himself in a world of darkness, for the poison has robbed him of his vision. For a warrior, this is a fate worse than death for he will be unable to fulfill any meaningful duties as a vassal to his lord. Also gone are his plans to open a school and income of rice allotted by his master.
Samurai were paid in rice stipends, which give you an idea of how hardscrabble an existence it was in Japan at the time. Not only was rice a sign of wealth, it was what you bartered with for other things. Faced with this catastrophic destruction of his future it is no surprise that Kinnojo doesn’t think life is worth living.
But what really terrifies him is the thought that Kayo will leave him for another man able to support her. It torments him so much that he briefly conceals his loss of sight. When Shinnojo reveals he’s blind it leads to an exceptionally emotional protestation of love from his wife who would follow him even into death.
Summer begins and brings with it fear and the start of a chain of white lies.
Kayo isn’t the smartest gal around and she’s in way over her head trying to cope with the unfolding tragedy. Being pious and devoted to her man, she frets constantly over her husband’s predicament. Desperate to relieve his misery, she starts lying to him about little things to avoid upsetting him. She has good reason to be worried for there is the danger that Kinnojo will kill himself.
Not helping things is her having to deal with his extended family who are dependent on his status. Manipulative, selfish, and mercenary, their command to Kayo to respond to the offer of help from of an older samurai, Chief Duty Officer Shimada (Mitsugoro Bando). He’s obviously interested in her for more than altruistic reasons, much to her discomfort.
Time passes and news arrives from the castle that should be a cause for celebration. However, when alone Kayo quietly frets in another wonderful scene without dialogue. Something isn’t right and it appears she is hiding something from her husband.
Much of this movie is subtle and what I would call graceful in execution. Scenes like this one are exquisitely accompanied by music that simply, but sublimely, reinforces the emotions of the characters. For a slow moving film, it is always captivating.
What could have been a simple brief moment depicting Shinnojo going to the castle to thank his lord turns into an ordeal that says much about the foolishness of the feudal system. Distant and unapproachable is the local lord and his words are more than brief. It’s the kind of thing that makes one angry. The scene may also make your skin crawl for more than one reason.
Another indictment of the culture follows when the nosy aunt arrives with her son. Juxtaposed is Shinnojo’s rapport with the boy and his barely being able to tolerate the superficial woman who bore the lad. Alas for him, she bears some very ugly news that plants seeds of distrust. Tension rises and what little peace had begins to look threatened.
So much is said in an understated way in Love and Honor that it puts today’s blockbusters and tearjerkers to shame by comparison. They try to overwhelm the senses to create an emotional reaction in the audience and get nowhere near to what is created through these scenes. Stillness and silence can be incredibly effective tools of story telling allowing actors to really act.
Back to the story. The lies start catching up to Kayo when Tokuhei is ordered to follow her on her daily trip to the local temple. Appalled by his master’s suspicions, the old man engages in a running commentary to himself since he’s both bored and irked by the assignment. What he discovers shakes the old man to the core of his soul.
The ensuing conversation between the servant and Kayo is a devastating portrayal of denial and coming to terms with an ugly truth. Heartbreaking is the only description that fits as the facts slowly come out. Yet it is only a preview of the pain to come from her confession to Shinnojo.
Autumn has arrived bringing cold despair to the Mimura household. Lives are shattered by the truth and only blood can appease Shinnojo’s honor. But can a blind samurai find justice through revenge? Can he even take revenge? Those answers demand the unsheathing of his sword -- no matter how futile or final that may be.
Thoughts
There are many samurai movies out there and they rightfully can be considered the equivalent of westerns for the Japanese. Like the now defunct genre in America, they vary widely in quality with more than not ending up being forgettable.
Love and Honor is not forgettable by any measure.
Deeply emotional and quietly powerful, it reminds me of Akira Kurosawa’s non-samurai films of the 1950s and 1960s. Depending on what mood I’m in, I’d rate this as my second favorite movie of all time or even the first, swapping back and forth with Kurosawa’s Ran. I knew right after watching it for the first time that it would be the first film in three decades to challenge that venerable film for number one in my book.
Every aspect of the production shows finesse and grace, from the acting to the cinematography to the beautiful soundtrack composed by Isao Tomita. While watching, I couldn’t help but admire the lighting with its atmospheric play of light and dark evident in every scene. Also impressive is the use of ambient sounds which take full advantage of the surround sound, whether it be rain or the buzzing of insects.
All of that would just be window dressing if the story weren’t compelling. Thankfully, the story itself is just as nuanced and riveting. There’s such an air of impending doom for such likeable characters that it becomes painful to watch at times during the two hours it runs. Even the minor characters seem to live and breath, giving the movie a feeling of eavesdropping on actual people living their lives.
I’m not sure I can write why the final reason I think so highly of the movie without revealing the ending, so I’m afraid that’s all I can say without giving away everything. This really is one of those films that achieves greatness in its final act rather than being anticlimactic.
Rated PG-13, it doesn’t meet that criteria until the end of the film and it really applies to only one scene. There is no profanity and what sexual component there is to the story is only referenced obliquely with nothing seen. It is definitely a serious film for post adolescents, not kids.
Make sure to watch the original Japanese track with subtitles, for there are major issues with the dub that I’ll go into length about in the technical section of the review.
I very highly recommend this movie to anyone who likes emotional depth in stories or portrayals of believable people. Love and Honor is an amazing movie that I went online and purchased right after seeing it. Couples will get a lot out of watching it together, I suspect, and might be the way samurai film fans might get their gal to actually watch one.
In other words, just get your hands on the movie and watch it, please. Hollywood is no longer capable of making movies like this one.
Technical
Unfortunately there is no Blu-ray of Love and Honor and even in Japan it is only due for release in that format later this year. Thankfully there is a good DVD release for North America put out by Funimation, the anime importers. While a no frills edition, it is worth buying.
Video is presented in 1.85:1 anamorphic widescreen with a picture that’s well saturated and has excellent contrast. The latter is very important given how many dimly lit scenes are in the movie. Everything is sharp, so no complaints can be made other than it isn’t in glorious HD.
The original Japanese soundtrack is in Dolby Digital 5.1 Surround and clear as a bell. It does justice to the quiet dialogue, previously mentioned ambient sounds, and exceptional score. Surround is effectively used for atmosphere which adds to the immersion factor. Subtitles in English are available and appear to capture the subtleties of the script.
But…
…and it is a big honking “but”…
The English dub is horrible. Normally I listen to the English dub while making screen captures of foreign language films. I lasted half an hour before I wanted to commit seppuku, resulting in me actually delayed finishing the captures for days to get it out of my head.
I think the casting was the main issue, especially for the roles of Shinnojo and Kayo. Both voice actors are loud in delivery, which is precisely the opposite of the original performances. The script also deviates enough that Mimura’s shyness is completely lost. As a result, Robert McCollum’s version of the blind samurai sounds like a stereotypical kung fu fighter from the Shaw Brothers era of Hong Kong exploitation films.
Compounding the problem is the terrible mixing of the Dolby Stereo 2.0 English track. Ambient sounds go missing in places and muddiness can be heard when effects are heard. It is a complete and utter failure at a dub.
Do yourself a favor and take the time to watch the movie in Japanese and read the subtitles. Even if you are one of those people who refuse to read subtitles, you owe yourself this to experience how terrific the original actors were.
Funimation can and has done better in more recent years with animes they’ve put out that I’ve purchased, so maybe this was a fluke.
The only extra on the disc is the trailer.
BEWARE! HERE BE SPOILERS!!!
Kinnojo’s taking up a boken, or wood training sword, makes for a great bit of action demonstrating his determination, not to mention Tokuhei’s concern for his master. I liked it didn’t show him instantly becoming an amazing sword fighter ala Zatoichi. He stumbles, he falls, and he simply can’t perceive things around him like he needs to.
Ken Ogata has a great cameo as the former instructor of Mimura. He’s honest to the point of being blunt, but still willing to help his former pupil. For the few minutes he’s onscreen, he makes quite an impact.
Like the other two stories by Fujisawa adapted by Yamada, a secret move is kept by the master that Shinnojo must master. Except this time, it isn’t a move but a change in focus or attitude that I really approved of.
The moment when the real truth of how and why his stipend was continued hits Kinnojo hard. Kimura’s performance is first rate here, conveying a myriad of emotions cascading across his face as his friends talk.
Sasano also has some fantastic scenes throughout the film, with one of the better ones being Tokuhei’s terror at being sent to deliver the challenge to Shimada. Due to his being a peasant, the servant could easily have been killed on the spot by the samurai. What we consider a murder would be considered justifiable, since peasants had no rights.
So many impactful images are in the movie and Shinnojo’s expressions of regret over divorcing Kayo and gratitude toward Tokuhei make the single tear he sheds while preparing for the duel the next day very poignant. Clearly, he doesn’t expect to come back home alive. The composition of the shot is just perfect.
The duel itself is well executed and very plausible. There’s no magic solution, no secret move, and no amazing awareness of all around him for the blind samurai. Even the wind conspires against his hearing and the fight all hinges on what his old master taught him. Watching it was a little nerve wracking the first time through, for it felt like an unhappy ending was coming.
Pride goeth before the fall and so it is with Shimada, who loses simply due to underestimating his opponent. That screen capture shows the only reason this movie is PG-13, by the way. “Kayo is avenged.” has to be one of the best end of fight lines I’ve ever run across in a movie. It says so much about Kinnojo.
Back home after the duel, Mimura finds out Shimada’s final fate and that the whole thing is a baffling mystery to the castle. Since nobody would believe a blind man could defeat a swordsman of Shimada’s caliber, he’s just pulled off the perfect crime.
From the beginning of the film to the end, the pair of songbirds kept in the cage was a symbol of marriage. When one dies, Shinnojo releases the survivor and burns the cage. Like the bird, he’s now alone and free after having regained his honor.
However, he’s filled with regrets and wishes he’d never sent Kayo away.
Tokuhei’s suggestion they hire a girl to do the cooking meets with approval, since he’s a terrible cook. When the evening’s meal is presented Kinnojo’s reaction is another example of excellent acting. It is subtle, but you can tell he’s figured out something important.
While he can’t see, he demands the servant girl be brought forth to serve him. We can see it is really Kayo, but the surprise is not on him. It is on her and the audience, for he knew from the first bite of food that it was her cooking he was eating.
When he suddenly grabs her hand and reveals that he thought he’d never taste her cooking again, the dam of pent up emotions breaks. Taking her back he tells Tokuhei they’ll need another birdcage.
This is why I love the movie. In the end the story is about forgiveness and love, not just honor. Perhaps in spite of honor, in fact.
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