Samurai Spy – Criterion Collection — dvd movie review

We continue our review of Criterion’s Rebel Samurai box set with the third film, Samurai Spy.

The Film:

Samurai Spy (aka: Ibun Sarutobi Sasuke, or The Strange Tale of Sasuke Sarutobi), Masahiro Shinoda’s jidai-geki chanbara pseudo-noir, is at once the tale of feudal era intrigue, a wrong-man drama, a violent, yet resoundingly anti-war, anti-persecution swordsman film, and a meditation on Japanese – US relations during the Cold War. The story concerns Sasuke Sarutobi (Koji Takahashi), swordsman and spy for the politically neutral Sanada clan (read: Japan), on a mission to find a Yagyu clan defector whose information could possibly sway the balance of power between the quietly warring Tokugawa (read: Russians) and Toyotomi (read: United States) clans. On his mission Sasuke is repeatedly thrust into danger, perpetually shadowed by a mysterious, white clad ninja of the Yagyu clan, getting caught up in chaotic swordfights, catching the eye of a beautiful female spy, and constantly being approached by “special interests” seeking to pick his brain. Further complicating matters is Sasuke’s knack for happening upon crime scenes, more than once leading to accusations for murders he did not commit.

The story itself isn’t extremely compelling, as Sasuke’s spy is so passive he might as well have paid admission and joined the film’s audience, but it does maintain interest with its rapid fire shuffling of alliances. Though I have taken my fair share of Asian history courses, I won’t pretend to recall much about the battle of Sekigahara, the outcome of which, 14 years prior to the film’s narrative, provides much of the basis for the clan intrigue. Suffice it to say, however, by the end of the film friend has turned to foe, and foe to friend, and back again more than a handful of times. At first glance these relations appear far more complicated than they really are, though thankfully for adept viewers, a little reflection should make every plot piece fall easily into place.

The film is surprisingly violent for its day, including sequences of lopped off limbs, hooks through the neck, and throwing stars through hands. The action, certainly more ninja than samurai, is fairly stylized and at times overly-dramatic, but nevertheless fun. Shinoda (Double Suicide, Moonlight Serenade), however, doesn’t let the violence obscure his anti-war message, balancing these sequences of bloody ninja action with ponderings on the nature of warfare and even the deaths of foot soldiers, sent on their missions by gruff old men who never themselves see conflict. As far as the cold-war political statement is concerned, this one borders on parable, the relations and symbolism being simplistic enough that even those with little to no background with the situation addressed should have a good understanding of the stance of the picture. The tale also makes a point of addressing the oppressive treatment, or should I say mistreatment, of Christians during Tokugawa era Japan in conveying its message of tolerance. But it is a shame, what with all its high intentioned symbolism, that the ultimate baddie in the picture is revealed to be none other than the most hatchet-faced one of the bunch.

Worthy of note is Shinoda’s foray into cinematography. Where the film’s story and intellectual offering may be found lacking, this more than provides for the eyes. Though largely experimental, the compositions are nonetheless beautiful. In battles Shinoda plays with depth of field, cutting from deep focus long shots to flattened close-ups. Occasionally altercations are nearly entirely obscured by underbrush, trees, and other natural growth. Still shots of architecture and countryside are strikingly beautiful. Complementing the images, oddly enough, is Shinoda’s selection of Latin jazz as soundtrack, helping make Sasuke Sarutobi’s tale all the more strange.

A cinematic supermodel, more beautiful than complex, Samurai Spy proves a pleasant diversion from the everyday. At the very least it should serve as a gateway for viewers interested in Shinoda’s work.

The Disc:
The Criterion transfer is, again, immaculate (Why do I even bother writing about them at this point? It’s practically a given.). The feature that stuck out on this DVD above the other Rebel Samurai Collection discs was the character gallery; essentially a list of bios for each character in the film, listing clan alliances and occupations. This proves quite helpful while watching the film, though it would have been nice if a print copy were made available with the disc so that you could glance at it without pausing the film. The interview with Shinoda is a nice treat for buffs. Shinoda is immensely interesting, both animated and humble. In the interview he reveals some of the inspiration for the film, his experiences behind the camera, and
how some of the most memorable shots in the film were merely accidental. Also of note for film buffs are Shinoda’s anecdotes regarding working with Ozu. All in all it is a very nice and informative interview. Lastly you have a fairly dry and academic essay by film historian Alain Silver. A bit long, it is informative, but rather unengaging.

If you are purchasing the Rebel Samurai box set, Samurai Spy is a definitely nice addition to your film collection. However, if you are purchasing them individually you may wish to rent before you buy. This film, although beautiful, is primarily for the Criterion or genre film completist.

About the Author

Chris Nelson has been a film fanatic since age six. He’s seen more films than should be admitted in polite company.