Essay On Heroism In Samurai

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Hiroshi Inagaki’s 1954 film Samurai 1: Musashi Miyamoto and Kenji Misumi’s 1972 film Lone Wolf and Cub: Sword of Vengeance are both characterized by fluid panoramic shots that show men that are at once dwarfed by their surroundings yet simultaneously in control, showcased in breathtaking sword-fighting scenes where they seem to defy the laws of gravity. Samurai films, “much like the American Western,” feature “tales of loyalty, revenge, romance, fighting prowess, and the decline of a traditional way of life” (“Samurai Cinema”). Both of these films display all of these themes, but where they depart is that the protagonist of Samurai 1: Musashi Miyamoto begins as a wayward member of society and eventually earns honor and respect, while the protagonist of Lone Wolf and Cub steps completely outside the bounds of social acceptability.
Samurai 1: Musashi Miyamoto continually subverts the viewer’s expectations. The film appears at the outset to be about heroism, as the two protagonists, Takezo and Matahachi, make the decision to enter battle. However, the battle scenes are muddled and chaotic, and the two men encounter one disastrous situation after another. Eventually it becomes apparent that this will not be a stirring film about heroism, but rather it is about the struggle between chaos and order, control and submission. Takezo is wild and reckless, as evidenced by his fighting style, the way he rides his horse, and his callous treatment of others. Throughout the story, he insists that he needs no one in the world, indifferent to both love and sex. However, long shots throughout the movie in which he is a tiny speck against a vast outdoor backdrop reveal him to be powerless against nature, and a scene with him thrashing ar...

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...nder, Ogami makes a sharp departure not only from the law, but also from the very rules that govern existence.
Both Ogami and Takezo are played by skilled actors (Tomisaburô Wakayama and Toshiro Mifune respectably) whose every facial movement pulls you deeper inside of the character. Takezo is a bundle of competing impulses; brusque, brutal and aggressive, yet also a tender soul yearning for affection. Ogami’s countenance is one of utter stoicism; yet in key moments he lets unexpected registers of fear and surprise seep in. Witness, for instance, the expression on his face at the beginning of the film when he realizes he has been framed. Both of these films have a richness and authenticity, driven by impeccably-choreographed fight scenes imbued with the directors’ love for the characters, that one would be hard pressed to find in most contemporary action films.

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