The revenge of the forty-seven rōnin was an incident taking place in Japan at the beginning of the 18th century. It has since become legendary, a tale of revenge and duty that became incredibly significant and is still remembered to this day, being celebrated on on December 14th with a festival held at the temple where the samurai are buried.
If you think you know the name, there’s a chance that you might have seen the Keanu Reeves movie based – exceptionally loosely – on the incident. If anything was deserving of blood soaked revenge it was that travesty. However, it is by far not the only version of the tale told. There have been countless versions, from kabuki theatre to titillating flicks. Clive Owen appeared in the westernised version Last Knights and recently Netflix have released a sequel to the Reeves version called Blade of the 47 Ronin which has led to the promise of a third instalment. Further proof that sometimes butchering everyone involved may be the best option.
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In 1978 is was the turn of Kinji Fukasaku, well known by many for his cult hit Battle Royale. Here he directs an impressive cast, including Toshiro Mifune and Sonny Chiba, in an epic tale of loyalty and revenge. Kira, a court official, insults Asano Takumi no Kami, the daimyō (Lord) of the Akō Domain. Asano promptly tries to kill him, fails but does get a few cuts in. However, this being feudal Japan he’s ordered to commit seppuku, his clan’s lands stripped and his loyal samurai disbanded to become rōnin. This does not sit well with the most loyal, who vow revenge, agreeing to a protracted plot.
The film can be watched as much as an exploration of culture as the human spirit. Many of these men, who seem more than ready to kill themselves or risk their own lives and that of their entire families in what would likely be a futile attempt on the life of Kira, are incapable of waiting a year to pull off the plan, instead going so stir crazy that one ends up killing himself and his wife.
The film involves a lot of court intrigue and reading between the lines, as well as the inevitable, final battle. Yorozuya Kinnosuke does an excellent job as Ōishi Kuranosuke, the leader of the rōnin. The restrained stoicism of the samurai layered over burning revenge, regret, and frustration is a difficult mix to portray, but Kinnosuke manages to be more than a blank stereotype. From luring his enemies into a false sense of security though drunken, bawdy behaviour, to eyes blazing behind an emotionless face, he makes an excellent hub around which the movie can turn.
In general, it’s heavy stuff, but there is one laugh out loud moment when the cowardly retainer Ōno Kurobei, played by Takuya Fujioka, is dashing around his home, telling people to pack quickly. His family and staff are working hard, when he asks “Have you got everything?”. He’s told “yes”, when a moment later there is a cry from the closet it. He opens it and sees a bundle. “You forgot your baby!”.
The filming style marks a turning point for Fukasaku who, at this point in his career, was best known for his gritty yakuza films. At times his hand-held style of shooting is evident, but there are some incredibly interesting crane shots and long, sweeping pans. It’s curious to wonder how much of this is owed to cinematographer Yoshio Miyajima: a point raised by Jasper Sharp in his video essay, one of the two special features filmed for the release.
The second special feature is an interview with Tony Rayns, an Asian film expert who spends a lot of time putting the story into its historical context. Tom Mes gives an interesting and thoughtful audio commentary. All this, coupled with the collector’s booklet by Jonathan Clements means that viewers looking for either a broad background understanding or in depth knowledge won’t be disappointed.
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The restoration isn’t particularly clean. This may appeal to fans looking for a more authentic viewing experience, but given Fukasaku’s use of colour and shape it feels like a wasted opportunity. However the sound quality is excellent. This release should appeal to fans of the genre, and the special features are enough to make this a welcome addition to any collection.
The Fall of Ako Castle is out on Blu-ray on 4th December from Eureka Entertainment.
