When the Last Sword Is Drawn (, Mibu Gishi Den, Legend of the Loyal Retainers of Mibu) is a 2002 historical drama film directed by Yjir Takita loosely based on real historical events. When the Last Sword Is Drawn won the Best Film award at the 2004 Japanese Academy Awards, as well as the prizes for Best Actor (Kiichi Nakai) and Best Supporting Actor (Kichi Sat). It received a further eight nominations.[4]
The film tells the story of two Shinsengumi samurai. Sait Hajime (played by Kichi Sat) is a heartless killer. Yoshimura Kanichiro (played by Kiichi Nakai) appears to be a money-grabbing and emotional swordsman from the northern area known as Nambu Morioka.
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Twentieth-century Americans share a patriarchal, capitalist history with 17th century Elizabethans, one that informs the society reflected in the Verona of William Shakespeare's Romeo and Juliet. This thesis shows how Baz Luhrmann's film adaptation demonstrates the play's relevance particularly well. Characters display an awareness of the cultural constraints of class and gender as they contend with battling drives to pursue personal desire and to remain safely within their community by performing their given roles. This thesis shows how Ren Girard's theory of the sacrificial crisis is at work, which provides a view of the impact of violence in relation to rituals designed to preserve social order. The feud is a source of dangerous contagious violence, and while the characters work to come to terms with their conflicting individual loyalties and desires, they fall victim to the consequences of this violence because of their reluctance to examine their implicit participation in the systems and institutions that support it. Only through the sacrifice of a scapegoat, Juliet, do they begin to achieve peace and purge the community of the violence. The play functions as a cautionary tale, in that it demonstrates the consequences of pursuing personal passion instead of fulfilling the roles dictated by society and family. Subversion of the system is punishable by violence, so the play seems to warn against it. However, the play's themes of haste and literacy suggest a more compelling cautionary tale warning against the system itself; the entire community suffers tremendous loss as a result of its rigid support of the system.
When the Last Sword Is Drawn ( Mibu Gishi Den, Legend of the Loyal Retainers of Mibu) is a 2002 Japanese historical drama film, based on a novel by Jiro Asada. Directed by Yojiro Takita, it stars Kiichi Nakai and Koichi Sato.
The film was nominated for eight awards at the 2004 Japanese Academy Awards, and won Best Film, Best Actor (Nakai), and Best Supporting Actor (Sato). A trailer can be viewed here.This film contains examples of the following tropes: Achey Scars: Saitou Hajime walks with a limp in the film's present day, which turns out to be a souvenir of a gunshot wound to the calf he sustained when he tried to follow Yoshimura on his Underequipped Charge. He's shown clutching at it when he recalls the scene. Crouching Moron, Hidden Badass: Yoshimura puts on the air of a coward who's Only in It for the Money. Actually, he's sending most of his earnings home to his family and simply dislikes fighting, only doing it when he feels he has no choice (honorable or practical, depending on the situation). Dual Wielding: When the Imperial Army catches up with the Shinsengumi towards the end of the film and demands their surrender, Yoshimura's response is to draw both his katana and wakizashi, make a stirring speech, and charge into the guns. End of an Age: This film is set during the Meiji Restoration, which historically saw the downfall of the samurai class and shogunate as the de facto rulers of Japan, and the Emperor taking back direct rulership for the first time in several hundred years. After this, Japan rapidly industrialized and Westernized, ultimately becoming the dominant superpower of East Asia until World War II. This film is told from the point of view of the losing side of the revolution, framing it as tragic but largely inevitable. Framing Device: The film is told as a series of flashbacks of Sait and Chiaki recalling their memories of Yoshimura. Gatling Good: One is featured briefly in a scene during the Boshin War. The Hero Dies: Yoshimura bleeds out from the gunshot wounds he takes in a headlong one-man attack on the Imperial army. Historical Domain Character: Several major figures of the Meiji Restoration period appear in the film. Sait Hajime is one of the more popular figures of The Shinsengumi, and acts as co-narrator and deuteragonist. The film also features Hijikata Toshizo (played by Eugene Nomura) and Okita Soji (Masato Sakai). Among government figures, kubo Toshimichi is played by Kanji Tsuda, and Hideaki Ito plays Tokugawa Yoshinobu, the 15th and final shogun. Honor Before Reason: Late in the war, Sait tells Yoshimura to desert and go home: everyone knows the shogunate forces are losing, and Sait doesn't want him to die for no purpose. Yoshimura refuses, shortly before suicidally charging a company of Imperial troops. He does return home afterwards, so badly injured he dies shortly after. Impoverished Patrician: As a samurai, Yoshimura is the Japanese equivalent of a knight, a retainer of the lord of Nambu, but he barely earns enough teaching at his lord's dojo to keep his family fed and housed. He initially asks his lord for permission to leave the clan to join the Shinsengumi for higher wages, then runs away in the night anyway when denied permission, which leads to his son being bullied by other students. Martial Pacifist: In the finest East Asian tradition, Yoshimura is a Master Swordsman who prefers the discipline of swordwork to actual fighting, only fighting when he feels he has no other choice. Master Swordsman: Yoshimura was a dojo instructor in Nambu, and though only a poor samurai from the northern backcountry, he's able to hold his own when a drunken Sait draws on him outside a bar despite having a few drinks in him himself. Late in the film, he singlehandedly attacks a company-strength unit of the Imperial Army with only his katana and wakizashi, and actually survives long enough to make it back to Nambu before succumbing to his injuries the following night. Mistaken for Dying: Sait isn't sure his grandson is dying, but he has a fever that won't go down. Shizu (Dr. Chiaki's wife, and Yoshimura's daughter) assures him it's not serious. Only in It for the Money: As Nambu Morika, Yoshimura cultivates the impression of a greedy coward. He actually sends most of the money he earns in the Shinsengumi home to his family in Nambu. Romancing the Widow: A close variant. Chiaki married Shizu after her father Yoshimura came home mortally wounded, and her older brother Kaichirou left to take his father's place fighting in the Boshin War and didn't come back. Security Cling: Having lost both her father and her older brother to the Boshin War, Shizu clings tightly to her husband Chiaki in her sleep. Seppuku: Yoshimura first shows his true skills when he acts as kaishakunin for a Shinsengumi who had been ordered to commit seppuku. The man chickens out and tries to run, but Yoshimura catches and kills him with two blows. The children of other samurai bully Yoshimura's son Kaichirou after his father defies his lord by leaving the clan, telling Kaichirou to commit hara-kiri. Chiaki defends Kaichirou. Yoshimura's lord orders him to kill himself when he returns home after the battle, but he succumbs to his injuries first. Underequipped Charge: Late in the film, Yoshimura and Saitou's Shinsengumi unit are cornered by a musket company of the Imperial Army and ordered to withdraw from the area or be killed as rebels against Emperor Meiji. As his comrades flee, Yoshimura draws his wakizashi (he already had his katana out), and yells to the Imperial troops, "I do not wish to raise my arm against His Majesty the Emperor, but my conscience bids me to fight!" He then charges alone into the guns with only his two swords, disappearing into the smoke as Saitou tries to follow but goes down from a gunshot to the ankle. Wrecked Weapon: After beheading the seppuku runaway, Yoshimura falsely claims to have incurred a chip in his katana's blade in the process in order to extract more money from the Shinsengumi officers (ostensibly to replace the sword). When he returns to Nambu badly wounded after fighting the Imperial Army, his sword is so badly bent his lord gives him one of his own to commit seppuku with.
The costumes, props, sets, makeup are all phenomenal, and the music by Joe Hisaishi is so perfect as a film score, you hardly notice it, which is a good thing; rather than stealing the scene, ever, the music blends in perfectly with the emotion and mood of each moment.
I hesitate to say too much, for fear of revealing spoilers, but I will say that it depicts quite convincingly the trends of this period, and really helps bring to the fore how incredibly quickly things changed, and by how much. The Shinsengumi was formed to help defend the shogunate against conspiracy and plotting by rebels; but, once the anti-shogunate forces of Satsuma and Chsh take Kyoto, almost overnight, it is the Shinsengumi who become the rebels. The film is framed by events in 1899, when two former samurai with close connections to Yoshimura meet, perhaps for the first time. It is incredible to realize just how different life was in Japan in 1867 and 1899, and to realize that there were a great many people in 1899 Japan, people with jobs as lawyers, doctors and businessmen, wearing Western clothes and living a rather Westernized life, who had previously been samurai, and not only that, but politically prominent or historically significant samurai. It must have seemed to them at that time to have been a previous life, a totally different world; certainly it seems so to us today. e24fc04721
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