User Reviews

Love and Honor is the concluding chapter to director Yoji Yamada's loose samurai trilogy. Personally, I have enjoyed the other two, Twilight Samurai and The Hidden Blade, because they are extremely well made, and have important stories to tell, rather than focusing its energies onto huge action sets with plenty of sword wielding, and Love and Honor is no different.

Shinnojo Mimura (Takuya Kimura) is a lowly Japanese samurai, who's employed by his clan as a food taster. It's a dead end job with zero job satisfaction, and Shinnojo reveals in a conversation with his wife Kayo (Rei Dan) that he dreams of opening up a kendo dojo of his own, and recruiting students to teach regardless of their caste. It's a noble dream, but one that is cut short when he gets blinded during one of the food tasting sessions, eating sashimi made from fish which is poisonous when out of season.

Like its title suggests, Love and Honor is an intense love story based on those two themes. With Shinnojo handicapped, fears are abound within the family that without a job, they will lose their status and material wealth. And Shinnojo's growing negative attitude toward life doesn't help either. Stress befalls Kayo, and on the ill advice of her aunt, she seeks to find a powerful samurai Shimada (Mitsugoro Bando) to help them out of their plight.

No man enjoys his wife having to bring home the bacon on his behalf, especially not when it involves favours with another man who's vastly superior, not in feudal Japan. It's an interesting character study into the 3 characters, of love, defending of honor, envy, jealousy. And it all comes to an end in what I thought was a very touching finale. As mentioned, don't anticipate any sword fighting action to be a huge spectacle. Rather, the one here seemed to be rather rooted with realism. When it boiled down to the sword, every slash, parry, thrust seemed made with measurable consideration, with forceful purpose. Given Shinnojo's blindness, don't expect Zaitochi styled super-samurai feats, and in fact, Shinnojo's struggles are more to do with things from within.

Takuya Kimura, whom I last seen in 2046, has aged for this role. He looked mature and pretty much left his pretty boy days quite far behind to bring certain gravitas to his character. Rei Dan in a debut is on par with the recognizable female leads in the previous trilogy movies, and is excellent too in her role as like the other female characters, and a memorable one too. And not all's bleak in the movie, with Takashi Sasano's servant character Tokuhei bringing about some light hearted moments with his earnestness and wit.

Samurai movies have been possibly enriched by Yoji Yamada's trilogy contribution, and Love and Honor triumphs slightly over its predecessors to bring the series into a fitting close. Recommended!

When YAMADA Yoji set out to make his "samurai trilogy", he was very clear in his mind what he wanted to do. "Twilight samurai" (2002) and "The hidden blade" (2004) both offer an image of samurais unlike what we are used to – proud, cool, fierce. It's not that these qualities are not found in Yamada's samurais, but such qualities are overshadowed by the consciousness of a demeaning class system and a very human concern for daily livelihood, mundane but necessary. "Love and honour" carries on with the same theme, but with a slight variation in key, so to speak.

The protagonist in L&H is a young samurai (played by pop and TV superstar KIMURA Yakuya, whose name I'll use here for convenience) of reasonably respected rank. Losing his father when he was quite young, he was fortunate enough to receive a good education. At the beginning of the story, therefore, he is not a victim of the predicaments of poverty or class prejudice we saw in the previous two of the trilogy. While not spectacular, life is stable and comfortable for Kimura and his beautiful wife, served by a loyal old servant that is not unlike "Alfred" ("Batman begins"), but of a comical kind.

The "day in the office" for a samurai is dull when there is no war, as is the case during our story, and what excitement there is comes with a special duty for some of the samurais – food testing for their feudal lord, as a security procedure against poison. The story really begins at the occurrence of a rare incident, when Kimura is blinded by poison that has accidentally found its way into the food he is testing.

Here's when we are back to the convergence of the common theme. All of a sudden, Kimura feels like he is plunging into a dark abyss (both literally and figuratively), with thoughts that had never ever occurred to him before, such as whether he now has to make his livelihood as a beggar, all these despite the fact that he has a most loving and devoted wife. This becomes quite ironic when the wife, desperate for the mercy of the feudal lord in recognizing Kimura's service and keeping him on the payroll despite the fact that he is now blind, yields to the sexual advancement of the samurai superintend in exchange for the latter's promise to put in a good word for her husband. To cut a long story short, things come to a head with Kimura's discovery of his wife's well intended but ill advised action, culminating in a climactic duel with the villain.

This is quite a simple story but the movie excels in its telling. There is the characteristic attention to details in Japanese, and furthermore in Yamads's movies. The reaction of this young (perhaps even a little spoilt) samurai to the devastating calamity is well depicted. But the otherwise gloomy narration is brightened, and lightened, at suitable point by humour (some of which sarcastic), provided chiefly by the faithful old servant and a nosy aunt who pops up from time to time. But the important thing is that the movie does not lose sight of the main theme. It is after learning the generosity of the feudal lord in granting status quo despite his disability that Kimura finds back his sense of humour. He is now able to laugh at himself for banging his head against a pole, quipping "I think he really wants to kill me", with reference to an earlier joke he made with the old servant.

Nor are dialogue and facial expression the only elements of excellence in this movie. Check out the comical scene of the nosy aunt's hurried exit with her two kids after Kimura had indicated in no uncertain terms that she had out-stayed her welcome. The body movement of the characters in question is more eloquent than the most hilarious dialogue. Watch also, at the scene when Kimura seeks instruction from his teacher, how, with constantly shifting and balancing movements with his toes and the balls of his feet, he is ready to pounce in a split-second upon the imagined opponent when he senses (remember that he cannot see) an opening. Just two of the ample proofs that every scene in this movie has been afforded the utmost attention by director Yamada.

Japanese director Yamada Yoji adapted the well-known writer Fujisawa Shuhei's Samurai Trilogy, from "Twilight Samurai" (2002), "The Hidden Blade" (2004), to this final piece "Love and Honor" (2006), the original novel is "The Blind Sword: Echo of Vengeance", the first time from the superstar Kimura Takuya to play a lower-level samurai Mimura Shinnojo, who was blinded by testing poison for the lord. In order to make a living, his wife Kayo sought help from a powerful commander, and was humiliated by the commander. The samurai declared war on the commander for a pinch of dignity. In the end, the commander was killed by the sword of the Shinnojo.

Yamada Yoji is one of the masters of Japanese Cinema. The series of classic common people films "Tora-san" directed by him have become the brand of generations. "Love and Honor" as the final chapter of the trilogy, Yamada Yoji still maintains the realistic humanistic atmosphere, describing the unfulfilled ambitions of the lower-level samurai, and making the Japanese class in the Shogunate period distinct, the level of samurai is different, and the wife's love for her husband intention and respect are reflected in many scenes of Shinnojo eating in the film.

Rei Dan who plays the wife Kayo is a member of the Takarazuka Revue, the performance of the ancient Japanese wife's respect, love, care and unyielding complex emotions to her husband is just right; but the performance is more prominent by Sasano Takashi, who plays the servant Tokuhei, who treats obedience and love to the young master like a humble father, guarding the young master beside him, was very touching.

Under Yamada Yoji's call, a number of hall-level actors performed guest performances, including Ogata Ken who played Shinnojo's fencing instructor and Momoi Kaori who played Ine Hatano, all of which made people feel the golden age of Japanese Cinema, and they reappeared on the screen under Yamada Yoji's banner, undiminished charm. As for Kimura Takuya, he also played the role remarkably with his heart, and restrained many superstar's little actions and laughter. As the big boy in the film, he's considered competent.

By Kam Po LAM (original in Chinese)

See the Spirit in Plain Sight, Samurai Trilogy. The weakness of the little people, in order to weaken themselves against this huge reality of oppression. Although the story ends with a successful revenge, it shows the kind of injustice that is obvious and helpless. Director Yamada Yoji is an oriental master who is proficient in the beauty of dullness. Just like the tea ceremony, it emphasizes the sorrow of the idle heart without hurting. The "one point" in the "one point of the samurai" refers to dignity and face. I personally think that a society that emphasizes dignity and face is a harmonious society.

This film is the third of Yoji Yamada's samurai films, each a retelling of famed Japanese author Shohei Fujisawa's short stories. This time around we are given a title character (Shinnojo Miura) who is married but unhappy with his life. For one, he takes no satisfaction in his job as a food taster and wishes to open up a sword school for children. However, his dreams never come to fruition due to a sudden illness that leaves Shinnojo blind for life. The story thus follows his tribulations as he comes to terms with his condition and how it changes his relationship with others.

For a samurai story this film has very little fighting. It takes place during the Edo Period which was a time of relative peace where samurai were mostly incorporated in to society as bureaucrats and public officials. This follows along the lines of the other two films by the same director (Twilight Samurai and Hidden Blade). Unfortunately, this third entry does not measure up in terms of story and acting. The main actor, Takuya Kimura is a passable actor but he lacks the defining qualities that convincingly show the subdued emotion and stoic mannerisms of a troubled samurai. Moreover, the climactic payoff at the end falls short because it is very predictable. If given the choice to see a samurai film go with Hidden Blade first, then Twilight Samurai, and finally this one.

Viewed on DVD. Subtitles = eight (8) stars; sets/decoration = eight (8) stars; "score" = six (6) stars; costumes = four (4) stars. Director Youji Yamada's uninspired slice-of-life Shomin Geki (home drama) involving a castle-commuting samurai rendered blind from tasting poisoned food before it is served to the feudal lord (of, presumably, Osaka-Jo castle). The plot line of this tale offers a fascinating possibility which is toyed with, but discarded by the Director (to wit, the emergence of a skilled and renounced swordsman who uses sound rather than vision to vanquish his adversaries). Instead, Yamada provides a well-telegraphed (fully-expected), romantic happy ending (and a circular story). Acting is fine with overly melodramatic tendencies kept in check by Yamada. Costumes are bland, but sets and the decoration thereof are excellent. Film score is intermittent aside from the opening and closing credits; it consists essentially of one beautiful and haunting Leif Motif. Surround sound field is excellent, but sparsely utilized. Cinematography (semi-wide screen (1.85:1 aspect ratio), color), lighting, and editing are very good. Another Shochiku Studio middling programmer. WILLIAM FLANIGAN, PhD.