Really Surprised!

one of my absolute favorites!

Excellent, a Must See

Clever, believable, and super fun to watch. It totally has replay value.

This fourth Zatoichi film in fourteen months The recurrence of a lost love might have made for an interesting change of pace, and change of tone for this series, but that mostly takes second stage to a contrived, yet shallow, story of redemption, without much resolution.The climactic battles are reasonably good here, but it all feels alternately a bit too choreographed, and poorly choreographed, as the innumerable thugs all seem to politely wait their turn to attack Ichi, who barely gives them a passing glance, before they fall over dead, bloodlessly, and without even so much as a tear to their clothing.I found the sake bottle scene to be too silly of a gimmick, like the slicing of candles with his sword, as well.Still watchable, though, but a drop in quality from the earlier installments.

Zatoichi the Fugitive is the fourth Zatoichi film and the second one in a row directed by Tokuzo Tanaka. I must say I didn't really like this one. It's kinda forgettable and blends in with the previous film for me even though the storyline is quite different.The story to this movie was really complicated for me to follow and I quick lost track on who is who. Not only that, but the pace was too slow for my taste this time, so I didn't enjoy following the goings-on here at all. The movie gets significantly better during the final fight scene of Zatoichi vs. a group of nameless thugs, and the final duel with the main villain, and this particular scene looks like it just came out of a Sergio Leone film. Tane (from the first two films) re-appears, and personally I don't really like that the series is still burdened by continuity; I'd rather see Zatoichi meet new people and all. The score by Akira Ifukube (who also scored Godzilla) is really good and fits in nicely, and the cinematography (done by the same person who shot the previous film, Chishi Makiura) is once again really nice and the shots are a pleasure to look at. I especially like the way the actors look when captured on this particular type of color film, the way their faces are pale and covered in plenty of dark shadows.Highlight of the film: the villain threatens Zatoichi by cutting a sake bottle in half with his blade. Zatoichi responds by perfectly throwing a dice into the second sake bottle (which some guy is holding), then swings his katana in the air. The guy drops the bottle, which is revealed to be bisected in half, same as the dice that was inside it.

this is one of the so-so add-on(s) of this 'blind swordsman' series. after couple of the prequel and sequel in black and white, it suddenly turned into a colored one. but there were many flaws in this series that by nowadays standard, they were so obvious and inevitably decreased the greatness of this series: 1) In this follow-up film, Zatoichi's short hairdo suddenly fashioned in modern cut. his short hair was trimmed so evenly and nicely and blow dry up and held on his head firmly. a wandering Yakuza blind masseur would have such fashion taste to have his hairdo nicely treated in an expensive saloon was beyond my comprehension.2) The fighting scenes looked more false and phony once in colors. the swords never cut open the clothes and no blood was splashed all over the places, even when cut by Zatoichi's sword and fell into the pond, no blood ever showed up in the water, yet when Zatoichi was cut by his opponent's sword, his arm would have blood. but judging by where it was cut, the artery on his arm should have cut deeply and the blood would never be so easily to be stopped. but the worst effect of such synchronized swords fighting was those clothes never being slashed open and no blood appeared whatsoever, it just looked so fake and unconvincing, more like the stupid productions of Chinese 'Shaw Brothers' Kung-Fu movies, all of them just looked so stupidly fake and moronically synchronized.3) For a blind man, no matter how sensitive his hearing ability, there's no way he could have detected the positions and locations of so many enemies around him. but Zatoichi seemed to have the supernatural power to rightly detect his enemies' locations and where to lodge and cut his opponents' bodies. the most unconvincing flaw of Japanese samurai movies was the sudden stop in action when one of the guys was cut and the others just stood around to await the next synchronized movement. it seems when all the people surrounding their targeted person would allow the guy to finish the fatal cut of their comrades to be completed thoroughly and then to start the next fighting sequence. this is such a unbearable fake scene almost appeared in every Japanese samurai movie.4) When a hunting rifle was implemented in this film, the primitive long gun seemed to be very easily reloaded. by judging this movie series era, the primitive rifle would need fuse to ignite the gun powder to push a round bullet ball out of the barrel, it would need gun powder to be stuffed into the barrel and chamber first then inserted the lead ball bullet to complete the reload, yet in this film and all the other series, the rifle simply operated so modern than what we usually saw in the fighting scenes of the American Civil War.The screenplay of this film is just too bland and lukewarm to make this particularly a great and memorable one.

Masseur Ichi, the Fugitive (1963) *** (out of 4) The blind swordsman Ichi (Shintaro Katsu) angers a large yakuza after defeating them in a wrestling match, which will lead to a bigger fight. Directed by Tokuzo Tanaka. This here was my second film in the series and while I enjoyed most of the first one, this one here just doesn't cut it. There's way too much talking going on and none of it is even mildly interesting. Even worse is that the actual swordfights are rather lame as well. The concept of a blind swordsman is really the only thing that keeps this film (and perhaps series?) afloat.