The movie “The 47 Ronin” (“Genroku Chushingura”) from the great Japanese director Kenji Mizoguchi is the screen version of the most famous Japanese legend about 47 masterless samurais – Ronin. Seeking revenge for their master Asano’s dishonor, they disobeyed the Shogun. After taking vengeance on their enemy Lord Kira finally, samurais were punished (or nevertheless forgiven?) to commit seppuku (honored ritual suicide in contrast to hara-kiri). The film was initially divided into two parts: the premiere of the first one took place in Japan on the 1st December 1941, and the premiere of the second one – on the 11th February 1942.
The second part of the film depicts the vengeance of the 47 Ronin. First of all, it is important to mention the outstanding talent of Kenji Mizoguchi. Despite the vengeance is associated with a lot of action, he has intentionally created the movie without battle scenes, which are typical of the films about samurais. It was made in order to highlight the relationships between people, for whom the “Bushido” code is more important, than their own lives. In the contemplative world of simple dialogs we can see the mentality of today’s Japan – country, where the legend about 47 loyal vassals has become the foundation of the national self-consciousness.
Very impressive in the movie is the filming style. In 1941 the movie was a real breakthrough with every extended scene and every camera move, more usual rather for modern cinematography. The arrangement of interior shooting and shooting on location is considered in minute detail. The effect is additionally deepened by the great soundtrack, also non-typical for the movies of that year.
Returning to the aforementioned absence of battle scenes, it is significant to mention, that watching the second part of the movie, we can sense, that it is not the inactivity. It is rather procrastinated waiting for something, that will surely happen.
The 47 loyal samurais know as well, that in any case they will have to commit suicide following their master. However, peculiar waiting goes on and on, assuming a character of the real tragedy. The hara-kiri of Lord Asano is the borderline of samurais’ lives, as with his death they have lost all the territories and privileges and have become homeless Ronin.
It is important to know, that Mizoguchi has been creating his movie under unfavorable conditions of strict censorship of militaristic Japan. “The 47 Ronin” was meant to be the government ordered movie to glorify imperial ambitions. Nevertheless, Mizoguchi was able to turn historical and patriotic movie into great dissident work.
Undoubtedly, the director wanted to show us, that person is able to remain free even in the situation of inevitable death. The final scene of the movie is emotionally powerful. Samurais are leaving the screen space one after another and we don’t see them commiting seppuku, despite we know it is imminent. Nevertheless, they are the eternal examples of courage, honor, loyalty and freedom for many generations of the Japanese people.
To my mind, the movie is totally worthy of viewing. Kenji Mizoguchi has shown personal feelings of his characters. We can see them in the situations of difficult choice, which reveals their desire to keep the humanity in spite of all the unfavorable circumstances. And to me, it is the main value of the movie “The 47 Ronin”.