Introduction
Japanese art has always reflected the major aesthetic and moral principles of the counties culture. According to them, everything must be developed into perfection, including martial arts, which are a constituent part of the culture, itself. In fact, Japanese cinematography successfully proves that combat scenes can have aesthetic qualities. However, this is just the surface, what is below the surface is the complex of moral principles, which cannot be disregarded, because otherwise, it is impossible to get a full idea of Japanese cinematography.
Main body
Regarding Zatoichi series, it is quite possible for us to say that the main character (Zatoichi) has practically become archetypical for Japanese culture, the blind swordsman, who fights against criminals and injustice. It should be mentioned that such archetype is not original, American comics had produced such characters as Doctor Mid-Nite, or the Black Bat long before the advent of Zatoichi series (Nygren, p. 232).
Nevertheless, Zatoichi do has several unique features. First, one should bear in mind, that he actually occupies a very low social level (at least in traditional conception). Additionally, sometimes Zatoichi earns his living by gambling, (which is in fact cheating), because he possesses prodigious powers of hearing, therefore he is at an advantage over other players. Certainly, such feature is not entirely compatible with traditional concept of superhero. Twenty-six movies, featuring Zatoichi, were shot from 1962 to 1989, including a television series. Among the most famous, we single out such as “The Tale of Zatoichi”, “The Fugitive”, “On the Road”, and “Zatoichi and the Chest of Gold.”(Richie, p. 291).
“The Chest of Gold”, as this film is also known was produced in 1964. It was directed by Kazuo Ikehiro, who is also renowned for such films as “Kesho” and “Amakuzure”. It is often viewed as one of the best movies belonging to this series, mostly because it successfully integrates the elements of drama, comedy, and naturally action.
Zatoichi has to investigate the case of theft in order to prove his innocence and save villagers, who can hardly make ends meet from starvation. These people accumulated certain sum of money to pay the taxes to the local lord. As it turns out, it is the lord and his gang who steal the money. Thus, we can see that this film also contains some elements of detective story.
However, Zatoichi should not be viewed as some travelling samurai, who eradicates evil and social injustice. The makers of the film try to show this difference in several ways. First, Ichi does not actually has katana, long curved single-edged, which is the traditionally of Japanese warriors. Moreover, it is necessary to take into account that his philosophy of honor, (or probably, it would be better to say moral code), also differs from that one of a samurai. Naturally, his behavior does not blatantly violate traditional code of honor, but it has certain deviations from the tradition.
For example, we may compare “The Chest of Gold” with such famous film as “The 47 Ronin”, which eloquently illustrates samurai principles. Forty-seven ronin (which can be translated into English, as samurais, who lost the master), decide to take vengeance on some courtier for his their lords death. They say, “No man can live under the same sky with the murderer of his master” We can observe extreme devotion to the official authority, sometimes it even borders with servile obedience. The main ethical controversy is that when they do have revenge, all of them commit suicide (seppuku), because they perform a deed, which is unworthy of a samurai.
Unlike these warriors, Zatoichi is able to deviate from this moral code and even alter it in his own unique way. He defeats the cruel lord and his gang; he does not feel obliged to commit seppuku. For him acting against the official authority is not something outrageous. It is obvious for Ichi that these people can also be morally corrupt
This character does not treat the men of power without traditional Japanese reverence and probably this makes him so attractive. He is able to break some deep-rooted stereotypes and that is why he is to depart from the tradition. However, he also has some features of samurai; it is the sense of duty. Ichi starts this quest not only to exonerate himself, but also to help the villagers. This is certainly a very noble cause for a true samurai.
Regarding this aspect, we can also draw parallels between this film and “Ikiru, Kurasawas masterpiece. The main character understands that he has a terminal illness. It seems to his that his life was entirely wasted, and therefore he is inclined to do something for the sake of other people (children). The sense of duty, when it is not necessary is what these two movies have in common. Inure can spend the rest of his life in many different ways; however, he decides to build a playground for children.
Although Zatoichi is not ill, he also dedicates his life to the well- being of other people. One should take into account that this character can make a considerable fortune by gambling; however, Ichi chooses a nobler path. To some extent, it is also connected with samurai code of honor.
In this respect, we may also mention such film as “Sansho the Bailiff”, because sense of duty is one of the key motifs in this movie; the main character Zuchio and his sister Anju are enslaved, when they are children. Zuchio manages to escape and his sister commits suicide; because she does not want to give her brother away. Additionally, having become a free man, Zushio saves other slaves, although he is not obliged to do it. It is moral obligation, in other words sense of duty when it is not necessary.
Thus, we may arrive at the conclusion, that Zatoichi has certain features intrinsic to Japanese culture (sense of duty). However, he is also able to violate the principles, established in Japanese culture. In particular, he does not feel any reverence to the authorities, especially if these people are morally compromised..
If we speak about the artistic qualities of this film, we can say that it symbolizes the advent of present day action movies. First, it abounds in fighting scenes, which have now become an inseparable part of modern popcorn movies. In fact, the fighting scenes despite the fact that they are full of bloodshed make this film somewhat attractive. As we know, Japanese culture pays extra attention to martial arts; actually, they are brought to perfection.
Comparing “Zatoichi and the Chest of Gold” with present day action movies, one can inevitable observe such feature as the predictability of the plot. The superhero, which fights against fights against insuperable odds and eventually defeats his enemies, is the typical feature of many Hollywood “blockbusters”(Bowyer, p. 76). Nevertheless, this film cannot be fully understood without knowledge of Japanese culture; otherwise, it seems to be another old-fashioned action movie. As we have already mentioned Zatoichi has certain elements of Japanese and Western-European culture simultaneously (the ability of the main character to violate the rules, established in the society).
In my opinion, the film “Zatoichi and the Chest of Gold” has some very interesting elements. First, it integrates action movie with comedy. Secondly, the acting is very realistic, which makes this film look very authentic. As far as the fighting scenes are concerned, I should say that they are made too sanguinary; however, they also have some indefinable artistic element. However, the plot is too predictable, especially considering the number of such films nowadays.
However, this film should be discussed within the context of the then Japanese culture and at that moment such archetypical scheme was not so trivial, in fact it was often perceived as original.
Conclusion
Thus, we can arrive at the conclusion that “Zatoichi and the Chest of Gold” has certain elements of Japanese and Western cultures. Secondly, this film represents the beginning of modern action movies (the peculiarities of the plot, the abundance of fighting scenes and the main character, which is usually some kind of superhero). One should definitely see this movie in order to understand the techniques, employed by modern directors to catch the attention of the viewer.
Bibliography
- Bowyer, Justin. “24 Frames: The Cinema of Japan and Korea”. Wallflower Press, London, 2004
- Chris D., Chris Desjardins. “Outlaw Masters of Japanese Film”. I.B.Tauris, 2005.
- Donald Richie, Paul Schrader.” A Hundred Years of Japanese Film: A Concise
- History, with a Selective Guide to DVDs and Videos” Kodansha International, 2005.
- Scott Nygren. “Japanese Cinema and the Unfolding of History”. U of Minnesota Press, 2007..