Azumi
Title: AzumiRating: 3.5/5
Genre: Action, Adventure
Starring Aya Ueto
Language: Japanese
Director: Ryuhei Kitamura
From the director who brought us ‘Versus’ and based on the manga of the same name, to say I expected plenty of bloodshed would be putting it mildly, and on this front it delivers by the bucket load. Set in feudal (read: warlord) Japan, we find ourselves immersed in devious schemes of war and master assassins, where the land is ruled by the fastest sword, as the protagonists of the story massacre and maim in the quest to complete their mission. Complete with legendary cross-dressing swordsmen, ninjas and rival warlords, this lengthy two-hour film only occasionally relents in its destructive path to try to strike the occasional emotional chord.
War is rife in Japan, and even those who win the battle suffer much hardship in the loss of loved ones in the name of their clan. Tired of war, one master assassin takes 10 children of those slain and heads for the mountains, away from the wars ravaging the land to train. Of those who survive the gruelling training process, they are sent on a mission to seek out and assassinate those warlords who wish to provoke war further, but they are quickly noticed. With assassins on their tail, including the much feared Bijomaro Mogami (Jo Odagiri), vastly outnumbered they strive to complete their mission.
The soundtrack feels adequate, sustaining the scenes if adding little else, but there is a dramatic element poorly incorporated within the story, as the loss of fellow assassins is clearly intended to strike an emotional response yet fails to do so. Coupled with the somewhat unconvincing acting work from the – albeit gorgeous – lead Azumi (Aya Ueto) it is here that we find the plot dragging, the constant questioning of ‘the assassins way’ and its cold hearted manner lacking by comparison to what should have clearly been the focus (for it is indeed the greatest strength) of the film.
The choreographer in this film aptly demonstrates the failures of American cinema with regards to sword-fighting, with the lead performing most of the stunts herself it remains fast-paced and creative. Heavily influenced by Westerns (notably in the final battle) where primitive guns fly and explosions roar like thunder as the many bloodbaths ensue, it is these battles that draw all the attention. With some often excellent camera-work maintaining a quick change in camera angles resulting in a frequent atmosphere of tension without becoming confusing, it’s only with the occasional more adventurous shots that things fall on their face. With a fitting final showdown surpassing all that came before it, with an excellent performance the altogether maniacal villain Mogami, it ends in a manner leaving you temporarily content for your daily dose of gratuitous violence (even if the story doesn’t conclude until the end of the sequel, ‘Azumi 2: Death or Love’).
If you’re looking for a detailed plot, then this isn’t the film for you (as it is easy to follow and relatively simple). If you’re looking for clever dialogue, an undercutting dramatic tension, questioning assassin ethics and mourning the loss of loved ones, then once again you’ve come to the wrong place. If, however, the idea of a film with swordplay choreographed well enough to make ‘Kill Bill’ look amateurish, and far more bloodshed to boot, then this won’t disappoint.
Genre: Action, Adventure
Starring Aya Ueto
Language: Japanese
Director: Ryuhei Kitamura
From the director who brought us ‘Versus’ and based on the manga of the same name, to say I expected plenty of bloodshed would be putting it mildly, and on this front it delivers by the bucket load. Set in feudal (read: warlord) Japan, we find ourselves immersed in devious schemes of war and master assassins, where the land is ruled by the fastest sword, as the protagonists of the story massacre and maim in the quest to complete their mission. Complete with legendary cross-dressing swordsmen, ninjas and rival warlords, this lengthy two-hour film only occasionally relents in its destructive path to try to strike the occasional emotional chord.
War is rife in Japan, and even those who win the battle suffer much hardship in the loss of loved ones in the name of their clan. Tired of war, one master assassin takes 10 children of those slain and heads for the mountains, away from the wars ravaging the land to train. Of those who survive the gruelling training process, they are sent on a mission to seek out and assassinate those warlords who wish to provoke war further, but they are quickly noticed. With assassins on their tail, including the much feared Bijomaro Mogami (Jo Odagiri), vastly outnumbered they strive to complete their mission.
The soundtrack feels adequate, sustaining the scenes if adding little else, but there is a dramatic element poorly incorporated within the story, as the loss of fellow assassins is clearly intended to strike an emotional response yet fails to do so. Coupled with the somewhat unconvincing acting work from the – albeit gorgeous – lead Azumi (Aya Ueto) it is here that we find the plot dragging, the constant questioning of ‘the assassins way’ and its cold hearted manner lacking by comparison to what should have clearly been the focus (for it is indeed the greatest strength) of the film.
The choreographer in this film aptly demonstrates the failures of American cinema with regards to sword-fighting, with the lead performing most of the stunts herself it remains fast-paced and creative. Heavily influenced by Westerns (notably in the final battle) where primitive guns fly and explosions roar like thunder as the many bloodbaths ensue, it is these battles that draw all the attention. With some often excellent camera-work maintaining a quick change in camera angles resulting in a frequent atmosphere of tension without becoming confusing, it’s only with the occasional more adventurous shots that things fall on their face. With a fitting final showdown surpassing all that came before it, with an excellent performance the altogether maniacal villain Mogami, it ends in a manner leaving you temporarily content for your daily dose of gratuitous violence (even if the story doesn’t conclude until the end of the sequel, ‘Azumi 2: Death or Love’).
If you’re looking for a detailed plot, then this isn’t the film for you (as it is easy to follow and relatively simple). If you’re looking for clever dialogue, an undercutting dramatic tension, questioning assassin ethics and mourning the loss of loved ones, then once again you’ve come to the wrong place. If, however, the idea of a film with swordplay choreographed well enough to make ‘Kill Bill’ look amateurish, and far more bloodshed to boot, then this won’t disappoint.
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