It's a little curious. At large the narrative carries a muted tenor and is somewhat deliberately paced as it builds, yet just as the editing often feels excessively curt, individual scenes are often decidedly more brusque and direct as they present, with more boisterous energy. To that same point, the sequencing sometimes comes off as disjointed as the plot, as it presents, bounces around a little, and moreover without absolute, uniform clarity. The result of these factors and other sundry peculiarities is that despite the plain earnestness and overall care of the feature - Misumi Kenji's adaptation of Ikenami Shotaro's historical novel - there are odd slivers of discrepancy and ill-fitting construction as the tale is imparted of samurai Toranosuke, caught between two paths at a turning point in Japan's history. Such matters aren't so severe as to gravely diminish the viewing experience, but they come to our attention rather quickly and remain prevalent as the story gradually ticks forward. In one fashion or another, something perpetually feels off about 'The last samurai,' like one tidbit or another is always ill-advised or just didn't belong.
These issues are noteworthy and unfortunate, in some measure leaving a persistent mark on the whole. Still, the judicious, purposeful plot development makes more of an impression than the relatively coarse scenes; the weighty drama at the core of the saga supersedes some puerility, cartoonishness, or touches of melodrama. The storytelling and execution are definitely imperfect, but as the picture speaks to a time of great sociopolitical upheaval and violence, the entirety is perhaps more than the sum of its parts (which includes both plusses and minuses). More than not this is engaging and compelling, and even with perceived troubles its more than 2.5 hours go by swiftly in light of the broad strength of the storytelling and production. As we would well assume of most any period flick, significant consideration was given to all the details that would bring this distant time to vivid life, including lovely filming locations, superb sets, and impeccable costume design, hair, and makeup. Where violence takes precedence the stunts, effects, fight choreography, and otherwise action sequences are terrific and exciting; where quieter drama prevails, with comparatively infrequent exceptions the acting is fantastic, capably bringing to bear the sobriety of this depicted moment in history with swell performances of poise, nuance, and physicality.
While I think the movie has its faults, far more than not Misumi and Kunihiro Takei's screenplay is strong and steadfast, with the value of the scene writing and narrative handily outweighing any drawbacks. Much the same certainly goes for Misumi's direction, characterized by mindful calculation more than not so as to achieve just the right tone and desired impact; some scenes unquestionably meet with more welcome success than others, including a tragic beat to come in the latter half. With that said, in general the back end arguably tends to be tighter than the first half, as if - with all the foundations laid, if sometimes a tad more roughly - the substance to come had the benefit of sharper focus from all participants. Imperfections remain through to the end, but when all is said and done 'The last samurai' is absorbing and satisfying, rising above its lowest points. I recognize the kinship it shares with other jidaigeki films. All told I don't think it's a title that altogether demands viewership, yet if one admires Japanese cinema it's most assuredly well worth exploring. I see what it does well, more than sufficient to compensate for its shortcomings, and I just wish that the full length enjoyed more even-handed, meticulous application of the skill and intelligence of all involved.
I don't necessarily think there's any need for one to go out of their way for 'The last samurai,' but it's a solid, engrossing period drama that keeps us invested, and I'm glad to give it my firm recommendation.
