Ichi

Directed by: Fumihiko Sori

Starring: Haruka Ayase, Shido Nakamura

Synopsis:

Blind Swordswoman Ichi (Ayase) exacts justice upon gangsters, rapists, murderers and thieves. Her courage and integrity are a dazzling light in which the evil burn, the cowardly are forced to stand firm, and the weak are emboldened. Her quest for justice never falters or turns aside even when her heart is tempted.

Actually, not quite. There is considerably more to it than that. But in a nutshell yes, A blind travelling singer of the old Japanese tradition, slung out of the group for lying with a man (actually being raped, but that seems not to change things for the choir mistress.) also happens to be a highly accomplished swordswoman. Wandering alone in feudal Japan she meets Banki a slightly disreputable but goodhearted Ronin. When bandits attempt to rape Ichi and she resists violently, Banki cannot offer help as he has a post traumatic condition which prevents him from drawing his sword. No matter though, Ichi is unbelievably fast and kills them all herself without breaking a sweat.

The local village, on hearing of the Bandits’ death are over the moon. It turns out that the bandits are a serious problem, they are harassing villagers and putting pressure on the local Yakuza clan.

The villagers and the Yakuza mistakenly believe that Banki dispatched the bandits, and hire him in to protect them. Banki and Ichi are happy to let them believe this. They move into the village and commence causing trouble for the bandits, whilst simultaneously unravelling each others pasts. And so unfolds a drama of honour, sacrifice, loyalty, love and loneliness...

Review:

This is a contemporary updating of a classic script, as I’ve mentioned already. The story of the blind Masseuse Zatoichi holds a particular place of affection in Japanese film culture, and the many versions which have appeared have all been successes in their own right.

To transform the gender of the title part is a notable development, and could have been a mistake. The screen is awash with kick ass heroines who retain their femininity, albeit mostly by alternating combat gear with sexually advertising garmentry a la Lara Croft or Kill Bills Uma Thurman, or pick from several teenage chicks in Schoolgirl Sailor attire carrying swords. But those options are simply not available to a film maker who wants to retain the realism of Feudal Japan where women tended to wear sensible practical and modest clothing.

Haruka Ayase playing Ichi is indeed a very attractive young woman, and this is pivotal to the development of the story, but in no way is it exploited for titillations sake. The film is a fascinating look at what normal life would mean for a Blind woman, in those times, before examining the abnormal life of this Blind woman who appears to see more than most.

The part is a departure from the rambunctious, gambling drinking Zatoichi. This Ichi is an introverted isolated and fragile young woman. Searching for the one person she feels she can trust in a world determined to take advantage of her, and while her portrayal runs up to the edge of mawkish sentimentality it never strays too far over and we are always fascinated.

The film itself looks sumptuous. Cinematography by Keiji Hashimoto brings to life Feudal japan. Landscapes are like classical Japanese art and scenery is lovingly depicted. We see a nation of extremes, an early scene shows a mountain village in a winter snowstorm, later we see sweltering pastureland in midsummer both so well captured as to be memorable in themselves.

Huge attention has been paid to sets props and wardrobe, definitely a labour of love and a tribute to the culture and time the film makers wished to depict. Clothes, hair, footwear, all exact and not ‘beautiful’ or quaint but real, which makes the story real too.

In terms of direction, the actual fight time is not the majority of the narrative. Fights are artfully built up to and cleverly shot, although there is a tendency to close up just a little too much on Ichi’s face, often part hidden by hair, her eyes obviously unseeing but her mind calm and meditative. The sword strokes are dramatic though, and for anyone who is interested she fights right hand reverse style with a draw slash re-sheath technique (designed to un nerve opponents as they cannot pre-empt the direction of the next thrust as easily).

The large action set pieces are frenetic but again meticulous. Fight choreography ensures that background fights aren’t just screen filler, everyone is involved in life or death struggles.

Lastly, but definitely not least, the score. The music is a delight. From the traditional singing and instruments which Ichi uses within the context of the film, to the soundtrack itself all of it flows and fits perfectly.

Verdict:

This is an entertaining dramatic historic epic, and to be honest would be enjoyed by action fans, classic cinema fans, and those who like a human drama with deep storylines alike.

I have a very high opinion of this film indeed.

8 out of 10 (Sulaco)

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