Director: Masaaki Akahori
Cast: Masato Sakai, Takayuki Yamada, Hirofumi Arai
Running time: 199 minutes
Synopsis: Grieving Kenichi plans to kill the hit-and-run driver that killed his wife. Despite the efforts of his brother-in-law to stop him and set his life on the road to emotional recovery, the planned date of his revenge looms ever nearer.
The revenge story has been a common staple of cinema over the years. But whilst such movies tend to be action-orientated, THE SAMURAI THAT NIGHT takes an altogether different approach. Concerned more with dynamics between characters and the reality of overcoming grief, Akahori’s film is a slower, more thoughtful affair than the likes of GET CARTER or DEAD MAN’S SHOES. It’s hardly surprising that THE SAMURAI THAT NIGHT should feel so different to what we’ve been accustomed to – it’s adapted from Akahori own stage play, and hasn’t strayed far from its theatrical roots.
The film does however feel very much divided into two halves, the first of which appears to be building towards a familiar and generic climax. As grieving widower Kenichi heads closer to exacting his vengeance upon the morally corrupt Kijima, there’s a sense that something very predictable (albeit quite satisfying) is approaching fast. But, as the film’s second half develops, the film diverts from the usual conventions and, like much theatre, becomes more focused on solving problems inwardly than outwardly.
That isn’t to say THE SAMURAI THAT NIGHT is completely free of genre tropes – there’s a smattering of brutality, and some standard thriller fare. Not all of it rings true however, and a number of plot points don’t entirely sit with the rest of the film; in fact, some of it is quite baffling. This isn’t a too much of a problem as it works to reinforce the surreal tone that wavers beneath the main story, bringing an inspired sense of humour to the proceedings (a few karaoke performances in particular will strike a surreal chord).
THE SAMURAI THAT NIGHT’s biggest problem lies with its chief antagonist, Kijima (Yamada). Whilst it’s always good to have a real swine to gun for in a revenge film, Kijima’s cartoonish bastardry is way over the top, and much of his loutish behaviour feels unnecessary – he already mowed down a pregnant woman and left her for dead, so trying to murder and rape everyone he comes into contact with seems surplus to requirements. Also, such villainy needs to be punished in a way perhaps more in line with the action film – whether or not Akaori’s alternative approach is satisfactory may prove to be a point of contention.
Though the second half of the film does flounder and drag on far too long, there’s no denying the first half is a strong piece of work, led by a touching performance from Masato Sakai. It may not sit well with genre fans, but it does offer something fresh and interesting, and may prove the first word from a new and distinctive voice in filmmaking.
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