A cab driver finds himself the hostage of an engaging contract killer as he makes his rounds from hit to hit during one night in Los Angeles. He must find a way to save both himself and one last victim.
In the 1870s, Captain Nathan Algren, a cynical veteran of the American Civil war who will work for anyone, is hired by Americans who want lucrative contracts with the Emperor of Japan to train the peasant conscripts for the first standing imperial army in modern warfare using firearms. The imperial Omura cabinet's first priority is to repress a rebellion of traditionalist Samurai -hereditary warriors- who remain devoted to the sacred dynasty but reject the Westernizing policy and even refuse firearms. Yet when his ill-prepared superior force sets out too soon, their panic allows the sword-wielding samurai to crush them. Badly wounded Algren's courageous stand makes the samurai leader Katsumoto spare his life; once nursed to health he learns to know and respect the old Japanese way, and participates as advisor in Katsumoto's failed attempt to save the Bushido tradition, but Omura gets repressive laws enacted- he must now choose to honor his loyalty to one of the embittered sides when ... Written by
The swordsmith in the village is a real swordsmith. His name is Shoji Yoshihara, brother to Yoshihara Yoshindo. Shoji is a "Mukansa"-level master swordsmith, one of the highest rankings in Japan. See more »
A number of times the Imperial Army is heard using American bugle calls. As the Japanese did not use American advisers (despite what is shown in the movie), they also did not use American bugle calls. See more »
They say Japan was made by a sword. They say the old gods dipped a coral blade into the ocean, and when they pulled it out four perfect drops fell back into the sea, and those drops became the islands of Japan. I say, Japan was made by a handful of brave men. Warriors, willing to give their lives for what seems to have become a forgotten word: honor.
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The opening Warner Bros. logo is light blue on a solid black background. See more »
"Success is a journey, not a destination" - Zen saying
The Last Samurai is a strictly by-the-numbers samurai epic set in 1876-1877 Japan. All the necessary ingredients are here - beautiful Japanese landscapes and costumes, larger than life battlefield sequences, and eastern philosophy.Although the pageantry is not as beautiful as such samurai epics as "Heaven and Earth", it is more than adequate.
Do not, however go into this film expecting "Kill Bill", grindhouse type swordplay nor the poignancy of a Kurosawa piece. Instead, "The Last Samurai" occupies the middle ground; a human story of one Westerner learning to embrace another culture kind of a mixture of "Dances With Wolves" and "Shogun", films from which it derives almost directly. And this is the films greatest flaw. It is utterly predictable. No spoilers here, we all know what happens to the samurai. If not, the title ought to give you a clue. Every scene is one that you were expecting to see. And the ending is the ending you expect.
But Zwick and co. still manage to weave an engaging story with panache, and a climactic (despite it's predictability) ending, and that is why "The Last Samurai" is such a great film. As the Zen saying goes, "Success is a journey, not a destination". It is equally applicable to the samurai in the film, and the film itself. A success. 8/10.
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