It's 1863, and the politics of Japan have grown confused. Not only is there the continuing conflict between the Shogunate and the larger domains, but a growing movement for the restoration of power to the Emperor is at hand. The issue of the moment is how to deal with the foreigners who have been troubling the nation since Perry's fleet visited ten years before. The two sides argue over whether the foreigners should be expelled or welcomed. Both sides have turned to assassination. In the middle of this, the ranks of the expulsion movement "Joy-i" in the person of Kotaro Bando, understand that the logic of the situation, with foreign warships and cannon far more powerful than Japanese ones, cannot be resisted.
The stuation grows bloodier, but not in the cinematic style of samurai movies. Fights take place offscreen, reflecting the dishonorable, assassin nature of the deaths. Although Kotaro Bando represents the brains of the still jingostic movement, it is Juzaburo Bando who represents its heart. Can the brain convince the heart?
Because this is in many ways an inteernal monologue -- and the propaganda seeking viewer might see the Second World War as a outgrowth of these events --and the usual, more satisfying shots of people moving, people fighting, are eschewed, it is more a piece of endless talk.... with some bloody results.
The stuation grows bloodier, but not in the cinematic style of samurai movies. Fights take place offscreen, reflecting the dishonorable, assassin nature of the deaths. Although Kotaro Bando represents the brains of the still jingostic movement, it is Juzaburo Bando who represents its heart. Can the brain convince the heart?
Because this is in many ways an inteernal monologue -- and the propaganda seeking viewer might see the Second World War as a outgrowth of these events --and the usual, more satisfying shots of people moving, people fighting, are eschewed, it is more a piece of endless talk.... with some bloody results.