Fight Zatoichi Fight benefits from a particularly strong and emotional Shintaro Katsu performance. In this film he takes charge of an infant whose mother is killed by yakuza meaning to kill Zatoichi. He also joins up with a fallen woman, and this dysfunctional family attempts to return the child to its father--who doesn't want his offspring back. The relationship that Zatoichi develops with the unwanted child is quite moving, and the final battle scene takes on added poignance after the blind masseur is forced to leave the baby in the care of a monk.
11 Reviews
Among the top 5 Ichis
phlbrq5815 August 2020
The 4 star review upsets me. Zatoichi is a Charlie Chaplin character with super powers. His enthusiasm for eating, drinking,gambling and care for others makes him interesting. Being blind he is easily victimized except his powers protect him. He has no home and every film ends with him shambling down the road. This is inventive, hiigh order formula storytelling.
I like the set piece sword fights but they're secondary to the motivation and character of our hero.
There are many Chambra films with lots of action. What r u doing here? To judge Zatoichi films by the amount of swordplay is infuriatingly superficial and largely irrelevant.
I like the set piece sword fights but they're secondary to the motivation and character of our hero.
There are many Chambra films with lots of action. What r u doing here? To judge Zatoichi films by the amount of swordplay is infuriatingly superficial and largely irrelevant.
The Heart of Zatoichi: A Double-Edged Blade
samrussell-8262019 May 2021
'Fight, Zatoichi, Fight!' (1964) marks the eighth film in Shintaro Katsu's Zatoichi film franchise, the second of which to be directed by Kenji Misumi, but too, it marks the first time that the audience is presented with a more layered and innately conflicted portrayal of the blind swordsman.
Kenji Misumi is no stranger to directing Shintaro Katsu's famous protagonist. Zatoichi's screen debut was in Misumi's 'Tale of Zatoichi' in 1962. Just two years later and Katsu and Misumi are collaborating again for the film series' eighth instalment. However, 'Fight, Zatoichi, Fight''s script; by Seiji Hoshikawa, Kan Shimozawa and Tesuro Yoshido, offers audiences a much richer story than its seven predecessors.
While the Zatoichi film series instalments are invariably defined by Zatoichi having to rid a town of Yakuza, the eighth instalment offers an entirely more nuanced approach to the chanbara formula that fans have become so accustomed to, and fond of. 'Fight, Zatoichi, Fight' sees Japan's most notorious anma become embroiled in ensuring that a small child is safely reunited with its kin. Although this may seem a simple premise on the surface, the rich visuals Misumi brings to the screen through a surprisingly powerful script; in conjunction with Katsu's compelling performance, and augmented by a masterful score from Akira Ifukube, marinates together to create a delicious feast for the senses, and ostensibly the most memorable Zatoichi exploit.
Audiences have revelled in seeing Zatoichi single-handedly decimate entire Yakuza clans, and while such martial feats are entertaining and utterly expected of a chanbara jidaigeki (sword-fighting Japanese period drama), the repeated feats of Zatoichi can sometimes lack what 'Fight, Zatoichi, Fight' brings to the screen - vulnerability. The inner conflict conveyed by each: the story, the score and Shintaro Katsu, is what sets this film apart. Ifukube's master stroke of echoing a diegetic lullaby in the film's score, thrusts the audience into the emotion of the very heart and soul of what drives our protagonist in his quest to nurse and protect his newfound charge; a small child - inner conflict.
Zatoichi's questioning of his use of violence brought about by his evolving relationship with the child, sets a very different tone to the film in both style and theme. So profound a theme that one can see this echoed in later titles from Japan to Hollywood, such as 'Zatoichi Challenged' (1967), the 'Lone Wolf & Cub' film series (1972-1974), 'Leon: The Professional' (1994), 'Star Wars: Rebels' television series (2014-2018), 'The Mandalorian' television series (2020-2021), and 'Star Wars: The Bad Batch' (2021) to name but a few.
It is through creating vulnerability in the seemingly unstoppable protagonist that this film creates catharsis between audience and subject. While Zatoichi himself is nigh invincible due to his skill with a blade and his honed senses, those which he cares about are not only defenceless, but so too are they impressionable. In the same way that Zatoichi must protect the child from the perils of a dangerous and Yakuza infested land, he too is forced to consider what danger his way of life brings upon the head of the child which he has vowed to protect. Such is the double-edged blade of Zatoichi's shikomizue.
If you can not commit yourself to watch all 26 of Shintaro Katsu's film outings as Zatoichi, do yourself a favour, and try this one. It's as surprisingly tender as one of Ichi's massages, but it cuts as deep as a katana.
Kenji Misumi is no stranger to directing Shintaro Katsu's famous protagonist. Zatoichi's screen debut was in Misumi's 'Tale of Zatoichi' in 1962. Just two years later and Katsu and Misumi are collaborating again for the film series' eighth instalment. However, 'Fight, Zatoichi, Fight''s script; by Seiji Hoshikawa, Kan Shimozawa and Tesuro Yoshido, offers audiences a much richer story than its seven predecessors.
While the Zatoichi film series instalments are invariably defined by Zatoichi having to rid a town of Yakuza, the eighth instalment offers an entirely more nuanced approach to the chanbara formula that fans have become so accustomed to, and fond of. 'Fight, Zatoichi, Fight' sees Japan's most notorious anma become embroiled in ensuring that a small child is safely reunited with its kin. Although this may seem a simple premise on the surface, the rich visuals Misumi brings to the screen through a surprisingly powerful script; in conjunction with Katsu's compelling performance, and augmented by a masterful score from Akira Ifukube, marinates together to create a delicious feast for the senses, and ostensibly the most memorable Zatoichi exploit.
Audiences have revelled in seeing Zatoichi single-handedly decimate entire Yakuza clans, and while such martial feats are entertaining and utterly expected of a chanbara jidaigeki (sword-fighting Japanese period drama), the repeated feats of Zatoichi can sometimes lack what 'Fight, Zatoichi, Fight' brings to the screen - vulnerability. The inner conflict conveyed by each: the story, the score and Shintaro Katsu, is what sets this film apart. Ifukube's master stroke of echoing a diegetic lullaby in the film's score, thrusts the audience into the emotion of the very heart and soul of what drives our protagonist in his quest to nurse and protect his newfound charge; a small child - inner conflict.
Zatoichi's questioning of his use of violence brought about by his evolving relationship with the child, sets a very different tone to the film in both style and theme. So profound a theme that one can see this echoed in later titles from Japan to Hollywood, such as 'Zatoichi Challenged' (1967), the 'Lone Wolf & Cub' film series (1972-1974), 'Leon: The Professional' (1994), 'Star Wars: Rebels' television series (2014-2018), 'The Mandalorian' television series (2020-2021), and 'Star Wars: The Bad Batch' (2021) to name but a few.
It is through creating vulnerability in the seemingly unstoppable protagonist that this film creates catharsis between audience and subject. While Zatoichi himself is nigh invincible due to his skill with a blade and his honed senses, those which he cares about are not only defenceless, but so too are they impressionable. In the same way that Zatoichi must protect the child from the perils of a dangerous and Yakuza infested land, he too is forced to consider what danger his way of life brings upon the head of the child which he has vowed to protect. Such is the double-edged blade of Zatoichi's shikomizue.
If you can not commit yourself to watch all 26 of Shintaro Katsu's film outings as Zatoichi, do yourself a favour, and try this one. It's as surprisingly tender as one of Ichi's massages, but it cuts as deep as a katana.
Fight, Zatoichi, Fight (1964)
mevmijaumau29 July 2015
The original title of this movie translates roughly to "Zatoichi's Travels of Laughter and Blood", but that title apparently sounded too good to whoever translated it into "Fight, Zatoichi, Fight". Seriously, we're 8 movies in and every single title so far has been so generic that it could fit practically any film in the series, with the exception of "Zatoichi and the Chest of Gold".
#8 sees the return of director Kenji Misumi, who directed #1. Composer Akira Ifukube and cinematographer Chishi Makiura also mark their return, giving the film a calmer style as opposed to the two films that preceded it. #8 is like a precursor to the Lone Wolf and Cub series, as Zatoichi gets to take care of a baby, trying to return it to its father while fighting off mercenaries. Speaking of fights, don't trust the title "Fight, Zatoichi, Fight" as there is less action in this film when compared to the previous ones. This one is really emotional and heart- warming, and also has the most fluid pace so far, not to mention there's plenty of humor (Zatoichi trying to breastfeed the baby... Priceless). Also, the film starts with Zatoichi nearly stepping on a turd, but managing to avoid the danger after all. I don't really know what Misumi & co. were trying to say there.
The visuals and sword-fighting sequences get better with each film. This one has some wonderful nature shots where the green color gets plenty of opportunities to dominate (I love the scene set in that scarecrow field). The fights are fewer in this movie, but they're also really well thought out and inventive, with the price of the audience having to suspend their disbelief a bit further, seeing how Zatoichi's tricks get more and more crazy as the series continues.
Highlight: the final battle. Zatoichi faces off against torch-wielding thugs and defeats them all despite being on fire!
#8 sees the return of director Kenji Misumi, who directed #1. Composer Akira Ifukube and cinematographer Chishi Makiura also mark their return, giving the film a calmer style as opposed to the two films that preceded it. #8 is like a precursor to the Lone Wolf and Cub series, as Zatoichi gets to take care of a baby, trying to return it to its father while fighting off mercenaries. Speaking of fights, don't trust the title "Fight, Zatoichi, Fight" as there is less action in this film when compared to the previous ones. This one is really emotional and heart- warming, and also has the most fluid pace so far, not to mention there's plenty of humor (Zatoichi trying to breastfeed the baby... Priceless). Also, the film starts with Zatoichi nearly stepping on a turd, but managing to avoid the danger after all. I don't really know what Misumi & co. were trying to say there.
The visuals and sword-fighting sequences get better with each film. This one has some wonderful nature shots where the green color gets plenty of opportunities to dominate (I love the scene set in that scarecrow field). The fights are fewer in this movie, but they're also really well thought out and inventive, with the price of the audience having to suspend their disbelief a bit further, seeing how Zatoichi's tricks get more and more crazy as the series continues.
Highlight: the final battle. Zatoichi faces off against torch-wielding thugs and defeats them all despite being on fire!
A must for any Zatoichi fan
bighouseaz18 January 2005
This entry in the series is highly recommended. I often recommend this as the first film in the series that friends and family view. Katsu Shintaro is fantastic in this film. At one point in the film, Zatoichi tells someone that he has never been happier, and the audience already knows that because of Katsu's fine acting. This is not the only film where Katsu shares the camera lens with a child. Katsu obviously loves children and their presence lightens the mood of these films.
The emphasis in this film is drama. There is less sword fighting, so if your interest in the series is purely for the fighting sequences, move on to another entry. For all others who enjoy a mixture of drama and action, this is a fantastic film that is sure to bring some moisture to your eyes.
Just as an aside, I don't know how the international English title became Fight, Zatoichi, Fight. The Japanese Kanji literally mean Zatoichi Blood Smile Travel, giving the feeling of both violence and happiness.
The emphasis in this film is drama. There is less sword fighting, so if your interest in the series is purely for the fighting sequences, move on to another entry. For all others who enjoy a mixture of drama and action, this is a fantastic film that is sure to bring some moisture to your eyes.
Just as an aside, I don't know how the international English title became Fight, Zatoichi, Fight. The Japanese Kanji literally mean Zatoichi Blood Smile Travel, giving the feeling of both violence and happiness.
Excellent film
mistymountain26 March 2006
I usually don't watch martial arts films too often, but when I heard the premise for this movie, I figured I should give it a chance. Boy, was I glad I saw this film. This had an excellent plot all through the film. Shintaro Katsu was excellent as Zatoichi in the original series. I only saw a few of the movies in the series, but this had a very emotional element. He was very good acting with an infant on screen. I admit I did shed a tear towards the end, but the whole movie just moved me. The way he changed the baby's diapers, holding the baby, singing to the baby, playing with the baby. This film broke the mold when back in the early 60's, most films would never use a real baby in the movies. Even the scenery was lovely. It's a shame that Shintaro's no longer with us. But during his 5-decade film career, out of all his 105 films that he's done, Fight, Zatoichi, Fight is definitely his best film ever.
Well, it certainly is different
planktonrules2 June 2009
Warning: Spoilers
Wow, talk about divergent reviews. One says this is "Shintaro at his best" and another says "Too many baby antics". Your opinion of FIGHT ZATOICHI FIGHT ("Zatôichi Kesshô-tabi") will most likely depend on whether you like the idea of morphing the typical Zatôichi film with a film like THREE MEN AND A BABY. For the purist, this will be a definite turn off. For someone looking for a change of pace, a bit of comedy or some pathos, then this will be a welcome relief. As for me, I did enjoy the film (especially the ending) but certainly consider it one of the lesser efforts in the series because the film perhaps tries too hard to be heart-warming and cute.
At the beginning of the film, Zatôichi gives up his seat in a palanquin (a covered box-like mode of transportation--carried by a man at each end) to a sick woman with a baby. Some evil no-goodnicks think it's Zatôichi inside and kill the lady with their swords--narrowly missing the baby. Zatôichi, as usual, has an over-developed sense of personal responsibility and decides he's at fault for her death and must escort the baby to his father in a far off town. So, most of the film consists of his adventures getting the child back to its daddy. Along the way, he meets a variety of people, though the most important to the film and Zatôichi is a female pickpocket. Through the persuasive power of this blind man, the lady is transformed to goodness and both like the idea of finally settling down and perhaps making a family. But, what about the child? They can't just keep him--no matter how cute he is.
What happens next takes the film in an excellent direction. While the middle of the film was very schmaltzy, who the father is and his reaction to this child being brought to him is a shock. The ending was amazingly interesting and made the stickier moments in the film a bit easier to take.
Overall, a film that is one of the most different in the series but certainly not among the best. Very watchable and it sure ends well, but otherwise not a great Zatôichi film.
At the beginning of the film, Zatôichi gives up his seat in a palanquin (a covered box-like mode of transportation--carried by a man at each end) to a sick woman with a baby. Some evil no-goodnicks think it's Zatôichi inside and kill the lady with their swords--narrowly missing the baby. Zatôichi, as usual, has an over-developed sense of personal responsibility and decides he's at fault for her death and must escort the baby to his father in a far off town. So, most of the film consists of his adventures getting the child back to its daddy. Along the way, he meets a variety of people, though the most important to the film and Zatôichi is a female pickpocket. Through the persuasive power of this blind man, the lady is transformed to goodness and both like the idea of finally settling down and perhaps making a family. But, what about the child? They can't just keep him--no matter how cute he is.
What happens next takes the film in an excellent direction. While the middle of the film was very schmaltzy, who the father is and his reaction to this child being brought to him is a shock. The ending was amazingly interesting and made the stickier moments in the film a bit easier to take.
Overall, a film that is one of the most different in the series but certainly not among the best. Very watchable and it sure ends well, but otherwise not a great Zatôichi film.
Classic and heartfelt
pppppppppppppppsomanyppppppeees9 December 2022
I've been working my way through the Zatoichi films and reviewing as I go, and I've noticed I have a habit of claiming many to be the best in the series as soon as I've watched them, knowing full well I'll probably watch one soon I like even more. Having said that, so far this film is far and away my favourite, and I'm only a little over halfway through. Despite the title (fight Zatoichi fight) that would lead you to believe it is more of an action entry, this is the most humanising film for Zatoichi so far.
Zatoichi finds himself responsible for a mothers death, so he takes the woman's baby to deliver it to her husband some 60 miles away. Along the way he grows attached to the child, and turns into a bit of a mother hen, all the while being pursued by a group of hired killers. The bulk of the film (so far) is made up of scenes of Zatoichi with the child - my favourite of which (and possibly my favourite scene in the series so far) has Zatoichi buy the services of a whore to care for the child for a night, so he can finally get some much needed sleep. But he can't stop worrying about the child. Time and time again he rises, irritating the whore to no end, and the scene finally cross fades to the next morning, and the whore is out cold while Ichi nurses the baby. It also has a great gambling scene.
All the films have had something to offer so far. The third (new tale of Zatoichi) was the most visually pleasing; every shot was masterful. The film directly following it topped the third film in most other regards (such a great ending, with Zatoichi dancing off down a road with a grin on his face, which soured as soon as it was out of sight of the people the grin was intended for). But "Fight Zatoichi Fight" is the most satisfying film in the series so far. I love heartfelt sh-t like this.
Zatoichi finds himself responsible for a mothers death, so he takes the woman's baby to deliver it to her husband some 60 miles away. Along the way he grows attached to the child, and turns into a bit of a mother hen, all the while being pursued by a group of hired killers. The bulk of the film (so far) is made up of scenes of Zatoichi with the child - my favourite of which (and possibly my favourite scene in the series so far) has Zatoichi buy the services of a whore to care for the child for a night, so he can finally get some much needed sleep. But he can't stop worrying about the child. Time and time again he rises, irritating the whore to no end, and the scene finally cross fades to the next morning, and the whore is out cold while Ichi nurses the baby. It also has a great gambling scene.
All the films have had something to offer so far. The third (new tale of Zatoichi) was the most visually pleasing; every shot was masterful. The film directly following it topped the third film in most other regards (such a great ending, with Zatoichi dancing off down a road with a grin on his face, which soured as soon as it was out of sight of the people the grin was intended for). But "Fight Zatoichi Fight" is the most satisfying film in the series so far. I love heartfelt sh-t like this.
A cute, emotional and humorous entry in the franchise
kluseba4 March 2018
Fight, Zatoichi, Fight is the eighth entry in the franchise and one of the most unusual movies in the series. In the beginning of the movie, a young woman who is on her way to her husband with her infant son gets mistakenly killed by a group of samurai who are actually chasing Zatoichi. The blind masseur decides to take the baby of the deceased mother to its father who is living in an isolated village about sixty-five miles away. On his way, Zatoichi teams up with a kleptomaniac prostitute who helps him nurse the child. However, the samurai are still chasing Zatoichi and have identified the presence of the baby as a potential weakness of the blind masseur. As if that weren't enough, Zatoichi must deal with an unpleasant surprise when he finally meets the baby's father.
The movie with the misleading title stands out for three reasons. First of all, Zatoichi becomes surprisingly caring, emotional and tender as he grows fond of the baby boy he protects. Secondly, the movie includes a lot of slapstick humor with Zatoichi stealing clothes on a scarecrow to use them as diapers, with the infant child accidentally peeing on two angry sumo ringers and with a group of elderly blind people who fool the group of samurai that are chasing Zatoichi in hilarious manners. Thirdly, the addition of a kleptomaniac prostitute is quite interesting as she turns out being a very clumsy, emotional and romantic drama queen who often argues with Zatoichi. These three elements add a fresh touch to the Zatoichi franchise and offer several truly memorable scenes such as Zatoichi attempting to breastfeed the baby.
On the other side, the movie doesn't really have an intriguing plot as it basically follows Zatoichi on his way to bring the child to its father. The movie is lacking action and tension as fight scenes are rarely shown and not particularly well choreographed. The movie rather feels like a slice of life promoting family values and adding lots of slapstick moments. It lacks the choreography, intensity and seriousness that gave the previous entries their very own identity.
In the end, this film is a quite unusual one. Those who are expecting vivid sword fights, a tense plot and an intriguing antagonist will end up being disappointed. If you like a more cute, emotional and humorous touch to martial arts films, this film could be among your favorites of the franchise. This is the kind of movie I would show my girlfriend if I had to introduce her to the Zatoichi franchise. The movie recalls the Lone Wolf and Cup franchise or martial arts classics like The Master and the Kid with the difference that this visionary movie was released about a decade before those movies. Even though Fight, Zatoichi, Fight isn't exactly my cup of tea and among the weaker films in the franchise in my book, one can't deny that it has quite a few creative ideas and its very own original style.
The movie with the misleading title stands out for three reasons. First of all, Zatoichi becomes surprisingly caring, emotional and tender as he grows fond of the baby boy he protects. Secondly, the movie includes a lot of slapstick humor with Zatoichi stealing clothes on a scarecrow to use them as diapers, with the infant child accidentally peeing on two angry sumo ringers and with a group of elderly blind people who fool the group of samurai that are chasing Zatoichi in hilarious manners. Thirdly, the addition of a kleptomaniac prostitute is quite interesting as she turns out being a very clumsy, emotional and romantic drama queen who often argues with Zatoichi. These three elements add a fresh touch to the Zatoichi franchise and offer several truly memorable scenes such as Zatoichi attempting to breastfeed the baby.
On the other side, the movie doesn't really have an intriguing plot as it basically follows Zatoichi on his way to bring the child to its father. The movie is lacking action and tension as fight scenes are rarely shown and not particularly well choreographed. The movie rather feels like a slice of life promoting family values and adding lots of slapstick moments. It lacks the choreography, intensity and seriousness that gave the previous entries their very own identity.
In the end, this film is a quite unusual one. Those who are expecting vivid sword fights, a tense plot and an intriguing antagonist will end up being disappointed. If you like a more cute, emotional and humorous touch to martial arts films, this film could be among your favorites of the franchise. This is the kind of movie I would show my girlfriend if I had to introduce her to the Zatoichi franchise. The movie recalls the Lone Wolf and Cup franchise or martial arts classics like The Master and the Kid with the difference that this visionary movie was released about a decade before those movies. Even though Fight, Zatoichi, Fight isn't exactly my cup of tea and among the weaker films in the franchise in my book, one can't deny that it has quite a few creative ideas and its very own original style.
Consist of some very moving moments
jordondave-2808528 October 2023
(1964)The Blind Swordsman: Fight, Zatoichi, Fight
(In Japanese with English subtitles)
ACTION/ COMEDY
One of the best Blind Sworsdman film so far since the scenes are relatable, and the most touching movies to date meaning that it's exactly what anyone else would do if they were ever in his shoes and is one of and the most touching movies to date putting Zatoichi into a complicated situation when he stumbles onto a dead mother holding a parentless infant with papers and his determination in returning him to his natural father. The director of this film by the name of Kenji Misumi on to direct the violent "Lonewolf and Cub" series which are also excellent as well also using the theme of the traveling swordsman protecting his young toddler. Director John Woo may have gotten the idea of using this baby notion toward the end of his Hardboiled film from watching this one as well as other Misumi movies.
One of the best Blind Sworsdman film so far since the scenes are relatable, and the most touching movies to date meaning that it's exactly what anyone else would do if they were ever in his shoes and is one of and the most touching movies to date putting Zatoichi into a complicated situation when he stumbles onto a dead mother holding a parentless infant with papers and his determination in returning him to his natural father. The director of this film by the name of Kenji Misumi on to direct the violent "Lonewolf and Cub" series which are also excellent as well also using the theme of the traveling swordsman protecting his young toddler. Director John Woo may have gotten the idea of using this baby notion toward the end of his Hardboiled film from watching this one as well as other Misumi movies.
My Favorite Zatoichi Movie
masercot11 January 2003
Shintaro at his best. He's a mother, a husband and a reluctant killer all rolled into one. I can't imagine anyone else pulling off the role of Zatoichi. His interaction with the infant is truly heartwarming. There is pathos and humor as well. What else is there? Swordfighting, swordfighting, swordfighting...
Not that he doesn't try to talk reason to his assailants. He deters an angry samurai without blood or violence in a scene I felt was so unusual, I played it back three times in a row. I LOVE martial arts sequences, but, the reason that I watch this one again and again is the acting and the natural building of his relationship with the infant that he has decided to help.
If you want to sample the Zatoichi series, I would certainly recommend this one to be your first...
Not that he doesn't try to talk reason to his assailants. He deters an angry samurai without blood or violence in a scene I felt was so unusual, I played it back three times in a row. I LOVE martial arts sequences, but, the reason that I watch this one again and again is the acting and the natural building of his relationship with the infant that he has decided to help.
If you want to sample the Zatoichi series, I would certainly recommend this one to be your first...
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