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And in this film, the recipient of violence would definitely be male. A feminist revenge thriller in the spirit of 'Ms. 45,' 'Enough,' and 2017's bluntly titled 'Revenge,' this is a film about societally tamped-down rage over mistreatment and abuse finally welling up and exploding in the faces of men who lord their superior physical strength and patriarchal authority over women and children.

The movie begins with a sequence that could well be the premise-establishing prelude to a TV series like the original 'The Equalizer': following a sequence of shots establishing a bleak midwinter setting, the heroine, Wilde's Sadie, is seen working a punching bag, the camera so tight on her face and upper torso that the swinging motion of her fists makes the viewer feel battered. Then it moves into a 'mission,' with Sadie visiting the home of a man who's abusing his wife and child, beating him to a pulp (much to his surprise; he thought he'd be able to incapacitate her with one blow) and then ordering him to turn over most of his money to his wife and leave their lives forever.

Obviously, not only is Sadie's approach not an emotionally, socially or legally acceptable way to handle that kind of situation, it's probably unrealistic, but no more so than a scenario in 'The Equalizer' or 'The Punisher' or one of those grungy private eye films where the hardboiled hero shows up in the home of a very bad man and quietly tells him how things are going to be from now on.

But one of the things that distinguishes 'A Vigilante' from other vigilante films is its interest in the physical effects of violence (the aftermath in particular), and the toll that Sadie suffers both as a domestic abuse survivor and as someone who has committed to doing more violence order to better the lives of fellow victims and assuage her own feelings of thwarted justice. Sadie's husband—who is played by Morgan Spector, but is such a loathsome figure that the film refuses to name him—has committed even more unspeakable acts than you might imagine from reading this piece. He's the movie's Big Bad, he's still out there somewhere, and as soon as the film reveals this (fairly early), you start imagining a confrontation that 'A Vigilante,' in its proud pulpiness, isn't about to deny you.

'A Vigilante' is upfront about being a cathartic fantasy, starring a conventionally beautiful and physically fit star who could play a superhero (and sort of already is playing one here, when you think about it; put a cool costume on her and you've got a female Frank Castle). The only thing I can say against it is that it doesn't seem to have fully thought through the implications of reveling in fantasies of payback and control while also going out of its way to emphasize the real-world impact of Sadie's suffering and the brutality she visits on (deserving) others. The gold standard for this kind of movie—recently, anyway—is writer-director Lynne Ramsay's 'You Were Never Really Here,' which also verged on turning into a Batman movie sometimes, but offered a slightly more nuanced take on the story of a PTSD-suffering, lethally skilled loner moving through a twilight world of crime and violence. It's a badass movie that remembers that it's not supposed to feel badass but can't always resist the urge and might not be able to resist it, given the kind of film that it is. All of its characters except Sadie are psychologically rather thin, existing mainly as satellites orbiting around the North Star of its heroine's fury. But this, too, ultimately feels like an equalizing impulse. If an inability to avoid getting high on your own supply were a deal breaker in vigilante cinema, there wouldn't be any vigilante movies. Ditto the tendency to favor the main character's issues over everyone else's.

The Hidden Blade (隠し剣 鬼の爪, Kakushi ken: Oni no tsume, literally 'Hidden Blade: Oni's Claw') is a 2004 film set in 1860sJapan, directed by Yoji Yamada. The plot revolves around several samurai during a time of change in the ruling and class structures of Japan. The film was written by Yamada with Yoshitaka Asama and, like its predecessor The Twilight Samurai, based on a short story by Shūhei Fujisawa. The soundtrack is an original composition by Isao Tomita.

Plot[edit]

The story takes place in Japan in the 1860s, a time of cultural assimilation. Two samurai, Munezo Katagiri (Masatoshi Nagase) and Samon Shimada (Hidetaka Yoshioka), bid farewell to their friend Yaichiro Hazama (Yukiyoshi Ozawa), who is to serve in Edo (present-day Tokyo) under the shogunate of that region. Though the position is desirable, Katagiri voices his concern that a man of Yaichiro’s character is likely to get into trouble. His doubts are confirmed when the married Yaichiro expresses an intention to indulge in Edo’s sensual pleasures while stationed there.

During dinner that evening, Katagiri’s mother reminds Samon of the financial hardships the family has endured since the death of her husband (who committed ritual suicide after financial improprieties were discovered on a construction project). She desires a match between Samon and Shino (Tomoko Tabata), Katagiri’s sister. Also present is Kie (Takako Matsu), the Katagiri’s housekeeper, who is literate and schooled in etiquette. In a voiceover, Katagiri hints at his affection for Kie, but then relates that around the same time Shino married Samon, Kie married a man of the merchant class and left the Katagiri household.

Three years pass, during which Katagiri's mother passes away. While walking through town, he sees Kie in a kimono shop where she assures him that she is well. Months later, however, Shino tells Katagiri that from the start of her marriage, Kie has been forced to perform all manner of duties to the point that she is little more than a slave to her new family, and that she is gravely ill. Concerned, Katagiri visits Mrs. Iseya (Sachiko Mitsumoto), Kie’s mother-in-law, and finds Kie incoherent with illness. Outraged, he demands that Kie’s husband file divorce papers, and then carries her to his own house to recover.

The changing times have forced Katagiri and his fellow samurai to learn the techniques of Western weaponry, which the elder members of the clan disdain. Word arrives from Edo that government officials thwarted an uprising against the shogun and that Yaichiro, Katagiri’s friend, was involved. After being brought back to the village in a prisoner's cage, Yaichiro is denied the honor of ritual suicide and must live out the remainder of his days in a cell. Believing that Yaichiro’s friends are complicit, Hori (Ken Ogata), the clan’s chief retainer, demands that Katagiri identify them, but he refuses, citing his honor as a samurai, and he is dismissed.

Meanwhile, Kie has since recovered and is once again Katagiri’s housekeeper. Though their fondness for one other is evident, Kie and Katagiri are keenly aware of the difference in their social class and act accordingly. Nonetheless, gossip prompts Katagiri to send Kie back to the countryside to live with her father. Shortly after, Yaichiro breaks out of prison and takes a family hostage. Hori demands that Katagiri dispatch him.

Knowing that Yaichiro is the better swordsman, Katagiri visits their former teacher (Min Tanaka), who is now a farmer, and learns a dangerous maneuver that involves turning one's back on the enemy. The next day, Katagiri arrives on the outskirts of the village and attempts to persuade Yaichiro to surrender. When the latter refuses (accusing Hori and the other leaders of incompetence), the two engage in one-to-one combat during which Katagiri uses the new technique to deliver a severe wound. Yaichiro attempts the same maneuver, but is gunned down by foot soldiers hiding in the woods. Knowing that this manner of death is a dishonor to a samurai, Katagiri is dismayed. Upon returning to the village, he encounters Yaichiro’s wife (Reiko Takashima), who reveals that she paid a visit to Hori the night before and exchanged sexual favors for his promise to keep Yaichiro alive (a promise that was never fulfilled). Bound by an oath to commit suicide should Yaichiro die, she takes her own life.

Unsure of his fealty, Katagiri approaches Hori with his treachery, to which he crudely admits. Realizing that the Hazamas were victims of a corrupt system, Katagiri avenges them by stabbing Hori in the heart with a thin blade (the technique known as “the hidden blade”, which leaves almost no trace of blood—in the original Japanese version the technique is actually called 'the demon's claw/scratch' as the entry wound it leaves is so small that it appears to be caused by a nonhuman perpetrator). Katagiri buries the blade at the Hazama’s grave as a form of atonement and relinquishes his samurai status. Resolved to become a tradesman, he leaves the village for the island of Ezo (modern-day Hokkaido), but not before visiting Kie. With difference of social status no longer an obstacle, Katagiri proposes marriage and Kie accepts. The film ends as they hold hands sitting on a hilltop, envisioning their future together.

Cast[edit]

• Masatoshi Nagase - Munezo Katagiri
• Takako Matsu - Kie
• Hidetaka Yoshioka - Samon Shimada
• Yukiyoshi Ozawa - Yaichiro Hazama
• Tomoko Tabata - Shino Katagiri
• Reiko Takashima - Hazama's wife
• Kunie Tanaka - Katagiri Kanbee
• Chieko Baisho - Mrs. Katagiri
• Min Tanaka - Kansai Toda
• Nenji Kobayashi - Ogata
• Ken Ogata - Chief Retainer Hori
• Hiroshi Kanbe - Naota
• Sachiko Mitsumoto - Mrs. Iseya
• Nana Saito - Bun

Reception[edit]

The Hidden Blade has an 84% approval rating on Rotten Tomatoes, with the critical consensus on it stated as, 'A slow and steady samurai flick a la John Ford that brings emotions and psychology to an epic-scale adventure.'^[2] The film also holds a 76/100 on Metacritic based on 11 reviews.^[3]

The Hidden Blade was the choice of Edward Douglas in IndieWire's 2018 list of the best Japanese films of the 21st century. He called it 'one of the best non-Kurosawa samurai films.'^[4]

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Awards[edit]

In addition to 16 nominations,^[5] the film received the following awards:

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• The Japanese Academy Award for 'Best Art Direction' to Mitsuo Degawa and Yoshinobu Nishioka
• Hochi Film Award for 'Best Actress' to Takako Matsu
• Mainichi Film Concours for 'Best Supporting Actress' to Tomoko Tabata

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References[edit]

1. ^https://boxofficemojo.com/movies/default.htm?id=hiddenblade.htm
2. ^'The Hidden Blade (2006)', Rotten Tomatoes, retrieved 2021-01-10
3. ^'The Hidden Blade', Metacritic, retrieved 2021-01-10
4. ^Ehrlich, David (2018-03-26). 'The Best Japanese Films of the 21st Century — IndieWire Critics Survey'. IndieWire. Retrieved 2021-01-10.
5. ^Awards for The Hidden Blade Retrieved 2012-05-07

External links[edit]

• The Hidden Blade at IMDb
• The Hidden Blade at Rotten Tomatoes

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