Five Japanese samurai lined up in a row, solemnly holding up a black lacquered bowl in front of them, picking up a small piece of vegetable in the bowl with silver chopsticks, chewing and swallowing. Then we chatted, "What did you eat today?" Answer: "Sesame mixed with potatoes." As soon as the camera came out, it showed the way of the movie "Samurai の One Point" irresistibly - a burst of laughter. The story that happened in the first 30 minutes of the movie was completely depressing, and the story that followed was predictably old-fashioned: fighting for honor.
Fortunately, Yoji Yamada is good at fostering optimism. A gloomy atmosphere did not hang over the next hour. Although a series of prescribed actions of losing one's body and divorced wife happen as usual, little humor is still interspersed in the story from time to time. "One minute" doesn't mean one minute. In Japanese, the word represents a kind of bottom line. So "Samurai の一分" means "honor of the samurai". For Kimura, this point is his dignity, the dignity of being a human being. For the movie "Samurai no one point", this part is the humor he always maintains, and this little humor makes this old-fashioned movie reveal a little bit of fun from time to time.
There is something about the lower-level samurai in the film that strays beyond samurai values. The complexity of the protagonist is clearly presented in his subjective consciousness, he lives only by instinct and intuition, trying to fix himself according to a common and clear value standard, but always seems to be inexplicably suspicious. This suspicion shook them, softening and diluting what had been thought to be very solid. At this time, fate always presents a desperate situation, allowing him to burst out with amazing power here, release the energy accumulated in the past, and then, like time always slips into the night, after a new experience, he collapses with the Farewell to the past. At the end of the process, he will meet those vague doubts unexpectedly and make peace.
In "Samurai の One Point", the climax of the whole film is the duel between Sanmura Shinnosuke and Shimamura Toya in the wild rocks and grass. After the revenge has been avenged, Mimura begins to doubt the meaning of all this. He felt that this "one point", the gain of dignity and face, was actually meaningless. He didn't feel like he didn't really need the fame and glory of these warriors, the actually rather stupid sense of accomplishment that comes after a close encounter and a bloodbath. Beginning with doubt and ending with doubt, I am very satisfied to see this climax of hope in "Samurai no One Point".
In addition, viewers who are familiar with Kimura Takuya's expressive big eyes will have a rather surprising look in this film, that is, Kimura's interpretation of the blind man Mimura. In this film, Kimura's facial expressions are still delicate, but the divine light in his eyes has faded, replaced by the void of a blind man, but this void also shoots out huge and deep pain. This is not the familiar Kimura, but a real actor who plays his role brilliantly with superb acting skills.
