I haven't seen the original version, but this version gives me a feeling that is very close to traditional costume war movies but more in line with modern people's tastes in the interpretation of details. Specifically, although I think the Seven Samurai looks good, I can't help but feel that the plot develops slowly. I dozed off at the beginning, but I feel that the rhythm is much tighter when I watch it. I don't know if the original version will also make me feel "procrastination". However, I have to say that I don't hate the "procrastination" way of interpretation, each has its own advantages, and whether the film itself is well shot has nothing to do with the interpretation style.
Let's talk about the characters, basically it is the feeling of arranging the appearance rate according to the big name of the actors. Although the only Japanese period war drama movies I have seen are "Seven Samurai" and this one, I still want to say that the character types in it are really similar. Kanbei in "Seven Samurai" and Shimada in this play, Katsushiro in "Seven Samurai" (I don't remember the name or not) and the role played by Yamada in this play are all of the same type of status. However, the interpretation of this group portrait style is the essential core of this type of film, which can show the director's performance skills and the actors' performance skills. By the way, the animated version of "Seven Samurai" is also a masterpiece, and I revisit it every year.
Talk about playing. For a war drama of this era, it should be as good as possible to give the audience a real and intuitive vision. The show gave me a very enjoyable feeling. From the layout of the battlefield to the beginning of the battle, the fierce battle, and the end, I think the length of the whole process is well controlled. There is also not too much personal footage of the warriors when setting up the battlefield. When the group came to Ochiai Station, one of them said that he was looking for a woman, but he didn't give him a shot, but instead gave the bandit a role in looking for a woman, which may also be meaningful. In the whole play, the only lighthearted and funny scenes are probably only the part where the samurai is practicing gunpowder explosion and the part where the bandit fights the women of Ochiai Village at night. The right amount of ease and tension is also in line with traditional period dramas. When the battle reached its climax, various scene switches showed the intensity and excitement of the mobile battle between the enemy and the enemy. Although I didn't see how to arrange the battle situation, traps, etc., the intuitive feeling is that it is not monotonous and real. Also, I think the actors really did a good job of being exhausted from a long, full-fledged fight and at the same time realizing that death was coming. The only thing I'm not satisfied with is that some battle scenes look a bit "unparalleled", and sometimes the enemy warriors can be cut, but they don't know what they're hesitating about.
Finally, talk about the development of the story. The point that Shimada deliberately perished with adults can be said to be very retro, and the resurrection of the bandit makes people feel like an easter egg, which seems to suddenly sublimate the moral of the film. The dialogue between the samurai and the bandit played by Yamada at the end of the film is also intriguing, and it is really a perfect open ending.
I personally think that this bandit is actually not human at all!
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