After "Twilight Seibei" and "Hidden Sword Ghost Claw", "Samurai's Part" is about the same kind, not good-looking, nor ugly, a typical Yamada Yoji-style period drama. His interest is that the story may not have ups and downs, and the rich details can still add a layer of subtle interest to the lonely story. These details go deep into every moment of daily life, every frown, smile, every word and line are full of interest. This kind of story doesn't even need to be repeated, it is clear at a glance: the most beautiful woman married the most warrior but silent life, in the peaceful but twisted days, hand in hand with each other to find their own glory and the true meaning of life. As for the latter, it can be summed up in one word of love.
Such a story must be quiet, Yamada Yoji is always slower, slower, and hidden deeper. The materials he used to construct the conflict of the story always moved into the house quietly. When you feel the helplessness, compromise and the anger in the man's heart, it will reach its climax. The samurai must swing the sword once in his life, not for the dignity of the man, but only for the glory of the samurai. At this time, Yamada Yoji was still silent, and the warrior's fortress was only revealed in the roar of thunder.
The role of Kimura Takuya is probably suitable, but he is a little younger. Of course, the Shinichi Mimura in the story is himself young, and what he lacks is just enough life to grind. Yamada Yoji's painstaking efforts are probably to use Kimura Takuya to attract those contemporary young people who have lost their traditions. Such a combination is obviously beneficial. Most of the traditional things will have the same fate in the changing times, either death or oblivion. Trying is naturally controversial, and there are too many possibilities for failure, but it is obviously better to seek actively than to face negatively. In our culture, there are too many instances like this that require a mindful person like Yoji Yamada.
Possible points of discussion include excess and deficiency. The superfluousness lies in the reason. After the samurai has decided to swing the sword, Yamada Yoji is still giving him a "must" reason to eliminate the self-moral questioning that the killing may bring, and at the same time beautify the image of the characters (men and women). This is obviously too much. In this clean and neat narrative, the simpler the content, the more it can echo the form, and the many questions that may exist are silent as long as the ending is hand-held. The same is true for the small part. During the duel, let Fujiya abandon Mingdao and jump down from a high place to carry out a sneak attack and the design of the cut off arm is also superfluous. Since the opponent will definitely cut off the arm in the sword fight, why climb to the ground. What about high places? Besides, this design doesn't necessarily look better than the same round on the ground.
The inadequacy may not be insufficient, but that I have asked for too much. At the beginning of the story, Shinnosuke Mimura has a simple wish to open a gym and teach different children the skills of swordsmanship according to their aptitude, which shows that he is a man of ideas. But after he became blind, he still walked in the same direction as any normal person after blindness, failing to use this small setting to let him find a new exit in the predicament, wasting this extremely thoughtful "thinking" The setting of "people" is very unfortunate.
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