Kiru / Kill!

Kiru! / Kill! (1968)

Possibly the most spoiler-free cover ever

Director:Okamoto Kihachi
Writers: Yamamoto Shugoro (novel), Murao Akira, Okamoto Kihachi
Date: 1968

Genre: Jidaigeki / Chambara
Description: Killing, assassinating evil, backstabbing, traitors, double crosses, complicated plot, subversion of the genre, friendship, the samurai

Cast: Nakadai Tatsuya, Takahashi Etsushi, Kubo Naoko, Kishida Shin, Tamura Nami, Nakamaru Tadao, Tsuchiya Yoshio, Tono Eijiro, etc. etc.

Crew of note: Score by Sato Masaru

Runtime: 114 mins.
Color: BW
Trivia:

summary
Genta, a world weary yakuza, meets Hanji, a farmer who has sold his land for a sword in order to become a samurai, along a dusty road of an abandoned town. They part, with the latter wishing to become employed by Ayuzawa Tamiya. It turns out that 7 samurai from his clan are hiding out in town in order to assassinate one of the clan’s higher-ups. Naturally, Genta gets mixed up with this bunch, and he must use his smarts to save them from themselves.

PS. The plot is too convoluted, and too exciting, to reveal in detail in a summary.

review
Whoahooo. This is one crazy movie. Part parody, part deconstruction of samurai lore, part epic chambara, there is just too much fun and intelligence in this movie not to recommend it to everyone. There will be some comments about how out of place or shallow its comedy is, but if you know enough about Japanese history, the chambara film genre and this film’s contemporaries, and Okamoto’s other films such as Akage, you will be able to pick up on a more substantial level of laughter. Many of Kiru’s funniest moments aren’t even jokes; it is simply the situation the characters find themselves in, and the events that seem inevitable to take place. In fact, the pace of the movie is perfect, and none of the twists seem absurd, even though this film somehow relies on the absurdity of the period it is set in.

A great performance from Nakadai that ancors everything. He is almost like a switch, moving from feigning cluelessness, to noble samurai, to sneaky yakuza, to badass swordsman in only one expression or less. Everything he does seems natural, and his transformation into the character is amazing. His expressions, his slightly absent gaze, his awkward, teetering stance and walk add to his portrayal. He has never been this funny, and if you’ve mostly seen him as a badass samurai (Dai-bosatsu toge, Goyokin, Kagemusha, etc.), the change really is quite amusing. The supporting cast full of strange personalities and quirks also do well. The gambling head priest, the innocent and unambitious old chamberlain, the fidgety constantly moving henchman… characters so out of type yet fit into the world Okamoto creates.

If you watch this as an entry into historic, period-correct, existentialist chambara, this might not work for you. But if you’re up for some funny deconstruction, this is a must see.

conclusion
Perhaps not a starting point for those just getting into chambara, but this should definitely be in everyone’s “to watch” list. Maybe after you’ve seen 20 or so important films in the genre, and have read enough about the period and its culture, this will be a great experience.

things to take note of
Nakadai’s performance
Genta’s comments and insights into the situation
The against-stereotype characters
How many times they say “kiru” (in any of its forms)

best moment
Hanji’s conclusion about his wish

why you should watch this
One of the funniest chambara ever
A great genre piece that defies expectations
My favorite Okamoto, beating out Akage and Dai-bosatsu toge

rating: 8.5

scorecard
Plot: A
Cast: B+
Cinematography: B
Music: B
Entertainment: A

similar movies, maybe:
Akage / Red Lion
Hana yori mo naho

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