Скрытый Клинок: Коготь Дьявола (2004) Hidden Blade, The ☆ Kakushi Ken Oni No Tsume

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Tags: Hidden Blade, Kakushi Ken Oni No Tsume, 2004, Японские фильмы, Драма, Романтика, азиатское кино

«И стараниями ветерана японского кино режиссера Йодзи Ямады приемчик этот заинтриговывает публику на протяжении почти всей картины, до самого того мига, пока настоящий самурай Катагири его не продемонстрирует. Главную роль в «Скрытом клинке» играет Масатоши Нагасэ. Его можно считать полномочным проводником японской темы в независимом кино, он снимался у Джима Джармуша в «Таинственном поезде», в исландской «Холодной лихорадке» и еще в нескольких картинах, где требовалось показать загадочную японскую душу на фоне западной цивилизации. «Скрытый клинок» — припадание к истокам. Он наполнен созерцанием, несуетностью, лаконичностью, которые так завораживают гайдзинов (иностранцев) в японской традиции. Посмотришь такое кино — и будто протер очки, через которые глядишь на мир.»

«Те, кто пару лет назад влюбился в "Сумрачного самурая" /Tasogare Seibei/ (2002), будут скорее разочарованы "Скрытым клинком" /Kakushi-ken: oni no tsume/ (2004). Но до какой же степени нас загнобили, что единичный хэппи-энд тут же становится признаком легкого жанра и задним числом превращает двухчасовое непредсказуемое кино в дешевый дамский роман. А еще говорят, у японцев нет чувства юмора... Вряд ли празднующий в этом году 75-летие Ёдзи Ямада читал дамские романы, так же как, по собственному признанию, не видел Тома Круза в "Последнем самурае" /Last Samurai, The/ (2003). Он продолжает спокойно экранизировать Сехэя Фудзисаву, не потому что там хэппи-энд или не хэппи-энд, а потому что жить можно, и Ямада согласен с Фудзисавой, как это можно, что само по себе — счастье в каждый данный момент.»

«Yamada is clearly a master of this sort of film making, crafting works filled with subtlety and grace and lush period detail. He chooses themes that are distinctively Japanese but also have universal appeal. The entire cast is strong with the lead actors, in particular, conveying volumes through half glances and body language. A sly humor is built into the military training sequences – the frustrated military instructor railing against the ‘back-country samurai’ he has to teach western tactics to hits both in the humor and social commentary departments.»

«My initial impression of this film was one of disappointment in essentially seeing a very similar variation on Twilight Samurai, but where the love story and the fateful duel seemed even less connected. There is definitely a strong sense that Yamada is working with more than one story, as happens to be the case. He could have very easily split the film into two, especially considering the two-plus-hour running time. By not doing so, it does seem as though something is left out.»

« Director Yoji Yamada seems to have a soft spot for drama in his period films. Indeed, just like TWILIGHT SAMURAI, HIDDEN BLADE includes only a few minutes of actual samurai sword-fighting. However, these minimal fighting scenes are very intense and all filmed in one single shot in a very realistic way. These well elaborated minutes of fighting support the strong drama element of the film very well. However, this very small dose of vigor might not be enough to hold the interest of fans of high action swordplay films all the way. »

«The Hidden Blade is not going to be to everyone's taste, but it certainly was to mine. Those seeking a film that's built through-and-through on fast samurai action and peppered with bloody swordplay will likely be disappointed. On the other hand, anyone who likes the idea of a gentler drama featuring a more realistic portrayal of the late Edo period, interleaving two stories – one of romance, one of loyalty, and both of honour – will be well-served by this solid production.»

«I really liked “The Twilight Samurai” and “The Hidden Blade” has the same feel, but has added humor and lightheartedness in several scenes, which in my opinion is a plus. What the two films have in common is the gritty, realistic feel. The poor samurai looks poor, their clothes are torn and shabby and their houses are no palaces. The heroes in both films are the thoughtful type – they seem to think that women and servants are people and not just chattel. This is quite unusual for the time, and one of the things that make these films worth watching.»

«The Hidden Blade” could have been little more than a period soap opera in the hands of a less experienced director but Yoji Yamada makes it a personal epic that satisfies on an emotional level and on a socio-political one. The unrequited romance between Munezo and Kie carries through the entire film and kept me on tenterhooks until the very end (I won’t give away the finale, which kept me hoping all the way through). The political upheavals taking place in mid-19th century Japan is woven with skill with this romance and tells of a nation that is being irrevocably drawn into the rest of the world, where its samurai code of honor will struggle with the realities of Western warfare.»

«The final appearance and explanation of the "Hidden Blade" technique is delicious, as is the way it is cloaked throughout the film as a vague, hanging threat. The sum total of the revelation is a beautiful way of using generic conventions to make broad political allegory.»