| Cast: | Robert Mitchum, Ken Takakura, Brian Keith, Herb Edelman, Richard Jordan |
| Genre: | Drama |
| Director: | Sydney Pollack |
| Screenplay: | Leonard Schrader, Paul Schrader, Robert Towne |
| Cinematography: | Duke Callaghan, Kozo Okazaki |
| Composer: | Dave Grusin |
| Runtime: | 112 minutes |
The strongest point of this film is the writing. It's the first Paul Schrader script ever to be filmed, written with his brother Leonard (who also worked with Paul on Blue Collar & the exceptional Mishima) and Robert Towne (Chinatown, Marathon Man, the remarkably overrated Bonnie & Clyde). It seems we have the best of both Schrader's here; Leonard really understands the Japanese culture (I'm sure it helps that his wife is Japanese) and Paul is a very cerebral and thematic writer who almost always raises a number of interesting issues.
The film, which is very respectful of it's foreign culture and tries to be as true as possible to it, first and foremost shows the differences between American and Japanese culture. However, there are so many themes in this movie though that it becomes tiresome to list them. The key ones include honor, loyalty, burden, duty, friendship, love, loss, obligation, and the differences between the men of pre and post war Japan.
Although the great Robert Mitchum was approaching 60 when made the film, he still possessed enough of his trademark grace to be credible enough against much younger men in the action scenes. He always exudes so much casualness and weariness, but his work here shows he was obviously fired up by the material.
The other standout actor is Ken Takakura. He plays an honorable man that everyone respects, but his honor and old ways also often make him intolerable to anyone around him. He hides the deep wounds of his character behind his stone face, but that doesn't in any way prevent him from conveys that he's a miserable man from another age who lives by his code but not for anything. As he's the native that used to be in the Yakuza and Mitchum is the gaijin that doesn't have to follow their honor system (although as the movie progresses, he subscribes to their codes and honor system more and more), Takakura gets to do all the skilled swordplay. His fighting won't thrill those who want a lot of stunts, but is great if you enjoy the psychology and strategy of the craft.
The film is it has a drab, low budget kind of look, mainly as a way to maintain the mood and tone of the piece. Some of the scenes really bring the material to life, particularly through some excellent camera work, but sometimes the look is indifferent and the soundtrack seems to be trying too hard. Aside from staying true to the material and getting strong performances, I wouldn't say that Sydney Pollack has done a great job here (no suprise). This is not the kind of movie you watch if you are looking for John Woo action though, and for the most part the flaws are overshadowed by the strength of the script and performances.
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