The Last Samurai (2003) User Reviews (1,074)

A Potpourri of Vestiges Review: Pride and Honour

[murtaza_mma · 9/10 · 17 May 2009]

The Last Samurai is a brilliantly crafted aesthetic pleasure, studded with supernal performances from Ken Watanabe and Tom Cruise. In fact, Tom Cruise unarguably gives his best ever performance, surpassing his portrayal of Jerry Maguire in the eponymous flick. His plaintive portrayal of Nathan Algren, not only evokes pathos but also seeks sympathy of the contemporary viewer, who can vicariously relate to Algren's disconcertion, owing to his inner conflicts of patriotism vis-à-vis humanity.

However, it is Ken Watanabe, who steals the show with his mesmerizing and poignant portrayal of Katsumoto, the leader of the last clan of Samurai. His screen presence and delivery is truly amazing and even outshines that of Tom Cruise, which is a compliment in itself. The scenes between Watanabe and Cruise are pure gold, depicting fluctuating feelings of hostility, compassion and camaraderie.

Watanabe's intense and powerful performance in which he displays a wide range of emotions, is definitely worthy of the coveted statuette, but the academy never fails to disappoint. Watanabe's brilliant portrayal, not only mesmerizes the viewers, but also convinces the critics of his acting abilities. The tacit adoration between Algren and Taka (subtly played by Koyuki), enormously adds to the beauty of the movie. All this coupled with some brilliant cinematography and a mesmerizing score, makes it a treat to watch and a truly surreal experience.

http://www.apotpourriofvestiges.com/

The Saga of Saigo Takamori

[bkoganbing · 9/10 · 19 February 2006]

Although the central character is American mercenary Tom Cruise, the story of The Last Samurai is about the little known to occidentals event of the Samurai revolt of 1877 led by Saigo Takamori who operates under a different character name and is played flawlessly by Ken Watanabe. Changing his name much like the way Clarence Darrow and William Jennings Bryan were under different names in Inherit the Wind allowed for some dramatic and historic license.

Japan was undergoing a tremendous transformation at this point in time. The United States had with Commodore Matthew Perry's voyage in 1853 opened Japan and cracked her isolationist policy. Over 200 years before the Japanese government had instigated a policy of isolationism in regard to the countries of Europe. It seems as though they looked askance at the Christian missionaries and their activities. They put an almost total embargo on trade or contact of any kind with the west.

The Dutch who had very specifically not sent any missionaries to Japan were allowed some extremely limited trading rights in the city of Shiminoseki during this period. So in a limited sense the Japanese kept up with western technological developments. Firearms in fact unlike in the film were in some use in Japan even at the time of Perry's voyage. The Samurai did make some use of them.

Cruise is an American Civil War and Indian War hero who's making a living shilling for the Winchester Rifle company. He gets an offer to go to Japan to train a modern army for a whole lot of money and he accepts.

In between Perry's voyage and the events of this film, a new Emperor came on the throne. The Emperor Meiji was anxious indeed that his country catch up with the rest of the world and not become a colony of some modern technologically advanced western country. He also did not want to lose sight of old traditions. Duelling advisers competed for his heart and mind in the film and in real life.

Cruise's trained troops the first time they're in battle with the professional samurai turn and run. He's taken prisoner, but while in captivity grows to respect and admire Watanabe and what he represents. He also falls in love with a Japanese woman and I have to say his romance made a whole lot more sense than the one John Wayne had in The Barbarian and the Geisha.

The final battle scene is impressive, the samurai's own Alamo to put it in American terms. In defeat Saigo Takamori though a rebel became a folk hero in Japan.

The Last Samurai is a great story and Americans should see this story about a Japan they only know from World War II films, both good and bad. Tom Cruise should be given a lot of credit for using his star power to bring this story to American audiences.

Last Samurai

[mornicdavis88 · 8/10 · 21 July 2014]

The Last Samurai is a 2003 American epic war film directed and co- produced by Edward Zwick, who also co-wrote the screenplay with John Logan. The film stars Tom Cruise, who also co-produced, as well as Ken Watanabe, Shin Koyamada, Tony Goldwyn, Hiroyuki Sanada, Timothy Spall, and Billy Connolly. The film's plot was inspired by the 1877 Satsuma Rebellion led by Saigo Takamori, and on the westernization of Japan by colonial powers, though this is largely attributed to the United States in the film for American audiences.

Set in Japan during the 1870s, The Last Samurai tells the story of Capt. Nathan Algren (Tom Cruise), a respected American military officer hired by the Emperor of Japan to train the country's first army in the art of modern warfare. As the Emperor attempts to eradicate the ancient Imperial Samurai warriors in preparation for more Westernized and trade- friendly government policies, Algren finds himself unexpectedly impressed and influenced by his encounters with the Samurai, which places him at the center of a struggle between two eras and two worlds, with only his own sense of honor to guide him. The sound in movies are broken into three basic categories of sound. They are dialogue, sound effects and music. As stated, dialogue, sound effects, and music require careful balancing to serve the story; because of this, each category is typically recorded separately and mixed together during the final editing process (Goodykoontz & Jacobs, 2011).

The movie is consistent with its storytelling method. Of course, I love the reference to one of the greatest last stands in history as it foreshadows an epic, final battle. Next, Algren helps Katsumoto devise a strategy where the Samurai can get close to the soldiers so they can use their swords and neutralize the advantage of guns. The movie's title foreshadows a tragic denouement, but that in no way lessens The Last Samurai's impact. The film is in many ways about the clash between the old ways (those of the samurai) and the new (those employed by the American-trained troops). While history makes the results predictable (six decades later, a thoroughly modern Japan would attack Pearl Harbor), it's our involvement with the characters and their situations that energizes the experience of sitting through this movie. The historical context may be established, but we don't know what happens to Nathan, Katsumoto, Taka, and others.

The dialogue itself is the requirement for most movies. Without the dialogue, the story and the plot cannot come to conclusion. The dialogue helps shape the mood, the direction, the balance of any movie that the audience is watching. It is also important to note that emphasis on certain portions of the dialogue, whether it be change in tone, pitch, or sped up and slowed down, the dialogue can change the mood of any movie. If done correctly, it will make an excellent companion to the music and the sound effects of that specific film. (Goodykoontz & Jacobs, 2011). As he walks among the people, there is very little dialogue, but many scenes of the beautiful Japanese countryside. This is the perfect place to put music to help the audience appreciate the beauty that he is discovering for the first time. As stated in our text, "with the advent of sound, music became a basic element of constructing a movie, as essential an element as lights and cameras" (Goodykoontz & Jacobs, 2011).

http://www.rogerebert.com/reviews/the-last-samurai-2003

Goodykoontz, B., & Jacobs, C. P. (2011). Film: From Watching to Seeing. San Diego, CA: Bridgepoint Education, Inc.

Great Samurai

[0U · 4 February 2020]

A fascinating and inspiring epic, The Last Samurai is a powerful film. The story follows a disillusioned Civil War veteran who's recruited to train the Japanese army in Western warfare as they prepare to take on a Samurai rebellion. Tom Cruise and Ken Watanabe lead the cast and give excellent performances. The directing is also quite remarkable, and captures the spiritual aspects of nature and of the Samurai culture. Additionally, the writing does an effective job at depicting the culture clashes, and at developing the characters. The score by Hans Zimmer is brilliantly done as well, perfectly complementing the film and enhancing the themes. The Last Samurai is a smart and passionate drama that's well-crafted and compelling.

Beautiful

[mstomaso · 10/10 · 21 May 2005]

After my third viewing, I can finally admit that this film has me. I enjoyed it during its theatrical run, enjoyed it more the second time around, and now, I can only say that I love it. The cast is exemplary. Tom Cruise is so good in this film that it is very often easy to forget he is Tom Cruise. Easily his most powerful role and best performance since Jerry Maguire. Ken Watanabe, however, is incredible in every scene - acting with a rare sensitivity and intensity and breathing life into a character much larger and more human than the grand story of which he is a part. Though the entire cast is excellent, I feel that I must also single out Koyuki and Shichinosuke Nakamura for, respectively, the female lead and the emperor, for the subtle strength and believability they each give their very challenging roles.

The story takes place during the early modernization of Japan, in the 1870s and 1880s. The Emperor's power has been weakened by the political and economic power of his cabinet, by his young age, and by the political influence of the United States and other western powers pulling the strings of his cabinet and supplying modern weaponry and tactics to the modernizing Japanese army. Cruise plays Captain Allgren, an alcoholic veteran who has seen and participated in too many massacres of innocent people, and is offered an opportunity to reclaim some of his honor by helping to train the Japanese military in the use of firearms. When he arrives in Japan, we learn that the first test of the Japanese army and its new weapons will be against a rebellious group of samurai who believe themselves to be in the service of the Emperor and Japan, but resist the Emperor's cabinet and the influence of western nations. In the power void left by a passive emperor, Japan seems poised to enter into a civil war against its own values, faith and honor. During the first attack on the Samurai, Allgren is captured by the Samurai and begins a spiritual, physical and philosophical journey which will bring him a level of self-respect his own culture could never supply.

My interpretation of this journey is that Allgren has found a place and people that offer him redemption, where, in his own world, he can find none. But Allgren's is only a small part of the story - which ultimately revolves around what is right for Japan, for the subjectivity of a whole nation, and how to portray such a subject from its own perspective. Traditional Japan is treated with empathy here, not aggrandizing exaggeration, as some of the film's critics seem to suggest. This is not a film about what is objectively right and wrong, but a film about struggling to understand and empower tradition as a means to control and benefit from change. I find no grand moral statement here, but rather an intense, sympathetic, human drama with a strong sense of honor and sacrifice.

Edward Zwick has made a film which operates well at every level, carrying simple but profound philosophical ideas, but avoiding the mistake of making these ideas and the characters that express them super-heroic. Ultimately, this beautifully shot film conveys powerful messages about war, tradition, ethics, honor and culture, which, though not particularly original, are sensitively and intelligently brought forward. There is a lot of action, including some remarkably well-acted sword fighting and martial artistry, but none of it seems unnecessary and the whole film is truly tightly woven. My highest recommendation.

A top notch heroic epic set in Meiji-era Japan

[wingchild · 10/10 · 19 December 2003]

The story for this film is set just after our Civil War. At the time, Japan had just overthrown the Shogunate and gone back to Imperial rule in a process known as the Meiji Restoration. The Emperor, Meiji, had a vision to bring Japan into modern times; to achieve this he began hiring experts from the world over to give Japan heavy industries, modern architecture, and a current, up-to-date Army. This movie chronicles the fictional events surrounding an American Army Captain, Nathan Algren (Tom Cruise), and what happens to him on the ancient isles; also what happens to the Samurai as they are rendered classless, and pointless, in the new Meiji Era. (For more details, look up the battles of Chosou and Satsuma sometime.)

The storyline is fantastic and historically accurate; armor and weapons were up to par with what they had for that era. This movie has *the best swordfighting choreography* I've ever seen anywhere -- ever -- and I look for that kind of thing. Tom Cruise gives a solid performance and is very believable, even if his screen presence feels diminished standing next to someone like Ken Wantanabe, who steals the show with his carefully calculated manner.

The acting is great, the scenes are beautiful, the swordplay fantastic and realistic; this movie is totally worth anyone's time. There is a lot of care taken with respect to historical and cultural accuracy, so if you're a bigtime anime fan or student of japanese culture, you'll pick up a *lot* of details that most people miss (the depth of people's bowing, the honor accorded by someone committing seppuku, or being asked to stand as one's second for the process, etc).

Probably not the best family film, but definitely worth seeing repeatedly.

Cruise and Watanabe conquer with great performances

[filmbuff-36 · 9/10 · 14 December 2003]

It is said that the only thing constant is change. Old ideals die off, and new technologies replace the inefficiencies of yesteryear. The young usually have little trouble adjusting to change, but traditionalists are often dragged into the new era either kicking and screaming or silently resolved to remove themselves completely.

"The Last Samurai" manages to capture a little of both, with Japanese men living in a world in transition from ancient bushido rituals of honor into a more modern empire of industry and trade. A sweeping historical epic that hints at the brilliance of Akira Kurosawa's finest work while also invoking the melancholy of a Shakespearean tragedy, the movie is a reminder of the cost of high ideals and danger of industrial conformity.

It's 1876, and Captain Nathan Algren (Tom Cruise) is an alcoholic wreck of a man. A veteran of the Civil War as well as General Custer's Indian campaigns, he drifts from one situation to another ostensibly looking for work but really seeking refuge from his inner demons of slaughtering innocent women and children.

Opportunity knocks in the form of an old Army acquaintance Colonel Ben Bagley (Tony Goldwyn), who has accepted work with a Japanese businessman named Omura (Masato Harada). Omura has been charged with recruiting American war vets as military advisors to the new Japanese Army. Emperor Meiji, under advise from Omura and other parties, is interested in modernizing his nation's military with rifles and other armaments.

In order to unify the nation, the powers that be must first take care of civil dissidence within Japan. The samurai, led by charismatic chieftain Katsumoto (Ken Watanabe), are violently opposing the invasion of Western culture into their islands. Bagley foolishly sends his ill-trained soldiers into combat against the samurai, and during the resulting massacre Algren is captured and taken to the samurai's village.

During the course of the winter, Algren slowly gains the trust of his captors and in turn is given free roam over the village. He fights with Uijo (Hiroyuki Sanada), who dislikes the American from the beginning, and is given food and shelter by Taka (Koyuki), the wife of one of samurai he killed during battle.

Katsumoto meanwhile seeks to learn about his enemy, and begins to respect Algren as a fellow warrior. Also interested in the American is Katsumoto's son Nobutada (Shin Koyamada), intrigued by Western culture. Algren finds the first peace he has known in a long time, and begins to adapt to the ways of the samurai. He acts as a surrogate father to Taka's children, learns to sword fight with a kitana blade and begins to respect the culture that he originally sought to destroy.

But during Algren's absence the Japanese Army has had better opportunity to prepare themselves, and time is soon approaching that will determine the fate of the samurai and the future of Japan.

"The Last Samurai" is beautifully filmed by John Toll, the same cinematographer who worked on "Braveheart." The comparisons are obvious with moments of silent reflection and loud explosions of fury, both powerfully captured on film.

Director Edward Zwick brings the same determination to the screen that he did more than a decade ago with "Glory." The attention to period detail is near flawless and the movie never releases its grip on the audience.

As Algren, Cruise grows from suicidal depression to driven idealist quite realistically, drawing on the standard dishonored warrior archetype while giving him touches of humanity. Cruise's only shortcoming is his lack of dramatic range, and as such it never seems like Algren has any sinister intent even when acting selfishly. Never for a moment is there a doubt that he's destined to be a hero.

Cruise is also overshadowed in every scene by Watanabe, who makes Katsumoto a honorable man who is shocked by all the dishonor threatening to overthrow his country. Philosopher, poet, family man and warrior - Katsumoto wears many hats, and is realized through Watanabe perfectly.

Other smaller roles are captured by strong performances as well, including Goldwyn who brings class to the standard villain role as Bagley, Koyuki who plays Taka with quiet sadness and torn loyalties between her fallen husband and his killer who she is growing to love, and Koyamada who makes Nobutada young and headstrong but still sympathetic and honorable.

"The Last Samurai" only suffers during a protracted finale that screams of studio interference. The ending smacks of being safe, clean and Hollywood, something that almost betrays to whole film.

The movie is still strong enough to become a modern day classic. Like "The Wild Bunch," it speaks to those curious of what became of warriors who outlived their time. Timeless issues of honor, loyalty and redemption as well as the clashing of ancient culture versus new technology remain omnipresent. To remain in the past in foolish, but to forget it entirely is disgraceful.

Nine out of ten stars. Destined to be remembered for some time, this movie honorably deals with its subject matter.

Brilliant!

[FilmLabRat · 10/10 · 4 December 2003]

I was skeptical about this movie because not every high-budget feature with Tom Cruise is guaranteed depth or serious acclaim, although it may gather at the box office. And Warner Bros put me through TORTURE to see this pic - changes of times AND locations, over and over. I felt like was on an survival test, an unbearably annoying treasure hunt over weeks and was frankly ready to give it a negative review (which I'm writing on behalf of a publication). However, I found the movie truly and unequivocally remarkable and cannot contain my review in 350 words.

First, the experience was powerful. Edward Zwick was a masterful director. I was on the edge of my seat the whole time. The action, sets, scenery and story - even the dialogue - were riveting. Clearly, a ton of historical and cultural research and care went into the script, sets, costumes, casting. They didn't just Hollywoodize Kurosowa's "Seven Samurai" as a Tom Cruise vehicle. Nor was it Dances with Wolves or Seven Years in Tibet, two PC-preaching pics of yesteryear. It was a lot more like Braveheart meets Seven Samurai with elements of inculturation a bit reminiscent of Wolves and Seven Years.

Rarely does a movie have excellent acting across the board, but all the Japanese actors were outstanding, and the Americans and Europeans were excellent ... Tom Cruise was at the top of his game. His Independence Day angst combined with his moral nobility in A Few Good Men and The Firm. Ken Watanabe as co-star exemplifying bravery, wisdom and nobility was outstanding.

In spite of this historical epic being "in vogue" at present, there were surprisingly few cliché story elements. Even the requisite (American-made movie) romance with Take (Koyuki in this role was wonderful) furthered the cross-cultural elements of the plot in such a way that neither culture was violated - and above all the `chemistry' was discreet in Japanese fashion, taking a necessary backseat without overshadowing the main story line, actually adding richness to the process of "going native" for Captain Algren (Cruise). The subplot went far beyond an added market draw. Very tasteful and artful scriptwriting, with many colorful, developing characters.

The thrust of the film was the Western-Japanese cultural divide, differing concepts of value and valor and the political issues surrounding Japan's efforts to "Westernize." [cross-cultural studies have become a cinematic trend: Lost in Translation, Beyond Borders, The Missing, Japanese Story, etc.] Where most of the other films fell short (and The Statement was an abomination], this film succeeded brilliantly. The differences between the two cultures were considered and portrayed without completely bashing one (except in the political arena, but even there, the Japanese seemed to be inviting their own downfall, in many ways). There was no simple scapegoat or cultural domination message. The American Civil War captain, Nathan Algren (Cruise) goes abroad as not only a war hero but also a cross-cultural and linguistic expert. Being in Japan, (at first as a mercenary hired to train Japanese in Western ways of war), he takes on the study of the people and their language. Although Algren's sometimes superhero abilities are a bit of a stretch at times, taking the native language seriously is unique in American filmmaking (and American culture, hence our lowly reputation when traveling). Usually the American walks into the foreign scene and the pic automatically shifts to all-English. I was truly grateful to find the dialog half in subtitles because half the characters were Japanese - and Algren was speaking with them. Secondly, this movie honors both cultures for their recognized strengths, even in their distinctiveness. For example, when the woman who is hosting Algren (in captivity) makes dinner, he helps her. "Japanese men don't do these things," she tells him. "But I'm not Japanese," he says (in Japanese). Algren is not ashamed to uphold his homeland customs (although this was 1876... pre-sensitive 90s man era, long before women's lib let alone men entering kitchens) when his own cultural customs or inclinations are ways of caring rather than domination. Another and more important example: Algren demonstrates American resilience and perseverance when he rises again repeatedly after defeat. This baffles the Japanese who are accustomed to falling on their swords in shame after defeat, for them a noble death. In these and many other ways, the Japanese Samurai (especially Katsumoto, Watanabe's character) and Algren learn to appreciate each other's ways. In many respects, the film moves past the usual PC party line [of Dances with Wolves, Seven Years in Tibet and most others of similar ilk out of Hollywood] and reflects on the beauty and dignity in the midst of difference between the two worlds, and how much they need to learn from one another without money or domination as a motive. The dignity of the young Emperor Meiji finding his own cultural center, at the end, was especially moving. Overall, the film had depth and substance with brilliant work in almost every area of production and performance. The editing was marvelous - although it's long, there's no unnecessary material remaining. Not a moment of boredom. Props all around!

Tom Cruise's nice acting as a captain who becomes a respected Samurai warrior in the Japanese world

[ma-cortes · 7/10 · 12 December 2005]

Here Cruise is a honorable American military officer hired by the Emperor of Japan to train the country's first Army in the art of modern warfare . The Emperor's reformist pursuit of international trade has outraged traditional isolationists . Then , a samurai rebellion led by the charismatic Katsumoto : Ken Watanabe threatens the court . But when Nathan is injured and captured , his allegiances shift . As he finds true cause in the rigid feudalism of duty , discipline and bushido code , the Way of the Warrior . In the face of an enemy, in the Heart of One Man, Lies the Soul of a Warrior.

Attractive and dramatic Japanese epic with breathtaking battles and colourful scenarios . An impressive epic , heartbreaking statement about honor , tradition and futility of war . This charming film deals with conflicts between the radical conservatism and modernism ; upon relation between the West and East World . Besides , a sweeping , complex drama with all the ordinary ingredients : noisy action , overwhelming battles that illuminate the full-blown tragedy of Samurais , a love story , duels , emotion and being very interesting . It contains stunning and spectacular battle images between the a faceless imperial army with heavy artillery and the out-numbered rebels with swords and arrows . As well as glimmering and colorfully filmed by cameraman John Toll . And evocative and sensitive musical score by Hans Zimmer . The motion picture was well directed by Edward Zwick that at the end draws confused parallels with the Spartans at Thermophylae and Custer at Little Bighorn . This attractive and enjoyable picture is partially based on historic events . Rating : Better than average . The movie will appeal to Tom Cruise fans.

The actual events were the following ones : Being dead emperor Komei , succeeded in 1867 Matsu Hito (in the film played by Nakamura) , once crowned as emperor Meiji , he abolished the Shogun , a dynasty occupied by the Togugawa family from XVI century until 1868 and characterized by ruling ¨ Daimios ¨ , confronting occidental people and shunning the opening imposed by Admiral Perry in 1863 ; in fact the latter was the first foreigner in Japan who carries out a culture shock (happenings developed in various films as ¨The Barbarian and the Geisha¨by John Huston with John Wayne and ¨ Shogun¨ series by James Clavell with Richard Chamberlain). Emperor Matsu Hito proceeded various changes , as a liberal cabinet , creating a Duma or Parliament and following actual models and modern spirit ; plus hiring foreign specialists in Army , military (at the film Tom Cruise, Tony Goldwyn , Billy Connolly ) . Anti-reform riots to return old values , traditional way of life and Bushido Code were carried out by the Samurais (in picture , leader is Ken Watanabe) , a type of medieval knight fighting for preventing of occidental life style . Emperor Meiji pulled off two wars , he waged war to China (1894-95) and Russia (1904-05) and when he died the throne was occupied by his son Yoshihito and continuing Hiro Hito and Aki Hito.

"Success is a journey, not a destination" - Zen saying

[revere-7 · 8/10 · 30 August 2004]

The Last Samurai is a strictly by-the-numbers samurai epic set in 1876-1877 Japan. All the necessary ingredients are here - beautiful Japanese landscapes and costumes, larger than life battlefield sequences, and eastern philosophy.Although the pageantry is not as beautiful as such samurai epics as "Heaven and Earth", it is more than adequate.

Do not, however go into this film expecting "Kill Bill", grindhouse type swordplay nor the poignancy of a Kurosawa piece. Instead, "The Last Samurai" occupies the middle ground; a human story of one Westerner learning to embrace another culture kind of a mixture of "Dances With Wolves" and "Shogun", films from which it derives almost directly. And this is the films greatest flaw. It is utterly predictable. No spoilers here, we all know what happens to the samurai. If not, the title ought to give you a clue. Every scene is one that you were expecting to see. And the ending is the ending you expect.

But Zwick and co. still manage to weave an engaging story with panache, and a climactic (despite it's predictability) ending, and that is why "The Last Samurai" is such a great film. As the Zen saying goes, "Success is a journey, not a destination". It is equally applicable to the samurai in the film, and the film itself. A success. 8/10.

A fight between cultures

[ismamuzzaman · 7/10 · 3 June 2022]

An engrossing film, with great performances, stunning visuals, amazing action sequences, incredible soundtrack and a satisfying, but predictable story.

Spellbinding

[TheLittleSongbird · 9/10 · 4 October 2009]

A beautifully done film, and a sweeping and spellbinding epic in every sense. The Last Samurai is exquisitely shot, with stunning locations, wonderful cinematography and well designed costumes. The music by the ever reliable Hans Zimmer is gorgeous, dramatic in the battle sequences, and poignant in the slower scenes. Speaking of the battle sequences they were extremely well staged and came across as spine tingling. The story is strong, and the performances and direction are too. I have never really liked Tom Cruise, but here he gives one of his better performances ever in this film, sometimes I forgot that it was him acting. Billy Connelly also handles his role well, though I usually associate him with comedy. However, it is indeed Ken Watanabe who captivates, and easily walks away with the acting honours. The script is well crafted, and while the Last Samurai is sometimes overly idealistic and a tad stereotypical, me and my brother cannot help deny this is a superbly shot and well performed film. 9/10 Bethany Cox

Not bad, not bad at all

[enricoshapka · 7/10 · 13 October 2021]

It's pretty enjoyable as a movie. I don't think this embrace much of the japanese culture or is historically accurate, but it's not that bad. Watch it as a modern japanese film.

the adventures of Tom Cruise in Japan

[dbdumonteil · 5/10 · 3 May 2006]

1876. A hero of the American Civil War, the general Nathan Algren (played by the famous star whom it is useless to introduce) has however a strong bias for alcohol and is haunted by his murky past. However he is given the chance to start a new life in Japan where he has to command the army of the Japanese emperor who wishes to modernize his country. It is however more his counselor Omura who guides him in his choices and decisions. One day, Algren's army is slaughtered by a platoon of samurais. Algren becomes prisoner of them and is taken to their village. At first mistrustful because he is in a state of captivity, he ends up embracing the samurai way of life and gaining the friendship of the chief Katsumoto, apparently mesmerized by this bearded stranger with long hair with whom he thinks he has a lot to learn. Alas, the emperor (or rather Omura) wants to put an end to this archaic way of life and endeavors of negotiation with Katsumoto come to nothing. The samurai chief decides to attack maybe for the last time the army of the emperor now under Grant's command and as for Algren, he's stuck between a rock and a hard place...

Japan exerts a vivacious fascination on American cinema these last years and of course the Hollywood industry couldn't resist it. One year before "the Last Samurai" opened, Gore Verbinski made a remake of "the Ring" with satisfying results. Would this fascination serve to conceal a block from the most famous cinematographic firm in the world supposed to convey dream and escape? Here, if one goes on uncharted waters or rather uncharted lands at the level of the backdrop, one can't say the same thing for a story which is academic to a fault and to a film full of tasty tastelessness. I don't want to be malicious towards Edward Zwick but it seems to me that his scenario (even with the help of two partners) is like a catalog of clichés and commonplaces about several points. Just check the persona of Algren and his adventures: alcoholic, a mind eaten by past demons, a chance to redeem himself and to find a new sense to his stranded life by adapting to the samurai way of life which he embraces with pleasure and fascination. Then, after the emperor's denial to negotiate with Katsumoto, he's haunted by the sense of honor and sacrifice. So guess what camp he will choose. I forgot that there was also the obligatory idyllic love affair between him and the Japanese inhabitant which put him up under her roof. The story has unfortunately a stale Hollywood whiff which pervades the whole film and makes it formulaic from the first to the last image. I must say that I began to stay out of the film very quickly.

Apart from being compelled to the Hollywood codes and trademarks, the story also partly acts as a pretext to make the audience discover the treasures and secrets of the samurai way of life (Cruise is the intermediary between the two faces of Japan the film presents) but I must say that there's absolutely nothing wrong about it if one has kept his sensitivity and his thirst for knowledge about different peoples with different cultures. Zwick and Cruise manage to make us share their fascination for this ancient culture in which silence, patience and wisdom help to an improvement of one's personality.

But some qualities emerge of this linear story and this spate of clichés. The cinematography is clean, splendid. The fighting and war sequences are superbly organized and filmed and momentarily get the film out of its lethargy even if the final combat through its organization smells the reheated but Zwick tried to insert at all costs a happy-end to stop the film to end in a bitter way. Given the weight of this happy-end it's an artificial way to end his film.

"The Last Samurai" is also handicapped by weak dialogs and his main star. Tom Cruise is as expressive as a brick wall, except in the sequences when he is supposed to be in anger. Then, he manages to shade his acting. His partners aren't well served because they have to act cardboard characters. Only Ken Watanabe, through the intensity of his looks and the eloquence of his lines is the stand-out of a lackluster cast. He even beats Cruise hands down.

So, "the Last Samurai" will appeal to you if: a) you are interested in Japanese culture b) you are a Tom Cruise devotee c) you are deeply attached to the standards of the Hollywood industry.

The others can easily do without it.

Excellent performances, especially by Ken Watanabe!

[gazebo · 14 December 2003]

This movie is filled with such excellent performances, beautiful cinematography, well choreographed action scenes, that me not understanding the movie, still liked it anyway.

I don't know much about Japanese culture or about the history of Japan during the late 1800s, so I could not fully understand what was happening in this movie. What impressed upon me is that Nathan Algren, a disallusioned, alcoholic American soldier who went to Japan to train the emperor's troops, was able to find friendship and respect the great samurai, Katsumoto. These two men, from different countries and cultures, were able to become friends because they are both warriors under their very different exteriors.

Tom Cruise is so good in this movie, but it is easy to overlook his performance and just think, wow, this man is so hot! He's even sexy as an alcoholic! This guy is so good looking that it took me awhile to see him as Nathan Algren, and not just Tom Cruise, sexy superstar actor. But once I got use to seeing him in this character, I believed him totally. But Ken Watanabe's emotionally, intense performance, totally blows away Tom Cruise's performance. One can't help but grow to respect this samurai who opposes the western influence in Japan and wants to retain the samurai way of life. This japanese actor is terrific! I hope to see him more in American movies. Even if you don't care for historical movies, you should still go just to see the performance of Ken Watanabe and Tom Cruise.

I won't go into the plot. I think everyone has a pretty good idea of what the plot is. I just have to say, I don't see anything wrong with the japanese emperor trying to modernize Japan by associating with the Western powers, and I don't understand why Katusomoto is so against that. That's the one major problem I have with this movie, is that I don't understand enough of the politics during that time in Japan. Otherwise, this is a pretty great action flick and I enjoyed it immensely.

This is a movie dedicated to the Japanese Viewers

[Bluesky_and_Breeze · 10/10 · 15 February 2004]

I am a native japanese residing in Tokyo, very familiar of the actual history that took place in Japan towards the end of the 19th century.

In short, by all means, this movie moved me and had me crying at certain moments. What I wanted to shout out after watching this movie was, "Thank you Tom Cruise and Edward Zwick!!"

From a Japanese viewer's point of view, it is evident that the story is all fiction, inspired by what actually happened. We all know there really was no American who stood for the final samurai rebellions, nor was there an American who took sides of the government. The movie also has its clear flaws if one looks at the details (e.g. there would never be any palm trees in the forests of mainland Japan, the wife of a samurai would never wear such heavy western make-up, the samurais would never be so fluent in English, etc). However, these issues are never irritating, as we could always sense a very strong, pure and innocent message coming from Tom and Ed, which I felt as a message coming from certain caring and intelligent American individuals to the nation of Japan and the Bushido (Samurai) spirit which still continues to live and influence our Japanese culture and our Japanese way of life.

It is no wonder American viewers have mixed feelings about this movie, partly unaware of (and lacking true interest in) the history of Japan and partly noticing the similarities between this movie with other movies made in the past. From my perspective, however, being a Japanese national born and raised in Japan and knowing the dramatic history our country has gone through, I could not help but cry feeling the respect and sympathies coming from a very successful movie star (Tom) and movie director (Ed), bothering to spend a "Hollywood Budget" on what is a very "personal" story for the Japanese. It is the fact that this film was made by Hollywood which makes this film all the more important for Japan, as it would have been just another corny self-appraisal film if created by the Japanese themselves.

Again, we know this is all fiction inspired by a true story and can't escape its small flaws, but I love the film all the same, and would like to thank from the bottom of my heart, Tom, Ed and others who deserve credit for thinking of creating this film in the first place.

I don't think a film of this nature would ever be able to receive an oscar (as I can imagine how difficult it may be for an average American viewer to appreciate the true and deep meaning of this film, not being Japanese), but I believe this is a film which should deserve some kind of a "Thank you" award from Japan. I would certainly like to offer one on a personal basis.

The Last Samurai

[jon2005 · 9/10 · 22 May 2006]

A note for the uninitiated: this is not Braveheart (1995) in a different guise. Instead, this is a far more sophisticated piece of art, a film that makes history a subject well worth investigating further. With the Last Samurai, director Edward Zwick has created a film perfectly showcasing heroism at its fullest.

Tom Cruise stars in (arguably) his finest role to date, as the American Captain Nathan Algren, who is captured by the samurai warriors he is training the Japanese army to defeat. At first reluctant to explore the new world he has been pulled into, Algren slowly begins to see that perhaps these samurai are not the "barbarians" that he has been led to believe they are. Usually when you see a Tom Cruise film, the mega-star status shines through instead of the character he is playing, but in the Last Samurai Cruise has presented himself admirably, as the viewer is sucked into the samurai world with him. He at once shows strength and bravery, but also compassion and a weakness of spirit, not to mention a fine sense of humour, usually directed at his samurai guard, "Bob". Algren's development from a drunken waste to a samurai himself is utterly compelling, and comes through at its best when the samurai village is attacked by ninja's, and Algren instantly decides to side with his captor's leader, Katsumoto.

The film wastes no time getting to the point of Algren's capture, but when he gets to the samurai's village, the film takes its time showing the samurai's way of life, and many people may think that this is where the film begins to drag, but this is not the case. Throughout much of his time in the village Cruise says very little, but his silent wonderment at the samurai life gives off a dramatic effect unreachable by many effects-driven blockbusters, and it is this part of the film that Zwick shows off his talents as a director.

However, the real star of the show is Ken Watanabe's samurai leader, Katsumoto. He is the perfect actor to play a character driven by the need to keep up the ways of his ancestors, and to stop Japan being pulled into an industrial revolution, however futile this may be. He is the true embodiment of the samurai code, never giving up, and sticking to his principles even in the face of certain defeat. Watanabe is a hugely convincing actor, making you want to root for him all the way, despite the fact that the samurai are actually fighting against the emperor.

This film is an action film, though. Whilst there is plenty of drama, Zwick proves himself to be an admirable action-director, whether handling the large battles of the samurai versus Japan's army, or the more intimate one-on-one fights that Algren is involved in during his time in the samurai village.

The screenplay is very well written; not surprising as it was co-written by John Logan, the writer for the immensely popular Gladiator. Cruise is well backed up by the supporting actors, including Billy Connelly and Timothy Spall, in a film that has been carefully crafted rather than slapped together, producing a film that, despite its relatively unimpressive box office success, is still one of the finest mainstream films that has come out of America for a long time.

Rated: 9/10

More reviews at: http://www.thelazylounge.net

Wonderful Film

[mileniumanimator · 10/10 · 13 March 2005]

I disagree with a lot of the reviews of this film. Yes, it is true that it does glorify a lifestyle in an exaggerated and unfairly sublime way, but I think we're missing the point. This film is romanticism vs. modernism. It's purity vs. corruption. It's not so much the premise or believability, but the substance behind it.

Tom Cruise is an actor who is both idolized (by fans) and ridiculed (by critics) In this film he dazzles us as a drunken U.S General haunted by a bloody past. I was pushing for him to get an Oscar Nod, but alas, None came. "The Last Samurai" wasn't particularly well received and that was disconcerting to me. I'd recommend it to anyone with a taste for romance and for anyone who simply longs for a little less "celebrity wedding" and a little more "help the old lady across the road".

One of the most beautifully crafted films ever made.

[leigh-jeffries · 10/10 · 15 January 2005]

If you have NOT seen the film then stop reading this review and go rent, buy or borrow it right now! What are you waiting for? This is a 10 out of 10 must see.

The casting, location, storyline and direction of this film is simply excellent. I say this is Tom Cruise's finest acting hour. A story of honour, integrity, tradition, courage and love entwined with great battle scenes, beautiful scenery and superb acting, especially in the lead roles of Cruise and Ken Watanabe.

For me personally I have no faults with this film. I do not possess a vast knowledge of Samurai history other than what we see on TV and read in magazines so cannot comment on it's depiction of true Samurai legend. A real gem.

Run of the mill solid movie

[jackgdemoss · 7/10 · 16 February 2020]

Tom Cruise is entertaining and plays his serious role well. The action is well-choreographed. The costume design is intriguing. There really isn't any glaring weakness in this film but nothing is particularly stand out. A fun popcorn film for a weekend evening.

It's a long film, but the rewards are definitely here for the patient viewer

[jimbo-53-186511 · 8/10 · 16 November 2015]

In a bid to try to improve trade links between Japan and the US Captain Nathan Algren (Tom Cruise) is hired to train an army to overthrow a rebellious group of samurai led by their leader Katsumoto (Ken Watanabe). However, the army that Algren had been training encounter the Samurai before their training has been completed and the army end up being overpowered and defeated by the highly trained Samurai. Algren is the only survivor of this battle and in recognition of his bravery and determination Katsumoto spares his life and invites him to stay with the Samurai. During his time with the Samurai, Algren learns quite a bit about their culture and eventually embraces it and fights back against those that had originally hired him to overthrow the Samurai.

Tom Cruise's performances and films tend to vary greatly in quality so I do tend to approach a lot of his films with caution. I can safely say that this is one of his better films and also one of his better performances. Cruise is well-known for bringing a sort of smug arrogance to a lot of his roles and he definitely brings some of that to his role as Captain Algren - although there's only a whiff of it here rather than full on smugness that we've seen from him before. Director and screenwriter Zwick gives Cruise a character he can really sink his teeth into - Algren is obnoxious and rude at the start and shows very little respect for his employees. He's the same with the Samurai at the start, but I think the difference is that the Samurai show him respect and allow him to embrace their culture. The general saying in life is that to 'gain respect you must first give respect' and I got the feeling that this was one of the messages contained within this film.

The first 20 minutes or so of this film are slick and fast-paced, but the momentum does slow down where Algren is staying with the Samurai. Although the pace slackens at this point the film never becomes boring and Algren's narrative and the exploration of the Samurai culture were interesting enough to keep me involved with the story. The only criticism I have with this aspect of the story was when the ninjas attacked the Samurai - I just didn't see the point of it and it also seemed to add nothing to the story, but this really is a minor criticism.

Much like Seven Samurai, The Last Samurai is a slow-burning film that rewards the viewers patience with a spectacular closing act that is epic, clever and heart-breaking. Technical aspects of the film are also superb most notably the beautiful Japanese scenery and wonderful cinematography.

Clearly there are some politics involved here, but the politics are side-lined for the most part to make way for an interesting story about one man identifying more with an alleged 'rebellion' group over his own people. I've no idea how much of this story is true - it certainly references real life people such as General Custer and real-life events such as the battle of little bighorn, but never says anywhere that it's based on a true story. Truth be told, it doesn't matter to me whether the story is true or not because the film has a good story, it's moving at times, it's beautiful to look at, has some wonderful performances and to top it all the final battle is fantastic. Therefore it's very much worth seeing on its own merits.

A good movie, if not a bit clishé

[derangedxzombie · 7/10 · 18 September 2021]

This seems a divisive film, for what it is (a story..not a historical reenactment based to the letter on another culture from another time period) it is good. Not groundbreaking, certainly not awful as some make out, but good. I enjoyed it and I didn't at any point feel bored or want to switch it off. I've seen Zatoichi, 13 assassin's, Blade of the immortal etc (these are great samurai movies) this movie does try to be respectful or informed of Japanese culture for that time period. It may get some things wrong but again; it's a story, not a more realistic reenactment of Japanese culture, or politics like 13 assassin's for instance.

Certainly worth a watch. If you want to see a painful, almost propaganda take on the another culture, watch Ip Man 2 - 4's take on the west.

The Last Samurai - a labor of love dedicated to the spirit of the Samurai warriors

[ruby_fff · 8/10 · 2 October 2005]

"The Last Samurai" 2003 and "The Last of the Dogmen" (1995 d: Tab Murphy, with Tom Berenger and Barbara Hershey in the lead) are both films with the theme of the 'last' of warrior spirits (one is Samurai, one is Cheyenne). The production of The Last Samurai is well worth seeing - the glory of a large-scale Hollywood production it is. From the research of the historical Japanese Meiji period, the mannerisms, the way different classes of people dress, the settings, the battle weapons and armory, how the Samurai train and fight, to the study and appreciation of the Art of War - where men of honor and integrity in service to the Emperor is the thing to die for. The film title in three Kanji characters means The Way of the Warrior (Samurai). The one character shown on screen at the very beginning (romanization: Sze) meant in the service of the King. Hence the definition of Watanabe's Samurai lifelong one true goal - to serve his Emperor, one and only, and to die in the service of the Emperor would be an honor.

The film, directed by Ed Zwick, is truly a combined labor of love of everyone involved. From the producer-lead actor Tom Cruise and Zwick's film-making partner Marshall Herskovitz, cinematography by John Toll and film score by Hans Zimmer, to the costuming details, diverse casting, location scouting all the way to New Zealand and training of the supporting cast - even the official Web site with extensive production notes - all provide enhanced appreciation of this remarkable film. The storyline and drama of "The Last Samurai" evoke various level of emotions, pulling the heartstrings of the audience with high emotional energy - suspense, sadness, smiles, empathy, joy.

"Kagemusha" by Akira Kurosawa, of course, is the ultimate grandeur of a historic Samurai epic. "The Last Samurai" is comparable in drama and treatment if not with equal passionate efforts all round. Both are available on DVD with special features of audio commentary and the making of 'featurette' and more.

Feel good movie

[kathiravanvj · 7/10 · 5 January 2022]

Glad to know how samurai lived and loved bravely. Tom cruise acting was super. The movie's screenplay was brilliant that make you sit edge of the seat till end.

Dances with Samurai

[FilmOtaku · 5/10 · 24 January 2005]

Directed by Edward Zwick, "The Last Samurai" is the story of Civil War veteran Nathan Algren (Tom Cruise), a man who is fighting his inner demons that originated from some actions against Native Americans that he didn't feel so good about. So he drinks a lot and is a freelance military adviser. His latest assignment is to go to Tokyo with some former colleagues and train the Emperor's troops in modern weaponry so they can defeat the last of the country's Samurai. During their first battle, he is captured by the Samurai who then take him under their wing, helping him heal his wounds and teaching him how to fight, etc. When the time comes to return back to his "rightful" place, he makes the choice to fight with the Samurai, who he now relates to most of all.

I'll say it right out of the box… I really didn't like this movie that much. The film drowns in clichés: The slow motion fight scenes, the shots of Cruise in silhouette at sundown, practicing his moves, the screams of "Noooooooooo" as the incredibly wounded men charge, and Cruise getting knocked down five times during one of his early sparring matches, yet refusing to stay down because he's just a scrappy guy… these are just a couple of the things I found myself rolling my eyes at. I rolled my eyes at those scenes, I chuckled at the fact that he managed to keep a perfectly trimmed beard and clothes that miraculously cleaned themselves after a fight in the rain and mud, and was actually howling during Cruise's detox scene in which he yells "Sake!!!!!!!!!!" over and over. But I was downright confused after the fight in the alley between Omura's henchmen and Cruise; we experienced the fight once, then suddenly he goes slo-mo and we have to watch the entire fight all over again. Why?! Don't even get me started on the ending. When he walked through the door to chat with the Emperor I almost fell out of my seat; I couldn't believe the film would seriously end that way.

I did not hate everything about the film. I thought that Ken Watanabe was phenomenal, and I really liked the fact that they spoke a lot of Japanese. I can't stand it when films think we assume that everyone in the world speaks flawless English. I think that the decision to keep the native language as pervasive as it was, was a good thing. The ninja scene was good, and there were also some great shots; particularly landscapes. However, these things only raise my opinion up from an extremely low position, they don't save the film for me. It was ironic that I watched this when I did because I watched "Rashomon" the day before, a film that was made 55 years prior, on a tiny fraction of the budget of "The Last Samurai", which got me thinking about Kurosawa. Of course, it is very difficult to compare Kurosawa to most filmmakers of this genre because he is pure genius, but conversely, it is sad that a film that does have the benefit of finances and precedents could make such a pale comparison. Also, when did someone decide that Tony Goldwyn was going to be THE bad guy in every movie ever made? It's become almost cliché at this point; go figure that he would be a part of THIS film.

I suppose if you like Tom Cruise, historical epics, or action films you should see "The Last Samurai", but it is barely mediocre, and although I had low expectations going in, I was still very disappointed. Merely because of the handful of positive aspects of the film, I give it a 5/10, a generous assignation in my opinion.

--Shelly