A Gosha masterpiece! Don't miss this one!

Beautiful, very violent, complicated and effective historical drama

One of the greatest chambara movies ever made !

Mikijirô Hira, Isamu Nagato, and Tetsurô Tanba in Three Outlaw Samurai (1964)

Tatsuya Nakadai in Hunter in the Dark (1979)

Yûjirô Ishihara, Shintarô Katsu, Yukio Mishima, and Tatsuya Nakadai in Hitokiri (1969)

Shintarô Katsu

Tatsuya Nakadai

Yukio Mishima

Ryôtarô Shiba

Shinobu Hashimoto

A destitute ronin allies himself with an established clan, but its ruthless leader tries to turn him into a mindless killer.

Hideo Gosha

Hitokiri

Hideo Gosha scores another triumph in 1969

It&apos;s a testament to Gosha&apos;s incredible film-making prowess that he was able to complete both Hitokiri and his stunning masterpiece, Goyokin, in the same year, 1969. And it&apos;s a testament to how criminally underrated he remains for the general public (compared to media darlings like the great Akira Kurosawa), that both Hitokiri and Goyokin have received less than 500 votes between the two of them.

Shintaro Katsu is Okada Izo: mad dog killer, loyal to the Tosha clan and their boss Takechi, played by another genre stalwart, Tatsuya Nakadai. The Tosha clan was part of a larger alliance that supported the Emperor against the flailing Shogunate. The historical backdrop is fairly accurate - with Japan&apos;s increasing political turmoil between imperialists and the Tokugawa and the pressure by the West to end a 300 year social and political seclusion. It helps a lot to know a thing or two about Japanese history and what eventually led to the Meiji Restoration and the abolition of the Tokugawa Shogunate, but it&apos;s not essential by any means. The movie was made primarily for a Japanese audience so certain things are taken for granted but it flows very well for the uninitiated as well.

As one would expect from a Hideo Gosha film in his golden years (the late 60&apos;s) the visual palette is breathtaking, the use of external and internal symbolism hiding behind pictorial beauty. Style however is never decorative for Gosha - it is always employed in the service of story. 

And speaking of story, Hitokiri is dominated both literally and figuratively by the tortured main character Izo Okada. As most chambara protagonists, Izo finds himself in a moral double-bind, torn between giri (obligation) and ninjo (natural impulse) - although it takes a while for him to realize what exactly his giri is. In the first half of the movie Izo is trying for social self-advancement. Lofty aspirations of social rank and marriage with an aristocrat&apos;s daughter - a great progression for someone coming from a farmer&apos;s background in the rigid social caste system of 19th century Japan. 

The turning point for Izo is when he realizes at what cost self-advancement comes, the loss of identity and by consequence the loss of self. It is at that point that he undergoes a very symbolic transformation from a famous swordsman of the Tosha Clan to a &quot;nameless&quot; drifter without past or future, Torazo the Vagrant. Although not technically nameless and not a genre drifter in Yojimbo&apos;s mold, it is the loss of his former self and the cast off of ego, ambition and self-dillusion that allows Izo to see things as they really are and redeem himself. 

Hitokiri ends (which I won&apos;t reveal here) in the best way any story can end: both positive and negative with a deeply ironic twist that gives Izo the last laugh, a last sardonic remark in the face of death.

It's a testament to Gosha's incredible film-making prowess that he was able to complete both Hitokiri and his stunning masterpiece, Goyokin, in the same year, 1969. And it's a testament to how criminally underrated he remains for the general public (compared to media darlings like the great Akira Kurosawa), that both Hitokiri and Goyokin have received less than 500 votes between the two of them.

Shintaro Katsu is Okada Izo: mad dog killer, loyal to the Tosha clan and their boss Takechi, played by another genre stalwart, Tatsuya Nakadai. The Tosha clan was part of a larger alliance that supported the Emperor against the flailing Shogunate. The historical backdrop is fairly accurate - with Japan's increasing political turmoil between imperialists and the Tokugawa and the pressure by the West to end a 300 year social and political seclusion. It helps a lot to know a thing or two about Japanese history and what eventually led to the Meiji Restoration and the abolition of the Tokugawa Shogunate, but it's not essential by any means. The movie was made primarily for a Japanese audience so certain things are taken for granted but it flows very well for the uninitiated as well.

As one would expect from a Hideo Gosha film in his golden years (the late 60's) the visual palette is breathtaking, the use of external and internal symbolism hiding behind pictorial beauty. Style however is never decorative for Gosha - it is always employed in the service of story. 

And speaking of story, Hitokiri is dominated both literally and figuratively by the tortured main character Izo Okada. As most chambara protagonists, Izo finds himself in a moral double-bind, torn between giri (obligation) and ninjo (natural impulse) - although it takes a while for him to realize what exactly his giri is. In the first half of the movie Izo is trying for social self-advancement. Lofty aspirations of social rank and marriage with an aristocrat's daughter - a great progression for someone coming from a farmer's background in the rigid social caste system of 19th century Japan. 

The turning point for Izo is when he realizes at what cost self-advancement comes, the loss of identity and by consequence the loss of self. It is at that point that he undergoes a very symbolic transformation from a famous swordsman of the Tosha Clan to a "nameless" drifter without past or future, Torazo the Vagrant. Although not technically nameless and not a genre drifter in Yojimbo's mold, it is the loss of his former self and the cast off of ego, ambition and self-dillusion that allows Izo to see things as they really are and redeem himself. 

Hitokiri ends (which I won't reveal here) in the best way any story can end: both positive and negative with a deeply ironic twist that gives Izo the last laugh, a last sardonic remark in the face of death.

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