This is a special beast of a samurai film because of several things.
For starters it is often compared unfavorably to "Sword of Doom" (completely nihilist B&W psycho samurai also starring Tatsuya Nakadai as a clone of his Yojimbo character). Quite frankly, Goyokin is far superior in nuance, photography and character depth. It holds that edge and an inherent darkness that is exquisitely explored visually over most samurai films in existence: more poetic than Zatôyichi (2003, Kitano), better filmed and written than Sword of Doom (1966, Okamoto), less remote than Ran (1985, Kurosawa) and darker and deeper than Yojimbo (1961, also Kurosawa); the only samurai to best this is Seven Samurai.
Tatsuya Nakadai comes across as three-dimensional, which is a departure from most chambara film heroes, and tormented but eminently likable. Every character is given sufficient growth and motive. Masaru Sato gives us one of his finest scores ever (the other being that of Yojimbo). The photography defeats any samurai film that could possibly cross your mind (yes, even Ran and by a narrow margin Seven samurai's stark B&W beauty)! The fights have a sincere brutality and make the most of their environment... There is little else to add... well no maybe there is. Don't go in expecting pop-corn entertainment but rather something deeper more complex.
I've heard that Inagaki's Samurai trilogy was Japan's "Gone With the Wind", Red Beard it's "Titanic" and Seven Samurai its ultimate western... if so, "Goyokin" is its "Lawrence of Arabia"!
For starters it is often compared unfavorably to "Sword of Doom" (completely nihilist B&W psycho samurai also starring Tatsuya Nakadai as a clone of his Yojimbo character). Quite frankly, Goyokin is far superior in nuance, photography and character depth. It holds that edge and an inherent darkness that is exquisitely explored visually over most samurai films in existence: more poetic than Zatôyichi (2003, Kitano), better filmed and written than Sword of Doom (1966, Okamoto), less remote than Ran (1985, Kurosawa) and darker and deeper than Yojimbo (1961, also Kurosawa); the only samurai to best this is Seven Samurai.
Tatsuya Nakadai comes across as three-dimensional, which is a departure from most chambara film heroes, and tormented but eminently likable. Every character is given sufficient growth and motive. Masaru Sato gives us one of his finest scores ever (the other being that of Yojimbo). The photography defeats any samurai film that could possibly cross your mind (yes, even Ran and by a narrow margin Seven samurai's stark B&W beauty)! The fights have a sincere brutality and make the most of their environment... There is little else to add... well no maybe there is. Don't go in expecting pop-corn entertainment but rather something deeper more complex.
I've heard that Inagaki's Samurai trilogy was Japan's "Gone With the Wind", Red Beard it's "Titanic" and Seven Samurai its ultimate western... if so, "Goyokin" is its "Lawrence of Arabia"!