The Hidden Blade

Hidden Blade (2004)

Director – Yoji Yamada

Writer – Yoji Yamada

Yoshitaka Asama

Cinematography – Mutsuo Naganuma

Art Direction – Yoshinobu Nishioka

Actor Character

Masatoshi Nagase ... Munezô Katagi

Takako Matsu ... Kie

Hidetaka Yoshioka ... Samon Shimada

Yukiyoshi Ozawa .... Yaichirô Hazama

Ken Ogata ... Chief Retainer Hori

The Hidden Blade is a perfect example of minimalist filmmaking excelled through powerful story and believable characters. Everything is restrained and confident in the film including the direction, acting and cinematography. It doesn’t show off or try to be something it isn’t. Even the emotions of the characters are reserved. Much of the lighting in the film is naturalistic as is the cinematography. The depth of focus is even through out the film keeping your attention on the immediate. The foreground and background are equally as important as the characters are with their village and the world. This equality lets all the actors be important through a lack of distracting flashy camera angle. It is remarkably simplistic yet impressive.

The recurring theme is duty vs. individual desire. A constant tension throughout the film

restrains the characters from exercising their desires as seen by the underlying love story between Kie and Munezô. Munezô takes her in as a maid despite her being of a lower caste. He falls in love with her and hides it due to his reputation as a samurai.

One of the most interesting scenes is at the funeral of Munezô Katagi’s mother. His uncle and Bunemon insult him for using firearms in front of the lord. His uncle tells them they should use swords and spears as the require skill whereas cannons do not. “Swords require skills that decide the victor” says his uncle. The discarding of the old weapons which represent tradition for modern one insults the elders as they see their culture diluted by modern practices. They see this as they themselves being replaced. To add insult to injury this is suggested by Munezô who is 40 years old and not married yet. He cannot marry as he is in love with Kie who would tamper his reputation being she is a lowly maid and she is already married.

When Munezô finds out she is deathly sick he is outraged his friends don’t tell him as he is the only one who really cares for her. Her mother-in-law keeps her in a cold little room, tucking her problem away. After a week or so with him she feels better and is cheerful again. The funniest part is when the mother-in-law tells him she is married to which he tells his friend, Samon, to write a statement of divorce.

His deepest friend, Hazama, who left to Edo for an important mission has now been jailed for plotting rebellion. He was involved with the Shogunate. Now Munezô has to see Chief Retainer Hori because of his connection to Hazama. Their connection is that they studied fencing and sword fighting together under Master Toda.

Hazama left in anger when Munezô was chosen by Toda over Hazama to learn the specialized school of the “Hidden Blade.” The overseer questions him and tempts him with a list of names and asks Munezô to tell them who was friendly with Hazama. He refuses. “A samurai does not inform on his fellows.” Munezô chooses honor over opportunity. The risk of death is a bargain over tarnishing his name. A fate he compassionately tries to offer Hazama later in the story.

Munezô’s father follows Bushido code of courage by taking responsibility and his life over a business discrepancy that wasn’t his fault. He sacrifices his life to save his fellow workers without question. This pain leaves Munezô to be a father figure to Kie in return for his father’s bravery.

The film values order and duty. Everyone knows their place and everyone does what they are suppose to do. Questioning this is unthinkable and an insult to authority. Social harmony is more important than individual opinions and differences. This is shown in the sense when Munezô asks Kie to tell him a poem which she shyly does. He enjoys it but her attraction to him intimidates her. He asks her again so she complies. She knows her place, he knows his. Another area duty is shown is when Munezô ordered to kill his closest friend Hazama to which he reluctantly agrees.

The love between Munezô and Kie is strong. Their emotions are subdued as they are from different castes and his almost fatherly role over her. She was his maid for three and a half years. He cannot afford to have rumors of him sleeping with her. This taboo adds to their attraction. On top of that he has a protector personality as seen when he pleads with Hazama to end his life with honor than fight with a tarnished name. The scene where he orders her to leave is excruciating to watch because we know their pain and his reluctance to truly want her gone.

Munezô now under pressure from authorities and rumors of his relationship to Kie caves in and agrees to kill his friend Hazama. He does so more out of duty and his role as a obedient position to his master. He is the only swordsman who capable of defeating him. He is cornered from all sides emotionally.

One of the best scenes from the film is when Munezô goes to his old sensei telling him he must kill his friend. It is the saddest part of the film because his teacher complies as did Munezô when the overseer pressures him. As they train to fight he tells Munezô to relax his body and mind. His teacher shows him to frustrate and anger his enemy as a weapon against him.

Spoilers

Hazama’s wife visits Munezô and asks him for a favor wearing a black cloak. This foreshadows her being a widow. She begs him to let Hazama escape. She even offers herself in desperation. It is humiliating to watch. This is something Cheif Retainer Hori takes advantage of later.

Munezô shows bravery by pleading with his old friend, Hazama, to commit suicide and he will follow in turn out of respect. He tells him if he doesn’t he has to kill him. Munezô pleads with Hazama to accept Hara-kiri, suicide, to protect his name and the reputation of his wife who will be known to have married a criminal.

When Hazama is finished by Munezô, riflemen shoot at him – the most dishonorable way to die – outside the blade.

Munezô talks to the Senior Retainer and explains himself. He asks if Hazama’s wife saw him last night. Chief Retainer Hori promised to let Hazama escape because he slept with her to which he brags to his friend and geishas. He lies to her justifying Hazama’s fate was already sealed and she knew he would die anyways. Munezô keeps his composure in light of Senior Retainer admitting his lie. Munezô redeems himself by standing up to Retainer Hori by killing him later in secret using the secret of the “Hidden Blade.”

As Munezô clears his conscience and responsibility he retreats to the wilderness to find someone special.

What makes The Hidden Blade so good is its subtle performances, restrained cinematography and attention to detail. The set direction and pieces in the film were extremely realistic. The costumes are also very well made and add to this realism. The film never shows off or has pretentious moments.

10/10