Reflections on characters and themes in "The Last
Samurai"
Directed by Edward Zwick
Screenplay by John Logan, Edward Zwick and Marshall
Herskovitz
Starring Tom Cruise, Ken Watanabe and Billy Connolly
When we
meet Nathan Algren for the first time, he is a man riddled with guilt over his
part in the slaughter of innocent women and children during the Indian Wars.
Clearly in a state of depression, he bears his suffering and guilt with the aid
of liberal doses of alcohol, and is employed as a celebrity salesman of
firearms by companies who exploit his deeds and fame for their own commercial
gain. However, he must live with his knowledge of the truth compared to their
embellished and sanitised account, cynically churned out to make a profit. He
is something of a lost soul, finding it hard to live with himself, yet
accepting money for this, and then a contract to help quell a rebellion in
He is
hired to help "modernise" Japan’s army and help extinguish the
remains of the rebellious few who still stand for the "old ways", and
who must go to make way for the more modern and technological age.
Here we
are introduced to one of the central themes in the film: Modern versus Old, or
even (and perhaps more tellingly) Commercial Considerations versus Traditions
and Values.
Japanese
culture and society appear to have been dominated by honour, principle, loyalty
and dignity, but these values are now at odds with the commercial interests of
the main protagonists or instigators (and main beneficiaries) of this move to
modernise Japan, Omura and his family. These beneficiaries do not necessarily
include the Emperor, who does indeed wish to join the old with the new, but
most of all he wants what is best for his people.
After
losing a battle with the samurai "rebels", Algren is taken prisoner
by their leader Katsumoto (Ken Watanabe) who is impressed by Algren’s courage
and determination. Among his samurai captors, Algren rediscovers a sense of
honour and purpose, and finds a renewed sense of worth and dignity in the
traditions and ways of those he was sent to destroy.
One
criticism I found levelled at the film is that once again the "white
man" saves the savages. While it is true that Algren goes on to play an
important part in the uprising, it should be pointed out that Algren was a
broken man when captured, and it is as a result of adopting the ways of his
"enemies" that he is "saved". He helps lead the uprising
not because he is a "white man", but because he is courageous, has
become a samurai, and wishes to support his friends in their cause.
To say
that one of the main themes is Modern versus Old is indeed accurate, but it is
also incomplete in that we should consider what is meant by "modern".
In this instance, Algren has been dispatched to destroy the "old" in
the shape of the principled and loyal samurai. Why? What purpose is to be
served in doing so? Within the context of the film, Algren’s actions are to
advance the commercial prospects of Omura and his family, under the guise of
the modernisation of
Another
criticism I found is that Algren is a "Hollywood Hero", and that an
upbeat
Algren
is indeed a hero in that he stands (eventually) for principle, but is it not
these principles that are the true "heroes" of the film? Algren is
himself "converted" - not by any character in particular, but by
their way of life, a way of life which respects and demands loyalty, dignity
and honour.
I agree
that the positive ending is not entirely in keeping with the general direction
of the film, but personally I’m happier to think that such an outcome is a
possibility. I prefer to be given hope rather than have grim pessimism driven
home. A hero shows us possibilities and a way forward, and perhaps even hope
for the future. Of course, this has to be realistic rather than sugary,
self-righteous and without value, but equally, nihilistic ventures leave us
with no hope, no solutions, and no inspiration. The main purpose of this film
is surely to cause us to reflect on life’s possibilities while giving us hope
and something to aspire to.
As for
the film itself, I have to say I hardly noticed the running-time pass and I
consider that one of the greatest accolades you can give a film. I thought it
was well paced with beautiful photography and an intelligent and adult script.
The
performances were uniformly excellent, with Cruise and Watanabe doing justice
to the touching and thought-provoking script they were given.
My thanks for taking the time to read this article. I
hope you found it of some value.
Stuart Fernie (stuartfernie@yahoo.co.uk)
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