By Chris Sawin
| Published
The Samurai and The Prisoner is directed by Kiyoshi Kurosawa (Cure, Cloud) and is based on the novel of the same name by Honobu Yonezawa. As a historical drama mystery, the film is divided into four parts which are defined by seasonal weather: Winter: Jinen, Spring: The Head, Summer: Tora-Saru, and Autumn: Divine Punishment.
In 1578, Nobunaga Oda (Bando Shingo) intends to rule all of Japan and advances west. Murashige Araki (Masahiro Motoki) was once one of Oda’s most trusted retainers and now rules over Arioka Castle in Settsu. Murashige suddenly betrays Oda for reasons unknown. Oda’s army continues to advance on Arioka Castle as an impending war has the odds resting in Oda’s favor.
Kanbei Kuroda (Masaki Suda), a man loyal to Oda, enters Arioka Castle and never leaves as Murashige imprisons him in his dungeon, gives him food and water to survive as long as possible, and secretly consults with him when Murashige can feel Arioka Castle crumbling despite his best efforts.
While the film is defined by a war that Murashige likely will never win against Oda, The Samurai and The Prisoner explores themes of religion (Christianity versus Buddhism), strange occurrences that seemingly can only be defined as some version of God stepping in to seek vengeance, and constant betrayal (many of Murashige’s trusted men suddenly becoming loyal or are secretly working for Oda the entire time).
A Hidden Betrayal, A Crumbling Castle
Each segment of the film explores divine intervention and/or punishment. Winter sees a young man who was being kept prisoner at Arioka Castle beg for death after his father swears allegiance to Oda. After Murashige intends to keep him alive in a dungeon, he’s killed by an arrow that is never found. In Spring, men are decapitated to show who was killed in battle, especially men of rank. One of the heads Murashige brings back from the battlefield begins to distort and is believed to be cursed.
Summer sees Murashige grieving over giving away a valuable yellow teapot. He thought it would be a smart move overall when it came to making decisions during the war, but he regrets the decision more than anything. While interrogating, Murashige makes tea for the man he’s questioning, but it’s a whole ritual. The tea, what it’s made in, and what it means for Murashige all factor into how he conducts himself in front of his men. And then Autumn reveals how everything has been connected the entire time while also unmasking who has been behind this so-called divine punishment.
Murashige is constantly hearing about things happening in other towns, how they see him, and what’s going on with Oda. It’s all a trapeze act to see how Murashige responds and keeps his balance under pressure. However, the film chooses to end with a fade to black and a few sentences of white text right when The Samurai and The Prisoner seems to be reaching its most crucial moments.
Up to this point, you believe Murashige is trying to do what’s best for his men. Oda is ruthless and kills at every opportunity, while Murashige shows mercy constantly and refuses to kill. But this ending paints Murashige in a not-so-favorable light, as he tells everyone about his final plan. The result of the war and the state of Arioka Castle also go the way Murashige expects, which is probably the point of his actions. Still, it seems more like an act of abandonment than it does one of mercy or consideration.
A Buildup At Odds With Its Conclusion
Like Kiyoshi Kurasawa’s previous works, The Samurai and The Prisoner requires a great deal of patience while viewing. The film offers little when it comes to action as most physical interactions end with a single slice or a couple of stabs of their katanas. While each part of the film offers a different mystery to uncover, it’s all dialogue-driven. The Samurai and The Prisoner is fueled by speculation, social interactions, and how Kurashige is attempting to play chess for what he believes is the better outcome for this war.
The unfortunate aspect is that The Samurai and The Prisoner fizzles out by the time it reaches the end of its 147-minute duration. With so many individuals involved over the course of the film’s intricate storyline, the viewer remains intrigued throughout despite its controlled yet meaningful pace. The film is a constant juggling of Murashige making war moves both in front of and behind the eyes of his men while addressing murder, people being struck by lightning, and hearsay.
The Samurai and The Prisoner plants the seeds of an intriguing mystery that is worthy of Kiyoshi Kurasawa’s involvement. Still, it simply doesn’t live up to what you’re probably expecting from the film. The film builds and builds for two and a half hours, and the conclusion doesn’t justify such a long buildup. It’s still a worthwhile film to experience, but it feels like a jigsaw puzzle that you nearly complete yet never find the last missing piece.
The Samurai and The Prisoner had a limited theatrical release July 31 in New York and Los Angeles. As of August 6, it has expanded to more cities and theaters.
THE SAMURAI AND THE PRISONER SCORE
