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HANA: Chronicle of the Reluctant Warrior is more commonly known as “Hana Ebi Mo Nao” in Asia. The film follows the formulas that made chambara films eminent with a bit more humanity and satire. Hirokazu Kore-Eda’s choose maybe a rethread of all the similar trappings, such as revenge and honor but he has subverted its execution to a “coming of age” film. The film’s backdrop takes spot in the 18th century when the samurai ideals are slowly beginning to move. Yes, the film may be another revenge sage but it also takes an fascinating twist with a very unorthodox style.
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A young samurai named Soza (Junichi Okada) arrives in Edo with the scheme of tracking down his father’s killer. However, despite all his training and upbringing in the samurai ideals, Soza isn’t considerable of a warrior. His skills as a swordsman is lacking and his tracking abilities are even worse. 3 years past, and he isn’t any closer in finding his father’s killer. He spends his time in the slum, surrounded by an array of neighbors that can barely fabricate ends meet but for some reason they are blissful with what they have. Soza meets a glorious widow and has developed a liking to her. Soza begins to doubt the very ideals drilled into his brain. Here in the proper world, these philosophies seem diluted and hollow as he witnesses his brother`s life become meaningless after he had taken over his father`s dojo. His family pressures him to complete his mission, as the deed would come by them a hefty sum of money in these tranquil times.
Much like Yoji Yamada’s “Samurai Trilogy”, “Hana” takes a tone fat of elegy. Chambara films tend to celebrate the samurai lifestyle but Hana subtlety casts it aside. It executes its storytelling with a lot of warmth, light-heartedness and cleverly dispersed bits of satire throughout. It is so subtle in its message that you may not even glimpse what Kore-Eda’s trying to say. The film’s focus on Soza as a young man zigzag on revenge and slowly finding the fullness of life among simple peasants is bewitching. If you remember the worn adage; “Living a sterling life is the Best revenge” then you will have a apt conception as to how and why Soza would have doubts about his mission.
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The director may not be necessary to the Samurai lifestyle as remarkable as Masaki Kobayashi’s films, when in fact, he also sees the beauty of it. The chronicle of the 47 Ronin is also told in this film as many of those Ronin actually live in the same town Soza does. These men are plotting their fill revenge to avenge their Lord who was forced to commit Seppuku, and they are also offended by Soza’s lack of commitment and they exertion that their devices maybe uncovered. To those of you curious with the story; the sage of the 47 RONIN is among the most praised tales of Samurai Honor and commitment. These men have taken meager jobs and have kept a crude profile for many years until the honest moment has arrive to strike and bewitch vengeance on the Lord who has wronged their clan. (Spy Chushingura)
While these men are plotting and bickering among themselves, Soza becomes eager in the community. Joining the townsfolk in their everyday routine, acting in a local play, and teaching children in a microscopic pre-school he had opened to sustain himself busy. The 47 Ronin are brooding and calculating ways to valid revenge and how to die honorably, while, Soza is drawn to a jubilant life, rotund of warm tenderness and friendship; he also finds himself slowly falling in like with a pleasing widow named Osae (Rie Miyazawa) . Soza is not a coward, he is committed to his goal but unexpectedly, the young man seemed to have found peace and contentment in his life.
Kore-Eda has assembled a very smart cast of characters and are further more accentuated with its performers. The director introduces each one to the audience by giving us glimpses of their lives. The film does become somewhat hampered by this go, since it diverts our attention from Soza but I rather enjoyed it. It never hurts when you have a incredible cast made up of Rie Miyazawa, Jun Kunimura, Yoshio Harada (Azumi), Tadanobu Asano (Party 7) who plays Soza’s intended target, who is more than what Soza was expecting. This is actually the film’s main strength and the manner of which everything falls in status is impressive and at the same time droll.
“Hana” is a much suitable anecdote that exhibits warmth and its message of non-violence is crystal certain. People expecting swordplay and action will be very disappointed. Samurai aficionados may not care for its suitable stance but I view it was reflective of precise world applications. The music adds a lot of energy and the costumes and situation designs are very true. It may have more melodrama than I particularly care for but the warm humanity it emulates is exciting. It may not follow the former yarn of chambara period films but courage and honor maybe a matter of unbiased how one looks at it.
Sometimes, enthralling on with your life is the best revenge.
RECOMMENDED! [3 ½ Stars]
If you’re looking for a sword-swinging, blood squirting, action anecdote with fainting geishas and glowering samurai, then you’de better go elsewhere. However, if you want an animated memoir, interestingly told - then reach on in!
The things I liked best about this film were the sets, (think: Kurosawa’s “Lower Depths,” but in color) the music - spirited choices, especially when “the boys in the band,” (a group of unlikely performers with a mission) salvage going, and the plot’s meandering twists.
I’m not going into the plotline. That has been adequately dealt with by others. I bought this film luminous nothing about it, and enjoyed it thoroughly for not being primed to interrogate one thing or another.
Just pick it. You might not like it as noteworthy as I do, but then you can be a swell person and donate it to your local library, which undoubtably needs additions to its “foreign” film fraction.
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