They say Japan was made by a sword. They say the old gods dipped a coral blade into the ocean, and when they pulled it out four perfect drops fell back into the sea, and those drops became the islands of Japan.
I say, Japan was made by a handful of brave men. Warriors, willing to give their lives for what seems to have become a forgotten word: honor.
The Last Samurai begins with that earnest paean; a tribute to the valour and integrity of the Samurai. The film dedicates the majority of its runtime to wax poetic about the legendary warriors of yore.
And yet, there is a black mark etched on the project, one that Dances with Wolves before it, and Avatar after it have also had to reckon with – The Last Samurai is branded as an example of the ‘white saviour complex’ in film.
First, there’s the poster – Tom Cruise decked out in Samurai gear, his name in large, bold letters on top, and the film’s title on the bottom. The obvious and natural interpretation being that Cruise’s character is the titular Samurai.
Except, he isn’t. While Cruise’s character, Nathan Algren, is indeed the protagonist and the audience stand-in, he isn’t the titular ‘Last Samurai,’ Katsumoto (Ken Watanabe) and his clan are.
When we first meet Captain Algren, he’s a bitter, broken alcoholic suffering from PTSD - A middle-aged man, filled with regret, waiting to die alone.
But through the course of the movie, and due to his understanding and appreciation of the Samurai culture, Algren finds a renewed purpose.
He finds more in common with these ‘outsiders’ than he does with his own people. It is the Samurai who save Algren, not the other way around.
And unlike in Avatar, Algren doesn’t become their fiercest warrior or their leader; he’s along for the ride, trying to help because ‘his people’ are bent on destroying what he has come to love.
By embracing the way of the sword, Algren finds a modicum of redemption and regains his lost honour.
Here Be Spoilers
And ultimately, Algren doesn’t ‘save’ anyone or anything – all the Samurai perish, and it is their sacrifice, not Algren’s heroism, that jolts the Emperor into recognising his folly and embracing his culture and tradition.
The Last Samurai is an evocative and emotional tale about honour, loyalty, hope and redemption. It is stunningly shot and features Hans Zimmer at his absolute best; the score is to die for.
It is a film that, despite all the blood and battles, has a tranquil quality to it - it is about finding life in every breath.
But it is not a film about a white man saving the Samurai; if anything, it is about the Samurai saving a white man.
And so the days of the Samurai had ended. Nations, like men, it is sometimes said, have their own destiny. As for the American Captain, no one knows what became of him.
Some say that he died of his wounds. Others, that he returned to his own country. But I like to think he may have at last found some small measure of peace, that we all seek, and few of us ever find.
Image source Google
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