By Chris Cox
Debuting at multiplexes among a hatted cat, whistful toons and precocious hobbits would usually be sufficient to bury most films into obscurity. Couple that with a cross-culture meldramatic plot that hinges on the ethics of war and honor, and you have whay may be the dark horse of the holiday film season: The Last Samurai.
Relying heavily on the star power of Tom Cruise to pack in the crowds, Samurai demands a lot from its star. Though his pretty boy looks have paid dividends for most of his roles, the actor’s thespian skills are laid bare here.
Cruise portrays Nathan Algren, a Civil War veteran labeled a hero, yet riddled with guit over his slaughter of innocent Native Americans. Blazing a trail to the west, Algren collected bounties for spilling the blood of Native Americans with a trusty shotgun in hand.
In an effort to boost trade relations with a reforming Japan, Algren is hired to instruct Japanese soldiers in the use of firepower. With Samurais clinging to old traditions, the Japanese imperialists employ Algren and the soldiers to rid Japan of the last great band of Samurias.
Led by Katsumoto, whose skills as a warrior are only surpassed by his wisdom as a leader, the samurais exploit the inexperience of the soldiers and fend off their attack. Katsumoto spares Algren from certain death, impressed at Algren’s resiliance to meet his untimely end.
Nursed back to health by the Samurais, Algren begins to engrain himself into the ways of their existence. Haunted by similar illusions of the slain Native Americans, he starts to consider the samurais more respectful and honorable than his soldier counterparts.
Though at first it may feel a bit uncomfortable to accept Cruise in this role, he eases into the character, and by the end has crafted a gripping rendition of a redeemed soldier. The evolution of Cruise’a character shadows the overall pace of the film, highlighting the transitions of weaponary and politics.
Samurai is a considerable achievement not only in artistic fashion, but it its ability to resonate with its audience on a personal level. Envoking emotions from rage to love, no sensation is left unfeeling by the time the credits roll.
Cruise rises to the challenge in his most gripping role since playing Ron Kovac in Born on the Fourth of July, and may have finally proved, after two nominations, that he has the goods to take home an Oscar.
The supporting players are far from disapointing as well, with what may be a breakthrough role from Ken Watonabe as Katsumoto. The only difficulty is watching such a superb film is deciding whether to clap, cry, or bow respectfully at its conclusion.
