In 1962, the character of Zatoichi, a creation of writer Kan Shimozawa, was brought to the big screen by director Kenji Misumi and star Shintaro Katsu. Neither man could have predicted that this would be the start of one of Japanese cinema’s most enduring heroes, a figure so beloved that its influence would spread worldwide.
Into a troubled town, wrought by division and tension between rival gangs, ambles the blind masseur Ichi. He immediately ruffles the feathers of some of the local thugs, who are duly warned that this man is no ordinary wanderer – this is the most fearsome swordsman in Japan. Ichi has arrived to assist one of the gangs and, in a demonstration, displays just why his reputation is unrivalled. Yet Ichi is disillusioned with the martial world and strikes up a friendship with fellow ronin Hirate, who is being employed by Ichi’s rivals. Both men become reluctant to help the two opposing forces destroy each other, but destiny will ensure that they face a final duel together.
Rough around the edges, but with a framework in place, ‘The Tale of Zatoichi’ would yield over twenty films with Katsu as the star. And it’s easy to see why; Zatoichi is such an endearing character, part dishevelled Sanjuro-esque anti-hero, part bumbling wanderer. His entrance may not be as dramatic as Toshiro Mifune’s in ‘Yojimbo‘, but there is a playfulness that assures viewers that they are witnessing the birth of something very special. While others have played him (including Takeshi Kitano and Rutger Hauer in the excellent ‘Blind Fury’), no one really comes close to Shintaro Katsu in the role—an actor with a weathered face, slightly corpulent frame, and immense charm. In his debut feature, Zatoichi is an occasionally diffident, often stubborn protagonist whose ability to hold the attention of the audience is essential—this isn’t the action-packed chanbara of later entries.
‘The Tale of Zatoichi’ lacks the polish of later films where the hero’s mythos would be built upon. The story struggles when it isn’t focused on the eponymous hero or his friend/rival Hirate; the ending leaves plot threads dangling with little desire to conclude them. Nevertheless, the brilliance of Katsu and the character of Zatoichi means that you are left desperate for the next adventure. Personally, as a big fan of ‘Columbo’, there is something very appealing about these characters who are mocked and marginalised by those around them, only to hide some tremendous physical or mental aptitude. It’s a formula that would succeed more often than not in the stories to follow and, while ‘The Tale of Zatoichi’ is a modest introduction to the blind swordsman, it hints at the iconic series to come.
