Historical epics are on the rise. For fans of the genre such as myself, it is a welcomed renaissance from the dumbed-down, mechanically assembled mass-pleasing garbage that’s been coming down the pipe in recent years. There’s been some good, naturally, but aside from “The Lord of the Rings” there’s been little to whet our appetites for high adventure since maybe “The Four Feathers.”

In steps “The Last Samurai”, a high-class high adventure movie laden with paradoxes. At the start, we have movie Mega-Star Tom Cruise. Can he act? Yes. Can he just show up, strut his stuff and walk off with a hefty paycheck? Yes. Which does he do here? Well, I’d have to say he treads the line sometimes, but ultimately delivers a soulful performance that allows for extended periods of disbelief suspension. And in a movie where Tom Cruise learns to be a Samurai, that proves a monumental challenge that he thankfully acknowledges and accepts.

Without giving anything away, I will convey that this movie is NOT about Samurai in their heyday. Those expecting a Kurasawa-esque examination on the Tokugawa-Era and Samurai fighting epic battles against their Samurai kin may be in for a shock. The movie sets itself in 1876 at the tail end of the Samurai’s domination of the Japanese social structure. Like I said, the movie is about paradoxes, and the most thematic here is the schism between the modern, firearm-wielding West’s influence over the Japanese Emperor and the traditionally-rooted, honor-upholding Samurai who believe the modern ways will kill what’s left of their ancestral legacy of virtue. Thus begins the rebellion, led by the venerable Katsumoto, and really the entire movie.

I say this because it’s not until we learn about Katsumoto and witness his portrayal by actor Ken Watanabe that the real heart of this story comes out. Watanabe injects so much presence, strength, vulnerability, and sympathy for his country that I’d be absolutely astonished if he wasn’t nominated for an Academy Award. He is the epitome of a Samurai, easily overshadowing Cruise in his acting ability and on screen presence. In fact, Cruise seems to almost slink into the background whenever Watanabe is on screen.

As far as the story goes, the gentle mixture of modern (for 1876) Western industry being brought forth into what we’d consider still Medieval Japan is done in a smooth and easily digestible way. As before with “Gladiator”, writer John Logan manages to invoke and describe the Samurai culture in easily understandable bites so as not to lose the audience. There’s enough Western grounding and comparison to make identifying with the Samurai and their cause almost effortless.

Director Edward Zwick, no stranger to this genre, brings the realism of his movie “Glory” and combines it with the emotional entanglements and moral decisions of his “Legends of the Fall.” It’s not quite on par with the gut-wrenching drama of “Gladiator” or “Braveheart,” but there’s enough in it to make people laugh, cry and think about what they would do given the circumstances.
Visually, the movie is stunning, equivalent to any epic we’ve seen before. There’s little CG to muck things up and the gorgeous environment is absolutely breathtaking. The fight scenes are interesting, though speaking as a student and teacher of Japanese Kenjutsu (swordsmanship) they could have done better on the choreography. But as it is, it’s close enough for the laymen to ooh and aah at. Though if they had gotten a choreographer who knew the Japanese sword better, Zwick could have had the freedom to shoot the fight scenes from a wider distance, allowing the audience to really see the exchanges rather than quick-cutting to make it appear fluid.

As far as getting the culture right, Logan, Zwick and company have gotten as close any have before. The rituals, attitudes, lifestyle and beliefs shown are about 95% accurate. For those unfamiliar with Japanese or Samurai culture this is as thorough an introduction as you could probably get. Samurai (especially Katsumoto) are correctly portrayed as fierce warriors, gentle family men, humorous gamblers and soulful poets. While some of the dialogue is overly cheesy, the quality of these actors shines through when they express the lines with sincerity and believability.

The paradox of a superstar in a humble role, a story about diverging ideologies and trying to impart the meaning of what it means to be Samurai to a Western audience all definitely make this a unique and though-provoking film. With “Master & Commander” already out and “Troy,” “Alexander” and “King Arthur,” on the way, the time for the historical epic is at hand once again-- catch ‘em while you can. As for “The Last Samurai,” is it worth your money? Hell, yes. Is it Oscar worthy? You bet. Great performances, great cinematography, great directing, and a great script that allows for humor, action, and virtue. What more could want in a movie?