The parallels that run from the jidai-geki and chambara to the spaghetti western and vice versa have been well documented. If Leone's Almeria sagas are Italy's answer to Yojimbo, then Red Lion (Akage) is Japan's answer to the slew of politically orientated spaghetti westerns (usually with the Mexican revolution as the backdrop) that cropped up in Italy around the same time.
Toshiro Mifune is Gonzo, a peasant-turned-soldier under the command of the Imperial guard. Being a little familiar with 19th century Japanese history will be make things easier but the movie can still be enjoyed and understood without history lessons. We're witnessing the events that eventually led up to the Meiji Restoration that ended the Shogunate's 400 year reign of Japan and restored the Emperor. Gonzo is with the Imperialists and dreams of a "world changing". He receives the red lion mane by his squad captain and is dispatched to the village he was born in, to convert his compatriots to the Imperialist cause by promising all sorts of social privileges to the lower classes. The village's old higher class (the deputy, a rich merchant) all vehemently oppose Gonzo's promised change and cling as hard as they can to their positions of power. In the meantime, a squad of assassins dispatched in the area by the Shogunate with the purpose of killing an Imperialist general gets involved. Add to that a hired-gun ronin who is paid to kill Gonzo on behalf of the deputy and more twists and turns than you can shake a stick at, and you've got a thoroughly entertaining and interesting movie.
Toshiro Mifune starts off as a comedic character only to progress and become a tragic figure and a hero. If Red Lion wasn't so unknown, Gonzo, with his red lion mane, would definitely rank among the genre's icons, next to Sanjuro and Ryunosuke Tsukue. Both his comedic timing (chewing the scenery in ways that might bring Kikuchiyo to mind) and his capacity for drama are amazing. Watching him run the entire gamut of emotions throughout the movie, one feels privileged to see such a great actor at work. Truly one of the best of all time.
Kihachi Okamoto is on the director's chair. Not only a distinguished name in the chambara field, but also one of the most skillfull hands to direct action in 60's Japanese cinema. Although Red Lion is not an out and out bloodbath, there are plenty of swordfights to quench your thirst and they're all staged and executed with the flair of a master. Great photography, sets and costumes, all contribute to a very good-looking movie.
There's a political and social vein running through Red Lion but it isn't until the final 15 minutes that it becomes a fully fledged political allegory. Like Hanzo, the ronin hired to kill Gonzo, says "the only thing that will change is the flower on the official crest". It soons becomes apparent to the peasants that, Emperor or Shogun, their situation is not going to be much different. This is a power struggle among the big boys and they don't have much care or time for the little guy, apart from trying to recruit him to their cause with all sorts of fake promises. Sounds familiar? Yet Gonzo, if only for three days, manages to change the world. At least for the villagers. For three days it's a peasant's world. Okamoto loves irony and Red Lion is no exception. The red-lion mane that Gonzo wears is the symbol of "the world changing" for him and the people. Not just an emblem of authority, but also of hope. In the end, a betrayed Gonzo realizes it means nothing and throws it on the ground disgusted. The people dance and stomp on it as they push the Imperialist guards out of their village. Simple yet evocative.
It's also interesting to point out that the whole revolution of the populi in the end appears to be a marxist concept. But that would be too simple for Okamoto. Echoing Marx's words ("religion is the opium of the masses"), after Gonzo is gunned down by the Imperialist guards, the villagers declare him as "their true god". The irony is so sweet and poignant that it can't be mistaken as unintentional. Perhaps it's Okamoto's way of saying that despite man's attempts to revolt, he always finds himself on the leash of another master, that we only change our cage for a new one. Perhaps not. Perhaps I'm reading too much into it.
In the end, as the villagers push the Imperialist guards out of their village, it seems that there's nothing left than this big, loud, colourful carnival. That's life. And Gonzo is the fool, the jester, the tragic figure, the hero who for three days changed the world. Beautiful stuff.
All that aside, Red Lion is a funny, dramatic, well staged chambara with enough action and great acting by Mifune. Not to be missed by genre enthusiasts.
Toshiro Mifune is Gonzo, a peasant-turned-soldier under the command of the Imperial guard. Being a little familiar with 19th century Japanese history will be make things easier but the movie can still be enjoyed and understood without history lessons. We're witnessing the events that eventually led up to the Meiji Restoration that ended the Shogunate's 400 year reign of Japan and restored the Emperor. Gonzo is with the Imperialists and dreams of a "world changing". He receives the red lion mane by his squad captain and is dispatched to the village he was born in, to convert his compatriots to the Imperialist cause by promising all sorts of social privileges to the lower classes. The village's old higher class (the deputy, a rich merchant) all vehemently oppose Gonzo's promised change and cling as hard as they can to their positions of power. In the meantime, a squad of assassins dispatched in the area by the Shogunate with the purpose of killing an Imperialist general gets involved. Add to that a hired-gun ronin who is paid to kill Gonzo on behalf of the deputy and more twists and turns than you can shake a stick at, and you've got a thoroughly entertaining and interesting movie.
Toshiro Mifune starts off as a comedic character only to progress and become a tragic figure and a hero. If Red Lion wasn't so unknown, Gonzo, with his red lion mane, would definitely rank among the genre's icons, next to Sanjuro and Ryunosuke Tsukue. Both his comedic timing (chewing the scenery in ways that might bring Kikuchiyo to mind) and his capacity for drama are amazing. Watching him run the entire gamut of emotions throughout the movie, one feels privileged to see such a great actor at work. Truly one of the best of all time.
Kihachi Okamoto is on the director's chair. Not only a distinguished name in the chambara field, but also one of the most skillfull hands to direct action in 60's Japanese cinema. Although Red Lion is not an out and out bloodbath, there are plenty of swordfights to quench your thirst and they're all staged and executed with the flair of a master. Great photography, sets and costumes, all contribute to a very good-looking movie.
There's a political and social vein running through Red Lion but it isn't until the final 15 minutes that it becomes a fully fledged political allegory. Like Hanzo, the ronin hired to kill Gonzo, says "the only thing that will change is the flower on the official crest". It soons becomes apparent to the peasants that, Emperor or Shogun, their situation is not going to be much different. This is a power struggle among the big boys and they don't have much care or time for the little guy, apart from trying to recruit him to their cause with all sorts of fake promises. Sounds familiar? Yet Gonzo, if only for three days, manages to change the world. At least for the villagers. For three days it's a peasant's world. Okamoto loves irony and Red Lion is no exception. The red-lion mane that Gonzo wears is the symbol of "the world changing" for him and the people. Not just an emblem of authority, but also of hope. In the end, a betrayed Gonzo realizes it means nothing and throws it on the ground disgusted. The people dance and stomp on it as they push the Imperialist guards out of their village. Simple yet evocative.
It's also interesting to point out that the whole revolution of the populi in the end appears to be a marxist concept. But that would be too simple for Okamoto. Echoing Marx's words ("religion is the opium of the masses"), after Gonzo is gunned down by the Imperialist guards, the villagers declare him as "their true god". The irony is so sweet and poignant that it can't be mistaken as unintentional. Perhaps it's Okamoto's way of saying that despite man's attempts to revolt, he always finds himself on the leash of another master, that we only change our cage for a new one. Perhaps not. Perhaps I'm reading too much into it.
In the end, as the villagers push the Imperialist guards out of their village, it seems that there's nothing left than this big, loud, colourful carnival. That's life. And Gonzo is the fool, the jester, the tragic figure, the hero who for three days changed the world. Beautiful stuff.
All that aside, Red Lion is a funny, dramatic, well staged chambara with enough action and great acting by Mifune. Not to be missed by genre enthusiasts.