I had never heard of Japanese director Tomu Uchida prior to reading about a retrospective held at London's National Film Theatre in December 2007 but, my interest ignited, I quickly landed this film in my collection. What we have here, essentially, is a tragicomic road movie: the narrative about a pilgrimage to the titular landmark by a disgraced samurai (prone to violent drunken binges) and his two dim-witted warrior-servants rambles amiably along in a leisurely and mostly droll vein until the unexpected and electrifyingly bloodthirsty finale. Through the striking use of sweeping camera movement and fast cutting, we are introduced to the trio of protagonists and the major supporting characters right from the very first sequence; the comic highlight comes around the midpoint when an abandoned boy (who joined their party after befriending the lancer) disrupts a solemn tea-drinking ceremony enacted by three noblemen in an open field while naturally relieving himself in the nearby bushes. The second half grows more somber with the episodes of the capture of a notorious tattooed thief disguised as a pilgrim and an old man forced to sell off his daughter as collateral for a measly loan. Nothing however really prepares us for the remarkably 'clumsy' climax (this is no choreographed ballet of violence) in which the lancer single-handedly dispatches the men who had killed his master merely for daring to drink publicly with his subordinate. It is also worth mentioning that several distinguished Japanese film-makers (including Yasujiro Ozu) helped in the making of this film which was Uchida's comeback after a decade spent in China.
6 Reviews
MORE HISTORICAL JAPANESE CINEMA
kirbylee70-599-52617914 September 2018
Warning: Spoilers
Arrow Video has been releasing a number of Japanese films over the past few years and that's something to be commended for. Far too many companies ignore current product from other countries let alone the past films made in those countries. Because of that many are lost to not just collectors but the world in general. Thankfully their efforts have prevented that on a number of films.
BLOODY SPEAR AT MOUNT FUJI is a road picture in essence. A disparate group of travelers are on the same road traveling together towards Edo for different reasons. The focal point of the group is Sakawa Kojuro, a samurai traveling with his servants Genpachi, his spear carrier and Genta. The rest of the group is made up of a singer and her daughter, a father taking his daughter to be sold as a prostitute to pay off his debts, a pilgrim, a policeman and a man the officer has his eye on, searching for a thief in the area.
The group no connection with one another save for this journey they are making. Each has their own story to tell revealed in both their actions and things that take place along the way. For Kojuro he is taking a special bowl to Mount Fuji as an offering. Along his journey he must deal with the fact that he has a problem when he drinks sake, changing from the calm demeanored man he is most of the time into a violent lout. This comes into play during their journey. Genta has his own issues with drinking to deal with and is the weaker of the two servants. Genpachi is the most stalwart, determined to serve his master with honor.
Along their journey the group picks up an orphan boy named Jiro who wants to become a samurai one day and pleads with Genpachi to teach him to be a spear carrier. The servant takes him under his wing and continues on their journey.
Various events take place on their travels including the group being forced to wait on noblemen who insists on having a tea ceremony on the side of the road closing down all traffic to do so. This is one of many incidents that cause Kojuro to question the behavior of his class, those in his social sphere. Another involves the capture of the thief on the lose by his servant that results in his getting recognition for the achievement in spite of his protestations that it was Genpachi who was responsible.
The film mixes styles going from serious drama to light comedy in the blink of an eye. It melds these story methods together to offer a compelling story with a message that will remain with viewers even after the end of the film. These different styles work well as each is seen and the combination of them works in every incident seen on film.
The film may not work for everyone as many people seem bound and determined not to expose themselves to anything but movies made in their own country. An intolerance for subtitles has left many people with fewer options of films to watch and that's their loss. The same holds true for young people who often will avoid anything made prior to their being born feeling it has nothing to offer, even more so should the film be shot in, heaven forbid, black and white. These two self-imposed restrictions leave many to sustain the belief that only they exist in the world when it comes to movies. It's great loss on their part and they're not even aware.
Extras for the film are limited but that should be expected for a movie made in 1955. Included are a brand new audio commentary track by Japanese cinema expert Jasper Sharp, an interview with director Tomu Uchida's son (Uchida is the director of the film), an interview with Kazunori Kishida, who was a publicist for home studio Toei, French film critic Fabrice Arduini speaking on Uchida's work, a reversible sleeve featuring original artwork and newly commissioned artwork by Corey Brickley and for the first pressing only an illustrated collector's booklet featuring new writing on the film by critic and filmmaker James Oliver.
BLOODY SPEAR AT MOUNT FUJI is a road picture in essence. A disparate group of travelers are on the same road traveling together towards Edo for different reasons. The focal point of the group is Sakawa Kojuro, a samurai traveling with his servants Genpachi, his spear carrier and Genta. The rest of the group is made up of a singer and her daughter, a father taking his daughter to be sold as a prostitute to pay off his debts, a pilgrim, a policeman and a man the officer has his eye on, searching for a thief in the area.
The group no connection with one another save for this journey they are making. Each has their own story to tell revealed in both their actions and things that take place along the way. For Kojuro he is taking a special bowl to Mount Fuji as an offering. Along his journey he must deal with the fact that he has a problem when he drinks sake, changing from the calm demeanored man he is most of the time into a violent lout. This comes into play during their journey. Genta has his own issues with drinking to deal with and is the weaker of the two servants. Genpachi is the most stalwart, determined to serve his master with honor.
Along their journey the group picks up an orphan boy named Jiro who wants to become a samurai one day and pleads with Genpachi to teach him to be a spear carrier. The servant takes him under his wing and continues on their journey.
Various events take place on their travels including the group being forced to wait on noblemen who insists on having a tea ceremony on the side of the road closing down all traffic to do so. This is one of many incidents that cause Kojuro to question the behavior of his class, those in his social sphere. Another involves the capture of the thief on the lose by his servant that results in his getting recognition for the achievement in spite of his protestations that it was Genpachi who was responsible.
The film mixes styles going from serious drama to light comedy in the blink of an eye. It melds these story methods together to offer a compelling story with a message that will remain with viewers even after the end of the film. These different styles work well as each is seen and the combination of them works in every incident seen on film.
The film may not work for everyone as many people seem bound and determined not to expose themselves to anything but movies made in their own country. An intolerance for subtitles has left many people with fewer options of films to watch and that's their loss. The same holds true for young people who often will avoid anything made prior to their being born feeling it has nothing to offer, even more so should the film be shot in, heaven forbid, black and white. These two self-imposed restrictions leave many to sustain the belief that only they exist in the world when it comes to movies. It's great loss on their part and they're not even aware.
Extras for the film are limited but that should be expected for a movie made in 1955. Included are a brand new audio commentary track by Japanese cinema expert Jasper Sharp, an interview with director Tomu Uchida's son (Uchida is the director of the film), an interview with Kazunori Kishida, who was a publicist for home studio Toei, French film critic Fabrice Arduini speaking on Uchida's work, a reversible sleeve featuring original artwork and newly commissioned artwork by Corey Brickley and for the first pressing only an illustrated collector's booklet featuring new writing on the film by critic and filmmaker James Oliver.
Intelligent drama that criticizes social conventions in feudal Japan
kluseba22 September 2020
Bloody Spear at Mount Fuji is a chanbara film which means a sword fighting movie. Released sixty-five years ago as we speak, it has become one of the most influential films of its genre even though it has been overlooked by audiences from abroad for much too long. This movie has a particular vibe since the sword fighting only occurs during the last ten minutes of the film which makes for a surprisingly brutal finale.
Before this unexpected conclusion, this movie could rather be categorized as a drama that quietly and cleverly criticizes social conventions and restraints. The film follows a group of people who travel from the country side to Edo. We meet a desperate father who sees no other solution to pay his depts than selling his daughter into prostitution. There is a traveling single mother and her daughter who earn a very modest living by dancing and singing at festivals. The film introduces a master who likes to socialize with his servants instead of keeping his distance. All these characters and events are connected to the protagonist of the movie who is a spear carrier with a remarkable sense of duty. He wants to help people in need, encourage those around him and even develops a tender romantic relationship on his journey. Just as the movie seems to conclude with a happy ending, a dramatic turn of events leaves the audience on a most sinister impression.
This intelligent movie convinces in many departments. The characters are profound, interesting and diversified. The numerous side stories are sometimes serious, sometimes humorous but always entertaining. The locations varying from busy town streets over traditional inns to beautiful country roads bring traditional Japan to life in an authentic manner. The camera work is calm and careful and rather observing than flamboyant which fits the tone of the movie.
The film isn't without its flaws. The numerous side stories can't hide the fact that the movie is missing a precise guiding line. The locations end up being somewhat repetitive. The movie's slow pace hasn't aged particularly well. The fact that the movie only contains a few minutes of sword fighting scenes contrasts the rather gruesome and misleading title.
If you are however prepared to watch an intelligent drama criticizing social conventions in feudal Japan instead of an intense sword fighting film, you are certainly going to appreciate this hidden gem with its unusual storytelling.
Before this unexpected conclusion, this movie could rather be categorized as a drama that quietly and cleverly criticizes social conventions and restraints. The film follows a group of people who travel from the country side to Edo. We meet a desperate father who sees no other solution to pay his depts than selling his daughter into prostitution. There is a traveling single mother and her daughter who earn a very modest living by dancing and singing at festivals. The film introduces a master who likes to socialize with his servants instead of keeping his distance. All these characters and events are connected to the protagonist of the movie who is a spear carrier with a remarkable sense of duty. He wants to help people in need, encourage those around him and even develops a tender romantic relationship on his journey. Just as the movie seems to conclude with a happy ending, a dramatic turn of events leaves the audience on a most sinister impression.
This intelligent movie convinces in many departments. The characters are profound, interesting and diversified. The numerous side stories are sometimes serious, sometimes humorous but always entertaining. The locations varying from busy town streets over traditional inns to beautiful country roads bring traditional Japan to life in an authentic manner. The camera work is calm and careful and rather observing than flamboyant which fits the tone of the movie.
The film isn't without its flaws. The numerous side stories can't hide the fact that the movie is missing a precise guiding line. The locations end up being somewhat repetitive. The movie's slow pace hasn't aged particularly well. The fact that the movie only contains a few minutes of sword fighting scenes contrasts the rather gruesome and misleading title.
If you are however prepared to watch an intelligent drama criticizing social conventions in feudal Japan instead of an intense sword fighting film, you are certainly going to appreciate this hidden gem with its unusual storytelling.
A Favorite 50s Jidaigeki in the Style of the Old Masters
Steven_Harrison3 August 2007
Warning: Spoilers
A Bloody Spear on Mt Fuji's plot is basic; a group of travellers (Samurai and two servants, shamisen player and daughter, highway policeman, thief, miner) interact and become closer through stressful and comedic situations (also, some tragedy). Ostensibly a road movie, a lot of the interaction and activity takes place in inns and city streets, very little on roads (though what does is memorable, such as Gonpachi becoming acquainted with an young orphan boy admirer.) Most of the plot revolves around the samurai, whose character reminds one of Yamanaka taking a stand against society and paying the price. I wonder if this inference was an accident (Yamanaka made popular films that questioned the status quo in the 30s, was sent to Manchuria and died at the front shortly after; only three of his films survive today.) There are many great moments in the film, which is as comedic in dialogue as it is in editing and tone. Daisuke Kato plays one of the servants, and his sake drinking and philosophizing scenes are everyman humor at its best. The playful looks, dialogue, and subtle attraction between the shamisen player and Gonpachi (Chiezo Katoaka), lords sitting on a busy highway to Edo shutting down traffic for a tea ceremony, and the lancer's final battle all stick close to my memory. I can't think of any other postwar Samurai film that does this kind of action, comedy, and drama as entertainingly (my favorite postwar jidai-geki films are the Anti-Samurai ones, such as Okamoto's Sword of Doom).
If you, like me, were taken wholly by surprise while watching Yamanaka Sadao's Tange Sazen and the Million Ryo Pot then you'll greatly appreciate this film (only available as a bootleg with English subtitles, though there are rumors this and more Yamanaka could get an North American release soon). It shares with the 1935 genre picture a sense of humor and lightheartedness that few films have done as well. In fact, since Uchida Tomu directed this jidai-geki with the help of Shimizu Hiroshi and Ozu Yasujiro, I can only imagine it's a heavy homage to their lost friends Yamanaka and Itami Mansaku. Itami's film Capricious Young Man can be felt all over, especially in it's depiction of the samurai servants mingling with each other and arguing about their duties. Ozu and Shimizu's touch can also be felt with the depiction of the child, as it's characteristically their own. He's rebellious and witty, but also retains childish attention getting ways, and lack of self restraint in all matters. Ozu and Shimizu used this type of childish antics in their films regularly to great effect (particularly in Ozu's I Was Born But... and Shimizu's Children in the Wind.) Uchida's history is an interesting one. He went to war, and after 1940 spent ten years in a prison camp in China (more on this part of his life, and some notes by Craig Watts about Bloody Spear at Bright Lights Film Journal). He began directing silents and moved on to become on the late thirties preeminent social realist directors, making a powerful play with Earth (1936), made almost entirely with extra film stock from other productions. His other late thirties work, Theater of Life, Police, and Unending Advance were preferred by Donald Richie and have garnered critical appreciation from critics like David Bordwell, Keiko McDonald, and midnighteye.com. His samurai films from the 50s and 60s have aged relatively well, especially this and his Musashi Miyamoto pentalogy. Toei made mostly low grade cheesefests, but were known to throw in a "prestige" film every now and then, of which Bloody Spear at Mt Fuji definitely categorizes itself. With the big name writer/directors, and headlining actor Chiezo Kataoka, this was surely a success.
You can buy this film with french subtitles at Amazon France, though I found a copy with an English translation by fishing around. Also, there's a great overview of Uchida's career at Senses of Cinema by Alexander Jacoby. Also, be sure and pick up Masters of Cinema's absolutely necessary R2 UK DVD of Yamanaka's Humanity and Paper Balloons.
If you, like me, were taken wholly by surprise while watching Yamanaka Sadao's Tange Sazen and the Million Ryo Pot then you'll greatly appreciate this film (only available as a bootleg with English subtitles, though there are rumors this and more Yamanaka could get an North American release soon). It shares with the 1935 genre picture a sense of humor and lightheartedness that few films have done as well. In fact, since Uchida Tomu directed this jidai-geki with the help of Shimizu Hiroshi and Ozu Yasujiro, I can only imagine it's a heavy homage to their lost friends Yamanaka and Itami Mansaku. Itami's film Capricious Young Man can be felt all over, especially in it's depiction of the samurai servants mingling with each other and arguing about their duties. Ozu and Shimizu's touch can also be felt with the depiction of the child, as it's characteristically their own. He's rebellious and witty, but also retains childish attention getting ways, and lack of self restraint in all matters. Ozu and Shimizu used this type of childish antics in their films regularly to great effect (particularly in Ozu's I Was Born But... and Shimizu's Children in the Wind.) Uchida's history is an interesting one. He went to war, and after 1940 spent ten years in a prison camp in China (more on this part of his life, and some notes by Craig Watts about Bloody Spear at Bright Lights Film Journal). He began directing silents and moved on to become on the late thirties preeminent social realist directors, making a powerful play with Earth (1936), made almost entirely with extra film stock from other productions. His other late thirties work, Theater of Life, Police, and Unending Advance were preferred by Donald Richie and have garnered critical appreciation from critics like David Bordwell, Keiko McDonald, and midnighteye.com. His samurai films from the 50s and 60s have aged relatively well, especially this and his Musashi Miyamoto pentalogy. Toei made mostly low grade cheesefests, but were known to throw in a "prestige" film every now and then, of which Bloody Spear at Mt Fuji definitely categorizes itself. With the big name writer/directors, and headlining actor Chiezo Kataoka, this was surely a success.
You can buy this film with french subtitles at Amazon France, though I found a copy with an English translation by fishing around. Also, there's a great overview of Uchida's career at Senses of Cinema by Alexander Jacoby. Also, be sure and pick up Masters of Cinema's absolutely necessary R2 UK DVD of Yamanaka's Humanity and Paper Balloons.
Ideal blend of narrative and meaning
timmy_50125 September 2008
I find that many films either focus on story so much that they lack meaning or they go to the opposite extreme and focus so narrowly on a message that they fail as stories. Thus it is with great pleasure that I viewed a film that refreshingly melds narrative with meaning in a fashion that works so well it seems almost effortless.
Tomu Uchida's A Bloody Spear at Mt. Fuji is the story of an unassuming samurai who is more interested in a person's actions than his social standing. In spite of the rigid class divide that exists between himself and his servants he tends to treat them as his equals even when they themselves feel that they are inferior to him. The film features remarkable subplots that add scope and depth to the social criticism offered by the main plot. Among these is the story of a male orphan who idolizes the samurai's spear bearer and a young woman who is sold into prostitution because her family is too poor to support her.
The style of the film is quite unique. I don't know if I've ever seen a movie switch from one a light comedic tone to a tragic one so effectively. While this handles some of the same themes covered by directors like Mizoguchi and Naruse it does so without ever seeming overbearing or ponderous.
This film also boasts one of the best endings I've ever seen. Brilliant end to a brilliant film.
Tomu Uchida's A Bloody Spear at Mt. Fuji is the story of an unassuming samurai who is more interested in a person's actions than his social standing. In spite of the rigid class divide that exists between himself and his servants he tends to treat them as his equals even when they themselves feel that they are inferior to him. The film features remarkable subplots that add scope and depth to the social criticism offered by the main plot. Among these is the story of a male orphan who idolizes the samurai's spear bearer and a young woman who is sold into prostitution because her family is too poor to support her.
The style of the film is quite unique. I don't know if I've ever seen a movie switch from one a light comedic tone to a tragic one so effectively. While this handles some of the same themes covered by directors like Mizoguchi and Naruse it does so without ever seeming overbearing or ponderous.
This film also boasts one of the best endings I've ever seen. Brilliant end to a brilliant film.
A Bloody Spear at Mount Fuji (Le Mont Fuji Et La Lance)
MovieIQTest5 January 2021
Chiyari Fuji AKA A Bloody Spear on Mount Fuji, Bloody Spear at Mount Fuji - 94 min
As decisively as Kurosawa before him, Tomu Uchida broke the conventions of the chambara or swordfight film with his witty, loose-limbed A Bloody Spear at Mount Fuji, about a young samurai, Shojuro Sako, delivering a teacup to Edo. Travels on the Tokaido to Edo with his two servants, Genta and Gonpachi. Gonpachi has been told by Shojuro's mother to prevent his Master from drinking. The road is not safe. On the way, they meet a young orphan boy, Jiro, and many other travellers. It's an affable samurai road movie with a focus on unglamorus characters, such as the dim-witted young samurai and his two loyal servants traverse the Tokaido highway.
Bloody Spear marks Uchida's postwar return to Japanese cinema and to progressive principles, but this homecoming is markedly ambivalent in its values.
From its shambling "on the road" opening, scored with jaunty jazz and marked by a flagrantly artificial setting and proliferation of incident, to its Shane-like ending, the film takes in a remarkable range of characters and classes, tones and traditions. Its narrative has a peculiar stalling quality, as though Uchida were determined to suspend the expectations of the samurai film by deferring the violence forever.
Full of subplots and spin-offs, scatology, sentimentality, and social satire, this simple tale becomes a sprawling epic whose culmination-a fight to the death among gushing sake barrels-shocked Japanese audiences of its time with its sheer.
A team of great directors, including Yasujrio Ozu, Hirochi Shimizu and Daisuko Ito, assisted Uchida with his remarkable post-war comeback film.
Much of the film is played as comedy, making the brilliantly staged violent climax all the more shocking.
A very down-to-earth without the stereotyped and the traditional glorification of the Samurai but full of colorful common decent kind people, thief, blind massageur, poor father selling his beautiful daughter to be prostitute, woman doing the road shows with her young daughter, an orphan who dreams to be a samurai lancer....
HIGHLY RECOMMENDED!
As decisively as Kurosawa before him, Tomu Uchida broke the conventions of the chambara or swordfight film with his witty, loose-limbed A Bloody Spear at Mount Fuji, about a young samurai, Shojuro Sako, delivering a teacup to Edo. Travels on the Tokaido to Edo with his two servants, Genta and Gonpachi. Gonpachi has been told by Shojuro's mother to prevent his Master from drinking. The road is not safe. On the way, they meet a young orphan boy, Jiro, and many other travellers. It's an affable samurai road movie with a focus on unglamorus characters, such as the dim-witted young samurai and his two loyal servants traverse the Tokaido highway.
Bloody Spear marks Uchida's postwar return to Japanese cinema and to progressive principles, but this homecoming is markedly ambivalent in its values.
From its shambling "on the road" opening, scored with jaunty jazz and marked by a flagrantly artificial setting and proliferation of incident, to its Shane-like ending, the film takes in a remarkable range of characters and classes, tones and traditions. Its narrative has a peculiar stalling quality, as though Uchida were determined to suspend the expectations of the samurai film by deferring the violence forever.
Full of subplots and spin-offs, scatology, sentimentality, and social satire, this simple tale becomes a sprawling epic whose culmination-a fight to the death among gushing sake barrels-shocked Japanese audiences of its time with its sheer.
A team of great directors, including Yasujrio Ozu, Hirochi Shimizu and Daisuko Ito, assisted Uchida with his remarkable post-war comeback film.
Much of the film is played as comedy, making the brilliantly staged violent climax all the more shocking.
A very down-to-earth without the stereotyped and the traditional glorification of the Samurai but full of colorful common decent kind people, thief, blind massageur, poor father selling his beautiful daughter to be prostitute, woman doing the road shows with her young daughter, an orphan who dreams to be a samurai lancer....
HIGHLY RECOMMENDED!
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