#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – In the 1870s, Captain Nathan Algren, a cynical veteran of the American Civil war who will work for anyone, is hired by Americans who want lucrative contracts with the Emperor of Japan to train the peasant conscripts for the first standing imperial army in modern warfare using firearms. The imperial Omura cabinet’s first priority is to repress a rebellion of traditionalist Samurai -hereditary warriors- who remain devoted to the sacred dynasty but reject the Westernizing policy and even refuse firearms. Yet when his ill-prepared superior force sets out too soon, their panic allows the sword-wielding samurai to crush them. Badly wounded Algren’s courageous stand makes the samurai leader Katsumoto spare his life; once nursed to health he learns to know and respect the old Japanese way, and participates as advisor in Katsumoto’s failed attempt to save the Bushido tradition, but Omura gets repressive laws enacted- he must now choose to honor his loyalty to one of the embittered sides when the conflict returns to the battlefield…
Plot: Nathan Algren is an American hired to instruct the Japanese army in the ways of modern warfare, which finds him learning to respect the samurai and the honorable principles that rule them. Pressed to destroy the samurai’s way of life in the name of modernization and open trade, Algren decides to become an ultimate warrior himself and to fight for their right to exist.
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|7.7/10 Votes: 401,067|
|7.5 Votes: 4909 Popularity: 24.554|
Edward Zwick’s “The Last Samurai” is about two warriors whose cultures make them aliens, but whose values make them comrades. The battle scenes are stirring and elegantly mounted, but they are less about who wins than about what can be proven by dying. Beautifully designed, intelligently written, acted with conviction, it’s an uncommonly thoughtful epic. Its power is compromised only by an ending that sheepishly backs away from what the film is really about.
Tom Cruise and Ken Watanabe co-star, as a shabby Civil War veteran and a proud samurai warrior. Cruise plays Nathan Algren, a war hero who now drifts and drinks too much, with no purpose in life. He’s hired by Americans who are supplying mercenaries to train an army for the Japanese emperor, who wants to move his country into the modern world and is faced with a samurai rebellion.
The role of the samurai leader Katsumoto (Watanabe) is complex; he is fighting against the emperor’s men, but out of loyalty to the tradition the emperor represents, he would sacrifice his life in an instant, he says, if the emperor requested it. But Japan has been seized with a fever to shake off its medieval ways and copy the West, and the West sees money to be made in the transition: Representatives from the Remington arms company are filling big contracts for weapons, and the U.S. Embassy is a clearinghouse for lucrative trade arrangements.
Into this cauldron Algren descends as a cynic. He is told the samurai are “savages with bows and arrows,” but sees that the American advisers have done a poor job of training the modernized Japanese army to fight them. Leading his untried troops into battle, he is captured and faces death — but is spared by a word from Katsumoto, who returns him as a prisoner to the village of his son.
‘The Last Samurai’ features some very cool and entertaining battle sequences, which are shot excellently. The premise itself is attracting, it’s acted out astutely by the noteworthy cast list. It probably lasts too long, but I never truly got a feeling of it dragging out though.
Tom Cruise is fantastic as Capt. Nathan Algren. It’s no secret or surprise as we all know that guy can act, he adds a great deal to his character here; especially on the emotional side of things. As for what happens with Algren, it’s all good even if the love interest parts are undercooked.
Ken Watanabe is splendid in the role of Katsumoto, while Masato Harada (Omura) and Timothy Spall (Graham) give positive performances. It’s also nice to see Billy Connolly (Gant) and Scott Wilson (Swanbeck) appear. Hans Zimmer’s score is, as presumed, grand. That would be one of a number of reasons why I’d say you should watch this.
The Last Samurai – a labor of love dedicated to the spirit of the Samurai warriors
“The Last Samurai” 2003 and “The Last of the Dogmen” (1995 d: Tab Murphy, with Tom Berenger and Barbara Hershey in the lead) are both films with the theme of the ‘last’ of warrior spirits (one is Samurai, one is Cheyenne). The production of The Last Samurai is well worth seeing – the glory of a large-scale Hollywood production it is. From the research of the historical Japanese Meiji period, the mannerisms, the way different classes of people dress, the settings, the battle weapons and armory, how the Samurai train and fight, to the study and appreciation of the Art of War – where men of honor and integrity in service to the Emperor is the thing to die for. The film title in three Kanji characters means The Way of the Warrior (Samurai). The one character shown on screen at the very beginning (romanization: Sze) meant in the service of the King. Hence the definition of Watanabe’s Samurai lifelong one true goal – to serve his Emperor, one and only, and to die in the service of the Emperor would be an honor.
The film, directed by Ed Zwick, is truly a combined labor of love of everyone involved. From the producer-lead actor Tom Cruise and Zwick’s film-making partner Marshall Herskovitz, cinematography by John Toll and film score by Hans Zimmer, to the costuming details, diverse casting, location scouting all the way to New Zealand and training of the supporting cast – even the official Web site with extensive production notes – all provide enhanced appreciation of this remarkable film. The storyline and drama of “The Last Samurai” evoke various level of emotions, pulling the heartstrings of the audience with high emotional energy – suspense, sadness, smiles, empathy, joy.
“Kagemusha” by Akira Kurosawa, of course, is the ultimate grandeur of a historic Samurai epic. “The Last Samurai” is comparable in drama and treatment if not with equal passionate efforts all round. Both are available on DVD with special features of audio commentary and the making of ‘featurette’ and more.
Cruise and Watanabe conquer with great performances
It is said that the only thing constant is change. Old ideals die off, and new technologies replace the inefficiencies of yesteryear. The young usually have little trouble adjusting to change, but traditionalists are often dragged into the new era either kicking and screaming or silently resolved to remove themselves completely.
“The Last Samurai” manages to capture a little of both, with Japanese men living in a world in transition from ancient bushido rituals of honor into a more modern empire of industry and trade. A sweeping historical epic that hints at the brilliance of Akira Kurosawa’s finest work while also invoking the melancholy of a Shakespearean tragedy, the movie is a reminder of the cost of high ideals and danger of industrial conformity.
It’s 1876, and Captain Nathan Algren (Tom Cruise) is an alcoholic wreck of a man. A veteran of the Civil War as well as General Custer’s Indian campaigns, he drifts from one situation to another ostensibly looking for work but really seeking refuge from his inner demons of slaughtering innocent women and children.
Opportunity knocks in the form of an old Army acquaintance Colonel Ben Bagley (Tony Goldwyn), who has accepted work with a Japanese businessman named Omura (Masato Harada). Omura has been charged with recruiting American war vets as military advisors to the new Japanese Army. Emperor Meiji, under advise from Omura and other parties, is interested in modernizing his nation’s military with rifles and other armaments.
In order to unify the nation, the powers that be must first take care of civil dissidence within Japan. The samurai, led by charismatic chieftain Katsumoto (Ken Watanabe), are violently opposing the invasion of Western culture into their islands. Bagley foolishly sends his ill-trained soldiers into combat against the samurai, and during the resulting massacre Algren is captured and taken to the samurai’s village.
During the course of the winter, Algren slowly gains the trust of his captors and in turn is given free roam over the village. He fights with Uijo (Hiroyuki Sanada), who dislikes the American from the beginning, and is given food and shelter by Taka (Koyuki), the wife of one of samurai he killed during battle.
Katsumoto meanwhile seeks to learn about his enemy, and begins to respect Algren as a fellow warrior. Also interested in the American is Katsumoto’s son Nobutada (Shin Koyamada), intrigued by Western culture. Algren finds the first peace he has known in a long time, and begins to adapt to the ways of the samurai. He acts as a surrogate father to Taka’s children, learns to sword fight with a kitana blade and begins to respect the culture that he originally sought to destroy.
But during Algren’s absence the Japanese Army has had better opportunity to prepare themselves, and time is soon approaching that will determine the fate of the samurai and the future of Japan.
“The Last Samurai” is beautifully filmed by John Toll, the same cinematographer who worked on “Braveheart.” The comparisons are obvious with moments of silent reflection and loud explosions of fury, both powerfully captured on film.
Director Edward Zwick brings the same determination to the screen that he did more than a decade ago with “Glory.” The attention to period detail is near flawless and the movie never releases its grip on the audience.
As Algren, Cruise grows from suicidal depression to driven idealist quite realistically, drawing on the standard dishonored warrior archetype while giving him touches of humanity. Cruise’s only shortcoming is his lack of dramatic range, and as such it never seems like Algren has any sinister intent even when acting selfishly. Never for a moment is there a doubt that he’s destined to be a hero.
Cruise is also overshadowed in every scene by Watanabe, who makes Katsumoto a honorable man who is shocked by all the dishonor threatening to overthrow his country. Philosopher, poet, family man and warrior – Katsumoto wears many hats, and is realized through Watanabe perfectly.
Other smaller roles are captured by strong performances as well, including Goldwyn who brings class to the standard villain role as Bagley, Koyuki who plays Taka with quiet sadness and torn loyalties between her fallen husband and his killer who she is growing to love, and Koyamada who makes Nobutada young and headstrong but still sympathetic and honorable.
“The Last Samurai” only suffers during a protracted finale that screams of studio interference. The ending smacks of being safe, clean and Hollywood, something that almost betrays to whole film.
The movie is still strong enough to become a modern day classic. Like “The Wild Bunch,” it speaks to those curious of what became of warriors who outlived their time. Timeless issues of honor, loyalty and redemption as well as the clashing of ancient culture versus new technology remain omnipresent. To remain in the past in foolish, but to forget it entirely is disgraceful.
Nine out of ten stars. Destined to be remembered for some time, this movie honorably deals with its subject matter.
Original Language en
Runtime 2 hr 34 min (154 min)
Genre Action, Drama
Director Edward Zwick
Writer John Logan (story), John Logan (screenplay), Edward Zwick (screenplay), Marshall Herskovitz (screenplay)
Actors Ken Watanabe, Tom Cruise, William Atherton, Chad Lindberg
Country USA, New Zealand, Japan
Awards Nominated for 4 Oscars. Another 21 wins & 62 nominations.
Production Company Radar Pictures, Warner Brothers, Bedford Falls Productions, Cruise-Wagner Productions
Sound Mix DTS, Dolby Digital, SDDS
Aspect Ratio 2.39 : 1
Camera Arriflex 435 ES, Panavision Primo, C- and E-Series Lenses, Panavision Panaflex Millennium XL, Panavision Primo, C- and E-Series Lenses, Panavision Panastar, Panavision Primo, C- and E-Series Lenses
Laboratory Technicolor, Hollywood (CA), USA
Film Length 4,200 m (Italy)
Negative Format 35 mm (Kodak Vision2 500T 5218, Eastman EXR 100T 5248, EXR 200T 5293, EXR 500T 5298)
Cinematographic Process Digital Intermediate (2K) (master format) (some scenes), Panavision (anamorphic) (source format)
Printed Film Format 35 mm (Kodak Vision 2383, Vision Premier 2393)