Rurouni Kenshin The Final Review: Loose adaptation brings action-packed drama
The fourth in the live action film series based on the globally acclaimed manga, Rurouni Kenshin: The Final (Saishusho: Za Fainaru, 2021) premiered in Japan last April to top the national box office before its worldwide release by Netflix this month. While having received fairly decent ratings thus far compared to the past three movies, reviews for The Final were composed of praises in general. It was also invited for screening in the Shanghai International Film Festival this year, the first Japanese live action to have such an honor. Did the film give the finishing arc justice or was it a failure in capping a decade-long live action franchise? Warning: spoilers ahead!
Loosely adapted? The Final’s approach to the longest arc
Rurouni Kenshin revolved around the story of Kenshin Himura, the legendary Battōsai the Manslayer, who retired shortly before the Meiji Restoration was completed as a wanderer (rurouni) out of remorse for the lives he took. The third and final arc of Rurouni Kenshin, the Jinchū Arc, was the longest in the manga, covering 11 of 28 volumes. Jinchū, or man’s judgment, would be revealed as the path of revenge by Enishi Yukishiro, brother of Tomoe Yukishiro. It was revealed that Himura’s abandonment of the sword that could kill was not merely out of idealism, but was also rooted from a personal experience: he unwillingly killed Tomoe, who turned out to be his wife, initially as a ploy to take down Himura, but eventually to protect him from the powers who sought his liquidation. Thus, Himura’s trademark scar was created, the first slash made by Tomoe’s fiance (who Himura killed in one of his many missions), and the second by Tomoe herself. While Enishi seem to have witnessed his sister’s death, he did not understand the plot that led to that brutal end. Fast forward to 12 years after the Restoration, Enishi returned to Japan as a boss of the Chinese mafia. This time, he utilized all of his resources to exact vengeance. It became an eventful reunion, with Himura’s new allies such as Oniwaban head Shinomori Aoshi and Shinsengumi captain Hajime Saitō joining the former revolutionary in battling not only the mafia, but also disgruntled personalities who Himura once fought against during his service for the Meiji government. One surprise ally was found in one of the Juppongatana, Sōjirō Seta, who was also contracted by the mafia, but would later side with Himura.
As a matter of comparison, the Jinchū Arc was never portrayed in the main anime series of the same name (known in some countries as Samurai X), which may have excited a number of fans who would probably be seeing the final leg of Kenshin Himura’s journey for the first time. Except that the film was loosely based on the source material, and by loose, only the characters might be said as the faithful derivations. As a whole, it would feel like a new story for those who were going in with a background on Rurouni Kenshin. Despite this, it was not to say that the film was an entire flop. On the contrary, it managed to hem a wonderfully crafted plot in a span of two hours that might have been near implausible if basing on more than half the manga’s volumes. There was a hint of satisfaction seeing how the previous trilogy fitted quite well to the fourth installment, especially as the viewers were given a glimpse not only of Himura’s life after the threat of his successor Makoto Shishio to take over the country, but also of his erstwhile enemies. Seta’s appearance was perhaps among the thrilling parts, for while short relative to the rest of the scenes, he was built by the trilogy as the younger match of Himura, and their duel was among the highly regarded in terms of fight choreography in the previous films. His sword style, mostly derived from Shishio’s teachings, nonetheless seemed closest to Himura’s famous Hiten Mitsurugi, and the film was quite intent on portraying how in sync they were as they fought together. It provided a successful reform story to show that at least one of the Juppongatana had a genuine change of heart moving on after meeting Himura.
In relation to this, a number of new characters were not given sufficient depth in their introductions for the sake of keeping the pace throughout the film, such as Enishi’s colleagues. One of them, the former samurai with a severed arm, even pleaded for Himura to take his life. This was not a new scenario, but it might nonetheless make little sense for those seeing the franchise for the first time through this film. It was a powerful portrayal that the ones who did not side with the winning team were usually cast aside by the victors, even as Himura was hopeful that the new era was supposed to bring real reforms without leaving anyone behind in the wake of progress. Saitō may be one of the more fortunate as he found himself as a ranking officer in the Meiji police, but not everyone had the opportunity, nor did everyone have the conviction. Note how another of the Juppongatana, Cho the Sword Hunter, was shown as a double agent working for the mafia.
The long road to nation-building: Japan’s position in the new world
Perhaps a subtle yet overarching theme in the entire film was the peace and stability of the Japanese nation more than a decade after the Restoration. Not only was Shishio’s bid for power contextualized, but also the Satsuma Rebellion, the issues of Taiwan and Korea, and the position of the country in world affairs. Then again, unlike in the trilogy where War Minister Aritomo Yamagata was portrayed as the symbol of the Japanese state, it was Chief of Police Toshiyoshi Kawaji who took that role in the fourth film. This was quite a shift in prioritizing Enishi’s terrorism in the affairs of the state, for while Shishio was regarded as a problem worth Yamagata’s involvement, it was Kawaji’s turn this time to deal with Enishi’s troubles, albeit in this film at least, Enishi might not be confined as an internal problem due to his Chinese connections. At this juncture, it was not well established how Shishio compared with Enishi in the eyes of the Meiji government, although some viewers might assume that Enishi was supposed to be the stronger villain. In the lens of Himura, however, it was a dilemma larger than he ever faced, primarily because it also carried the emotional baggage of his tumultuous past. This would be ample reason why it was The Final.
The fact, however, that Enishi was able to bomb Tokyo in less than three decades since an American “black ship” arrived was quite reminiscent of the national shame brought by the later Tokyo Raid in 1942 by the United States. While Japan had grown its national strength significantly since the Restoration, exposing the vulnerability of the capital had immense impact implying that the Meiji government had fallen short still. One may even compare with the situation of the nation during the subsequent Taisho era, which modern anime had popularized as well for a new generation through productions such as Demon Slayer: Mugen Train (2020). While Enishi himself did not carry such a message, Shishio once did, and the psychological effect was indeed devastating as portrayed in Kawaji’s response. Meanwhile, it was also a reminder that a nation was not built in a day. Before it could set eyes overseas, it was an epiphany that Japan, or any country for that matter, should first ensure that it had its house in order. Himura, however, was just one pillar among many building blocks which helped create the nation. To understand that it would be a collective effort entailed educating the people their rights and responsibilities in upholding the dignity of self-governance. It was probably surprising that such lesson on nationalism and love of others would come from Tomoe herself, who in her diary wrote the following words: “He will claim the lives of more people in the future, but beyond that horizon, I know he will defend the lives of even more. I cannot allow him to die here. I will defend him even if it means my life.” In the main, it was the epitome of self-sacrifice. To love your neighbor and to love your nation would demand no less than your life, for no love would be greater than to lay down your life. Did Tomoe realize a heart of nationalism? Probably, probably not. However, the fundamentals were there, and she was the compelling voice of it for this film.
Saibancho, the verdict
In the midst of the drama, the fight scenes did not let down as it carried on the spectacular tradition set since the first of the film series in 2012. There was no overpowering soundtrack hustling, or in other interpretations distracting, the audience from the swordplay. Instead, what was provided would be an immersion to the surroundings of actual duels, from the clashing of weapons to the crashing of bodies. While there was nothing much new to reveal about Himura’s sword style, it was a presentation to grasp how he had not allowed his skills to dull after Shishio’s defeat. To be ready, whether in war or in peace, whether in or out of season, had been inculcated in his senses. To reiterate, it was perhaps the closest to a realistic portrayal to the amazing techniques of the franchise, especially if one was also familiar with how a number of present practitioners also tried their hand at imitating fiction in reality. For a two-hour film, however, it would be quite a challenge to stretch battles which would have otherwise lasted minutes at best. Himura himself would admit in the anime how during the carnage of the revolution, samurai had to come up with killer attacks that would end things with a single strike. Nonetheless, the pacing managed to masterfully take advantage of this balance between action and drama.
The Final would also be a refreshing treatment of an arc that was looked forward to be adapted by longtime fans throughout the years, especially as the manga ended in 1999, while the anime did not follow up in animating the arc. To be fair, it might have been a heavy decision to largely depart from the source material, but the outcome was by all means satisfactory that it would be a welcoming introduction for those who would be seeing Rurouni Kenshin for the first time. The entire live action franchise had been well accepted by many despite this relationship with the manga, mainly because of how it welded its own world in a generally coherent manner, and it might well solidify the legacy of the wandering swordsman in the years to come.
(Photos from the film courtesy of Satoshi Fukushima, Hiroyoshi Koiwai, Warner Brothers Pictures)
