How many innocent viewers have been deceived by this poster.
But this doesn't seem to be the script we were expecting at all. According to Hollywood's "scourge" Chinese kung fu routine, the mystery and strangeness of the East are highlighted first, and then they are recommended to be heroes. This film is still the same. The story of the whole film wanders between Western fantasy and Eastern historical drama, there are monsters, witches, demons, black markets, gloomy palaces among cliffs, and desolate and vast scenery of mountains and rivers, and on the other hand, there are costumes. Props, weapons, and palace buildings restore Japanese culture. In the end, I chose oriental feelings and used a grand belly-cutting ceremony to complete the response to history.
But the director did not handle the magic part well, nor did he take care of the history. Since a historical setting of "fake big sky" has been introduced, Japan has been shaped into a country of demons and beings, why not just let it go and play. Instead of just opening, use a poor monster to earn the audience's short-lived excitement. During the "seeking sword" session in the forest, another very oriental magical story was used.
At the same time, the biggest pit point is the skeleton gun brother in the poster. Let me mistakenly think that this will be a happy river and lake-like story of a combination of Chinese and Western ronin, common revenge. A good black market setting, but it was only used as a background to take Keanu back, and it was burned down by a fire. If Ji Nu and his party hire a few outstanding helpers in the black market where fish and snakes are mixed, and finally have a fight with a group of monsters to which Rinko Kikuchi belongs, it will undoubtedly add a different flavor to the film.
Forty-seven Ronin has a large number of people, but there are not some impressive characters, which is also the reason why the film has lost a lot of color. In Miike Takashi's "Thirteen Assassins", almost thirteen people have personal descriptions. The key is to use different weapons to build characters. But in this film we did not see a wonderful group shape.
Sanada Hiroyuki is indeed old. In the film, in addition to learning the speech skills of the protagonist in Hollywood movies, he really can't move. Sister Chai was worried throughout the whole process, quietly made a vase, and finally accepted the death of her lover with a reincarnation theory with a very oriental charm.
"Forty-seven Ronin" does not try to break through history, especially at the end of the story, it sublimates the theme with a "collective abdominal cutting" full of wonder. But after a messy revenge adaptation, it suddenly calmed down and allowed the audience to experience the spirit of samurai, and the style of painting changed too drastically. This is nothing compared to The Last Samurai.
Anyway, the magic + samurai revenge story I once fantasized about was just shattered. This is a sad story about fake posters
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