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While some films mean well, the “white savior” can often be seen as a cynical trope that sticks characters of a Caucasian persuasion slap bang in the middle of stories that, by rights, should be about everyone else. Such movies as Dances With Wolves, Dangerous Minds and The Help have been criticised for pointing the spotlight chiefly on the actions a white character as they prove to be the focal point of events when, in actuality, they often are only witnesses to what’s going on.
However, while it’s somewhat regrettable that there’s a sense that black, native American and Asian stories will only sell if a white character is the figurehead, it doesn’t necessarily mean that the final film is actually bad, and proving that theory somewhat is Edward Zwick’s The Last Samurai – a movie that immediately got eyeballs rolling when we first heard that the main actor involved was the decidedly un-Asian Tom Cruise.
In 1876, we find traumatised U.S. Army Captain Nathan Algren drowning the memories of his brutal actions during the American Indian Wars with as much alcohol as he can muster. However, offering him a lifeline is his former commanding officer, Colonel Bagley, who asks him to travel overseas and train the newly formed Imperial Japanese Army for businessman Matsue Omura. The army is needed to put down a samurai rebellion that’s risen up against the new emperor and despite his distaste for Bagley, the sizable payday means that Algren will be able to afford his sizable demand for booze. Struggling to teach the Imperial conscripts the ways of war, Algren is caught unawares even further when he has to take his untrained men out to stage a counterattack against the Samurai rebels after they compromise one of Omura’s railroads. Needless to say, the armoured samurai roll over Algren’s troops like a sword wielding tsunami.
While the death toll is heavy, a wounded Algrin wakes to discover he’s been taken prisoner in the village of rebel leader Moritsugu Katsumoto. However, while initially treated with distain by the samurai, and Katsumoto’s sister, Taka – whose husband Algren killed in battle – the American soon starts to see the simple beauty in their philosophy of life. Gradually adapting to the local culture, it helps him start to move past his rampant alcoholism and crippling guilt of wars past as he sees that Katsumoto is only mounting his rebellion to stop modernization of their country eroding the samurai’s political power and the young Emperor becoming a puppet of rich men.
Of course, Algren soon comes over to the samurai way of thinking entirely; but with various political machinations swirling against Katsumoto that involve ninja assassins and open battle, will this way of life be snuffed out just as it given the American peace?
So, there’s a few things you’re going to have to just accept when dealing with The Last Samurai, and one of them is the fact that Tom Cruise is inevitably in the middle of everything. While the systematic removal of the samurai way of life is the backdrop of the story as Japan violently moves into the modern age, the film prioritises the inner struggle of Cruise’s traumatised soldier as the lessons he gradually learns helps him overcome his demons. As storytelling goes, it’s solid enough stuff, but while it was commonplace as late as 2003 to highlight other cultures, histories and trials by having a white dude be our guide, you suspect that with the richness of the story and strength of the cast involved, there’s actually really no need for Cruise’s character to be present at all. Focusing on Ken Watanabe’s impassioned rebel leader, or even his son, as he witnesses the trials his father has to go through to preserve their way of life, would have worked just as well – however, as proven as the Japanese cast is, the sad truth is that none of them could carry a movie in North American cinemas and so that’s why we have Cruise and his luxurious, Mission: Impossible II hair learning to out-samurai the samurai.
However, if you can make past the fact that a white guy is making everything about him (director Edward Zwick did much the same thing in Glory with Matthew Broderick), The Last Samurai is actually a lush and wonderfully acted movie that almost manages to make you forget that blatantly, central trope. To give credit where it’s due, Cruise is admittedly fantastic, starting the film as an embittered drunk before taking the usual Tom Cruise path to redemption thanks to his new, samurai allies. Yes, it’s another “going native” movie that requires a pretty fly white guy to point out the problems of a beleaguered people to the audience, but on the other hand, he does look admittedly badass fighting off a bunch of would-be assassins with a katana in each hand.
However, as good as Cruise is, it’s the Japanese cast who truly makes the film as poignant as it is. Watanabe is magnificent as the stoic, yet proud leader who only wants to free the weak-willed Emperor from his circle of greedy advisors. Also making a sizable impact despite being at least twice as impassive is Hiroyuki Sanada’s kick-ass right-hand man, and both of them manage to stop the story devoting itself purely to the trials and tribulations of Nathan Algren. Dedicating a lot of time to old customs and ways, Zwick, wisely let’s the achingly beautiful cinematography duel with Hans Zimmer’s score in order to see which is more moving, while ensuring that virtually every scene is about honor (or the lack of it) in some way or another.
But before you just think everyone is going to solve their problems with steely glances and impassioned pleas while clutching swords, Zwick also demonstrates that he hasn’t lost his knack for stirring action either. Bookended by a couple of rousing/tragic battle scenes that sees many a flashing blade and squirting, Lone Wolf And Cub style arteries, the film also grants us something of a dream match up when a cadre of ninja square off against samurai for an assassination attempt. Of course, it all ends in a lip quivering finale that drips honor and respect from every pore, but despite my cynism for the savior trope, watching Cruise ride hard into battle with Watanabe and Sanada while all are dressed in full samurai armour is a legitimately stunning sight to see, goddammit.
While the film can’t quite stop itself tipping into the standard white savior story points here and there, Zwick ensures that the movie is at least visibly gorgeous and undeniably emotional while Cruise uses the way of the samurai to help him sleep at night. The performances are insanely solid and the action is legitimately moving as Zwick once again tries to cast an eye on Japanese history – with a slightly frustrating assist.
Tom-o Aragato.
