Rurouni Kenshin: Origins (2012)
Director: Keishi Ohtomo
Starring: Takeru Satoh, Emi Takei, Munetaka Aoki, Yohsuke Eguchi
Primary genre: Action
Secondary genre: Period
Third genre: Drama
Adapting manga properties just like videogames has always been tricky leading to downright embarrassing results. The overwhelming majority of manga related outputs have been plagued by production issues with mainly the low budget restraining the filmmakers’ capability of bringing forward a presentation worthy of the big screen. Efforts like “Blood: The Last Vampire” (2009) and the recent (and lame) translation of “Attack on Titan” (2015) are two examples of how not to do an adaptation while for the English-speaking ones (e.g., “Dragonball Evolution” (2009)) should be left dead and buried.
Yet in 2012, something happened. A creative team was united to honor Himura Battosai, skillfully capturing his unique fighting style and sensibilities under due to director-writer Keishi Ohtomo’s ability to captivate both fans and newcomers. Although his first attempt features many characters with limited depth, it remains admirable, earning fans’ admiration by downplaying the melodramatic aspects Japanese cinema is known for (e.g., excessive screaming, crying, and begging).
“You know what money can’t buy? What you’re begging for right now: your life”
It helps that Rurouni Kenshin’s arc is related to the concept of redemption and not to overcome a form of villainy; the script might have copious amounts of action, yet it never surrenders itself in over-indulging bloodbath. Himura’s newly founded pacifism has plenty of organic room to breath and like Batman, his aversion to killing is tested plenty of times. It’s an interesting take on a flawed hero who caused harm (a surprise twist) to ensure Japan’s future in the modern age.
Appropriately shot in real locations amidst forests, temples and more, “Rurouni Kenshin” is a standalone movie avoiding typical sequel-baititis which the 2010s action decade has us used to. Assisted by a memory lingering kickass main theme and the gorgeous orchestrations of Naoki Satoh that invoke all sorts of emotions - from thrilling and playful to tragic, “Origins” punches above its weight due to its practical insistence. The well-made sets and costumes look like natural extensions of Japan’s Meiji era elevated by Takuro Ishizaka’s crisp cinematography.
And then there is the action. While the 2010s did not have much innovation going for them excluding George Miller’s “Mad Max: Fury Road” (2015), Gareth Evans’ “The Raid” and “John Wick” (2014), “Origins” establishes a brand new way for swordfighting and it is a shame that many people still have not discovered what a gem this film truly is. Action director Kenji Tanigaki created a new vicious style for Kenshin, one which aims to incapacitate multiple opponents without resulting in the use of deadly force. Thus, the several fights and stuntwork between heroes and villains are a joy to witness, shot in extreme precision and sensational acrobatic(!) speed that puts contemporary genre entries into shame. Kenshin moves like a hybrid of Batman, Musashi Miyamoto and a parkour athlete.
Takeru Satoh became visually synonymous with the superhuman assassin portraying his hero in a sublime and stoic interpretation shying away from unnecessary bravado and pointless machoism. Even in more challenging scenes (like Kenshin’s flashbacks) his stare can be described by thousands of words, a testament to his versatility. Satoh’s performance (both physical and emotional) is a career high and should be commented creating a new action icon that is deprived from political correctness and banal characterizations of black and white morality. The rest of the cast are good split directly into two groups: action and support. Although cinephiles might feel this distinct separation a bit gimmicky forced to go not beyond their line delivery, it is still nonetheless easy to remember who is who in a 2.5 hour film.
There are some minor hiccups such as the lengthy running time and the antagonistic roles. From a banal opium trader who feels like he walked from another set to a deranged serial killer, both have hardly any depth embodied with the typical stereotypes that Japanese society imposes upon these individuals. Still, they do not detract from the overall story and action aesthetics; in fact they enhance them. Their almost caricaturesque take propels Satoh’s lead into the stratosphere of the audience’s consciousness lending this manga adaptation much needed gravitas shielding it from ridicule.
Superb manga adaptation
+Superb musical theme
+Great cinematography
+Incredible sword fights
+Takeru Satoh is Rurouni Kenshin
-Relatable protagonist
+Poignant redemption arc
+Beautifully and practically made
-Caricature villains
-Long running time