Yurusarezaru Mono a.k.a. Unforgiven, 2013
Directed by Sang il-Lee.
Starring Ken Watanabe, Shiori Kutsuna and Jun Kunimura.
SYNOPSIS:
An aging swordsman is lured back to perform one final job.
Walking into the showing of Yurusarezaru Mono, the remake of the 90s western Unforgiven, with it’s poster echoing the original directed by and starring Clint Eastwood, the question has to be asked whether the sentiments of following another film’s story so closely in a remake can be seen as a positive. Is it just as high an achievement to bend and change details from a film to better fit the original and achieve a good story, as it is to take an original movie and take it to entirely new places?
This film slaves to be as close to the original as possible, with a steely determination to stick to the story that came before it, but there are some delightful reimaginings on offer here. Instead of an old mercenary, our protagonist is a former samurai, now a lost ronin struggling on his farm. The use of a disgraced samurai on the run, with even less honour considering the brutal murder he’s known for, isn’t exactly original though. And the fact it ties directly into why events play out as they do means there’s a constant reminder that while it might be a suitable placeholder for Eastwood’s former mercenary in the original, there’s a lack of creativity when it comes to the back story of characters.
The change of detail never grates, however. There is something to be said for the ways the original’s story fits this new setting and it’s in no way a cookie-cutter job. Though the reasoning behind some of the followed plot beats, such as why the young Auni wants to be seen as a killer, aren’t exactly clear. These, along with some beats almost going through the motions if you’ve seen the original, hamper Yurusarezaru Mono somewhat.
The film does carry the dark, inevitable nature and spirit of the original quite well. Ken Watanabe more than fits the shoes of the troubled main character. Some of the dialogue does read better in English when Eastwood’s voice naturally interjects at points, and it’s that amongst other reasons that more of a departure from the original might’ve been a good idea. It doesn’t help that perhaps the original’s story does seemingly fit the Japanese setting and folklore better than it did the original’s pure western. It’s the oft-exchanged stories between Japanese epics and westerns that might have actually been better the other way around.
Another question that might have more to say about audiences than it does the film itself, is concerning subtitling in movies. While it’s great to have such films as Yurusarezaru Mono being shown in the UK (even with the lack of showings, probably something to do with audiences having to read), the language barrier creates a lacking in emotional connection as the audience concentrates more on just what is happening. That begs the question: was the film better, and this critic just doesn’t know it?
There are pacing issues that would be apparent whatever the language, with some scenes rushing encounters and introductions while others overstay their welcome. This is a major problem, as the emotional link that could be potentially had with a tale of two old fools, one chasing and one running from a dream, doesn’t hit as well as it might.
The film looks extremely good. There are some killer shots on offer here, with the landscape and backgrounds on offer giving a rich texture. Interiors are shot beautifully, and the detail given is one that is often overlooked in movies in general, but in a film set in this time period must be appreciated.
There are also some great storytelling moments, with double meanings and allegorical tales scattered throughout as the bear struggles to pull the sword that also represents himself from it’s sheath. It’s better explained in the movie, and gives the feeling of ancient folklore as the audience is transported backwards and forwards through time.
Overall, it’s a good movie that perhaps suffers from a lack of true emotional connection. The pacing, like the original, could have been quicker at times but that would ruin this brooding meditation on a man who, as hard as he may try, cannot stop himself from being a force of nature that leaves horror in his wake wherever he goes.
Flickering Myth Rating – Film: ★ ★ ★ ★ / Movie: ★ ★ ★
Matt Smith – follow me on Twitter.
Originally published March 7, 2014. Updated April 11, 2018.
