colaya I guess it's a mystery why this film is not well-known. As I write this, there are only other 1,338 IMDb users that have rated it. A small group of fortunate viewers. If you have not seen it and you are reading this---perhaps you are exploring the possibility because of some samurai or classic movie interest?---then just watch it. It's just impossible to like classic samurai action and not to love this movie. And if you are new to classic samurai movies, this is a good start. All major ingredients are here.But if you need reasons. Well, what's not to like? Mifune at his best. The beautiful cinematography of Okamoto. An all-star cast from every major samurai movie (the only one missing is Nakadai). Political intrigue in the decay period of the samurai cast. A series of Rashomon-like flashbacks for learning, slowly, the dimensions of a tragedy. Spectacular samurai action in the snow. A drum that beats, slowly, fate. And endless themes to think about: fate vs. caprices of life, love vs. duty, friendship vs. personal ambition, the quest for finding ourselves a place in the world, and so and so. The other mystery is the rating of this movie. It should be above 8,0 by all means, to say the least. I disagree with other reviewers that talk about a "convoluted" plot. I found the plot easy to follow, despite the names involved. And the director is very efficient and artistic for delivering the story in a 2-hour mark. It just needs to build tension for the great finale. It's a matter of enjoying.

ironhorse_iv I don't think a lot of people have saw this movie. It's not all chanbara or 'sword fighting' film nor it's it a Jidaigeki, a periodic film with little to no fighting. It's more balance than that. It's not well known film. Still, it's worth checking out. The film has this an ancient Greek tragedy feel to the film filled with heartrending irony and a sense of unavoidable doom. I think Samurai Assassin is just as amazing piece of Toshiro Mifune's work as Seven Samurai (1955) & Yojimbo (1961). Yes, it wasn't directed by Akira Kurosawa, but Director Kihachi Okamoto did an amazing job with this film. The fight scenes in this movie are just brutal. The film is one of the first to embrace the blood splattering violence in samurai films. The way he shot the bloody snowy fight scene is just beautiful that probably influence a lot of future directors such as Martin Scorsese and Quentin Tarantino. It helps that the black & white Tohoscope was from Hiroshi Murai, one of the greatest Japanese cinematographers. Samurai Assassin is set in 1860, where feudalism is near its end due to the Meiji Restoration. The event changed Japanese society forever by doing away with the castes in society and reducing the position of the samurai class. By removing samurai out of power, Tsurichiyo Nirro (Toshiro Mifune) felt that an assassination of Ii Naosuke (Hakuô Matsumoto) is needed as Ii Naosuke is the one pushing for change. Niiro Tsurichiyo is the illegitimate son of a powerful nobleman, and loose Ronin social outcast wanting to have a Samurai status. Seeing the Lord of Hikone, Sir Ii Kamonnokami Naosuke as a threat to his dream. He join forces with multiple clans from the Satsuma, Mito, and Choshuu provinces to take him out. Tension builds as the assassins wait day after day for the perfect moment to take out their target. Il Naosuke continue to tempt them, by making more and more unpopular choices, such like appointment of the 14th shogunate and initiated the Ansei Purge to quiet critics of his choices. While the backstory unfolds slowly, the hack and slash action takes a backseat, so the movie gives a traitor within the assassins plot. By doing this, it gives a new sense of direction, as Nirro Tsurichiyo is unsure who to trust. He finds out that the samurais around him, are not as nobility like he think before joining them, as they act more like a murderous gang. In one powerful scene in the middle of the film, Nirro Tusirchiyo break down after engages his best friend, Kurihara (Keiju Kobayashi), is a sad moment. The stress builds as there is more at stake here that their own lives. The director made the right decision to take his time and allow character development! The film is based on a novel, which in turn was inspired by the historical event known as the Sakuradamon incident. The faults of the film are this, while the narration is great in the film, I doubt it was needed. Another sub-plot not needed was the lost-love relationship as I felt it slow the movie down. All the flashbacks are not needed as it make the story confusing. Another big mistake of the film is how it was film, letter-boxing. It's really hard to see when watching it on DVD. At less, the movie is sub-title by AnimEigo. Kinda wish it was Criterion who did that as the sub-titled go really too quickly rather than allowing people to read it. Anyways overall: if you like old school Samurai movies, give this film a watch. This is a must see for any Toshiro Mifune fan.

chaos-rampant Samurai Assassin is a tricky film. It tries to balance neatly between the chambara and jidai-geki. As a jidai-geki it falls close to Masaki Kobayashi's amazing masterpieces Seppuku and Samurai Rebellion in its resemblance of an ancient Greek tragedy filled with tragic irony and a sense of inescepable doom. On the chambara front it takes a while to deliver but when it does, it's all guns blazing; the final fight in the snow ranks as one of the greatest battle sequences in 60's samurai cinema.What hampers Samurai Assassin is both the very convoluted plot (even by jidai-geki standards) and the narration that should have been skipped altogether (especially in the ending). The plot although well constructed may suffer under close scrutiny. Of course nothing a little suspension of disbelief can't solve. Still, it devotes too much time and detail to subplots and flashbacks that ultimately detract from its goal: building momentum for the final confrontation (both physical and emotional). Tsuruchiyo's backstory for example is spread over 30 minutes and while it gives a solid foundation to the character, you can't help but wonder what it has to do with the first half hour. It all clicks together at some point but it would have benefited immensely from tighter plotting (20 could have been clipped). Less detail, narration and names-dropping, more visualization.No matter. Samurai Assassin is still a decent film with some memorable scenes. It starts to pick up steam after the 70 minute mark and finishes on a spectacular note. The final battle in the snow is a marvel to look at and features some top notch swordfighting, with Toshiro Mifune simply owning every frame with his impeccable physical skills. It's a very bleak and ironic ending however; there's no valliance or social status to be gained for Mifune's character. I don't want to spoil it any further cos it's easily the best part of the movie.Okamoto, a great chambara director of the 60's, was well on his way to bigger and better things. Just one year later, Sword of Doom would go on to become one of the best Japanese movies of all time. Three years later, the thoroughly enjoyable Kiru! would add some tongue-in-cheek spirit to Okamoto's often nihilistic style. Still, Samurai Assassin is a welcome addition to his ouevre that might not be excellent and thus not a good entry point to both Okamoto and the jidai-geki but it's recommended to genre fans.

zetes I am rather disappointed in Kihachi Okamoto's Samurai Assassin. I am a huge fan of his 1966 film, Sword of Doom, which is, as far as I'm concerned, the best "pure" samurai film, at least on the same level as anything by Kurosawa. Samurai Assassin was made the previous year. It is about a siege around Edo castle, and concentrates on one warrior, played by Toshiro Mifune, who desperately wants to become a samurai. He has been turned down in the past, though, because his mother was a geisha and his father was unknown.The script is the main culprit here. It's far too slow, and far too many names are dropped. For an American, anyway, it becomes increasingly difficult to process so many multi-syllabic Japanese names. Eventually, I didn't care at all about what was happening. Okamoto was obviously trying to go for the type of slow-build that was achieved, for example, in Misaki Kobayashi's excellent Sepukku (aka Hara-kiri, 1962), but the script is far too wordy.For most of the 2 hour 2 minute run, I was just concentrating on the beautiful cinematography. The black and white in this film is truly exquisite. A few good scenes managed to pop up here and there. Fortunately, Samurai Assassin ends on a fantastic note. The final samurai battle is one of the best I've ever seen. Okamoto uses snow as a prop as well as Kurosawa uses rain (there is a great snow battle in Sword of Doom, as well), and the level of dramatic irony equals some of the best Greek tragedies. My final judgement: Samurai Assassin is worth watching if you are a fan of samurai movies, but it is not a high priority. It is definitely a don't-see for anyone who has never seen one of these films before (start with Kurosawa, The Seven Samurai, Yojimbo, and Hidden Fortress for starters) or anyone who is unsure of whether they would be entertained by something like this. 7/10.