Baian The Assassin Volume One Review
As much as purists like to gripe about their favorite foreign films being remade or major international stars being relegated to minor support roles in Hollywood films the flip side is that the increased exposure in the west often leads to more of the original goods making their way here. Such is proving to be the case for Ken Watanabe. A major star in Japan Watanabe has risen to prominence in North America thanks to a string of key support roles in The Last Samurai, Batman Begins and Memoirs Of A Geisha and now Media Blasters have dipped into the vault to bring us some of the material that made Watanabe a major star in his native Japan. Though it lacks the name recognition and extreme bloodletting of series such as Zatoichi or Lone Wolf and Cub the Baian the Assassin series of made for TV features are fully worthy of being mentioned in the same breath as those better known works, thanks largely to Watanabe's engaging star turn.
Set in the Tokugawa period of feudal Japan the series of films stars Watanabe as Baian, a well respected and in demand acupuncturist with a secret: after spending his days in his medical clinic Baian works the night as an assassin for hire, dispatching his prey with a steel needle to the back of his neck. Frequently helping him in his work is his friend and fellow assassin, the toothpick maker Hikojiro who dispatches his quarry with his hand carved darts and a blow gun. But don't let their novel methods fool you, the Baian films consistently resist the urge to dip into camp instead taking their stories, characters and plots seriously, crafting subtle and complex dramas that would not be at all out of place on the big screen as opposed to television.
This first DVD release contains the first two Baian films, clocking in with a collective run time of 170 minutes. The first film, our introduction to the character and the underworld in which he dwells, sets Baian on the trail of, of all things, a candle merchant, but it soon becomes clear that things are not what they seem and our hero is quickly drawn into a world of subterfuge, intrigue and samurai clan rivalries. The second episode sets Baian after a quartet of ruffians plaguing a small town without the resources to properly protect their own.
Though these films are clearly built around the considerable skills of Watanabe, who already displays his trademark screen magnetism at this early stage of his career, it would be a mistake to treat him as the only drawing point. These are immaculately crafted films, very well written, populated with strong characters and quality actors, and shot with excellent production values. Though clearly made for television – the 4:3 aspect ratio gives their origin away immediately – they are so well made that they could easily be theatrical releases. Watanabe's portrayal of Baian, a man very much aware of the inconsistencies of his dual roles as healer and killer, gives the character a great deal of depth, depth mirrored in his relationships between his agent who collects jobs for him and his long standing friend and compatriot Hikojiro. And beyond the draws of character and production value the films draw you in by showing a part of Japanese culture that doesn't make it to the screen so very often: though there are samurai elements present Baian spends most of his time outside of that sphere, mingling with the artisans, innkeepers and general population of the era that are seldom captured on screen.
So why does Baian not get the attention of Zatoichi, Hanzo or that other famous Japanese assassin, the Lone Wolf? Well, if the films themselves have a weakness it is likely an over reliance on narration, a device made necessary by the complexity of the stories but nonetheless a little distancing. Beyond that it is simply a matter of these films taking their stories and the story telling more seriously than others of the ilk. Baian relies on character rather than bloodletting for its appeal which means it lacks that instant cult appeal. Blood speaks instantly across cultures, story requires a little more work.
Though the DVD release is disappointingly bare of special features – something setting both the story and Watanabe into context would have been greatly appreciated – the films themselves are very well presented. In their original 4:3 aspect ratios with the original Japanese audio the films feature excellent English translations and the source materials are remarkably well preserved. There is the type of grain you would expect from older film stock but the images are otherwise crisp and clear, nearly completely free of dirt or damage. These are quality films, well preserved and presented and very highly recommended.
