Twilight Samurai (Tasogare Seibei, 2002) by Yamada Yôji

Post By: Jackson Beazer

                  Twilight Samurai is one of many samurai films that have been created throughout the course of Japan’s history, but it stands out through its representation of traditional values in many of modern society’s cultural issues. Whether it is single parenting, love-based relationships, or abuse and divorce, this film portrays these modern Japanese issues through the lens of a loyal and hard-working samurai. Formalistically, if the modern issues were taken away then this film would probably fall into the anti-feudal samurai film genre; but once all of the more modern societal issues are introduced into the plot, it becomes harder to see that.

                  This film follows the life of a recent widower and samurai named Seibei, but because of his waning status and circumstance he is often referred to as “Twilight” by his peers. Due to being a single father as well as having a senile mother in his care, he spends far more energy taking care of his family than do the other samurai in his clan. He has less time for things that are important to society, such as bathing and repairing his worn-out kimonos. His duty is to marry and re-instate his status once more, but the only girl he wants to marry is a lady from a rich family who has recently left an abusive relationship and fled to her brother’s household. But due to Seibei’s lack of ambition and lack of wealth, he can’t see this lady (Tomoe) being happy with such a marriage relationship. The film spends a lot of time developing this relationship and the social pressures both for and against its success. Because of Seibei’s apparent skill with a sword, he is asked to go on a mission to kill a clan dissenter towards the end of the film. Seibei, who had to sell his sword in order to fund his wife’s funeral, goes into battle with nothing but a short sword but still manages to emerge victorious. As he returns home, he finds Tomoe waiting there for him as an expression of the love that she has for him. They get married and live happily ever after.

                  Though this film embodies a number of more modern social concerns and values, the storyline can also be seen to fit into one of the main styles of samurai films: the Anti-Feudal Drama. The Anti-Feudal Drama is distinguished by the featuring of a character that is very much a product of “the system.” In this film, that role is filed by Seibei: a man of the lowest status possible as a samurai. His family is very poor for a samurai family and Seibei does much of their farming himself.

                  Though generally, anti-feudal dramas feature a main character that has serious concerns about the nature of the feudal system, Seibei is slightly different in his internal concerns and struggles. He doesn’t have to get married, but his situation in life, along with his status in society will not improve unless he gets married. But Seibei is not socially ambitious. There are opportunities or him to rise up and increase his stature in his clan, but he prefers the satisfaction of raising his two daughters to the workings of the political machine. Thus, he has a hard time relating to the other samurai who focus solely on the social and political aspects of their community.

                  This is one aspect of the film that is strongly influenced by modern social issues. This seems to be commentary on the men of Japan who put so much emphasis on stature and success in their careers that they neglect their familial duties. Or, going even a little deeper, it is a comment on the lack of love and care that many Japanese men seem to have for their families. Seibei mentions a few times in the movie how he doesn’t care about his status or how he is perceived; he finds a truer joy in the presence of his daughters. That sentiment is a stark contrast from how modern Japanese men often seem to act towards their families.

                  Thus, the main struggle portrayed in this film is not so much about whether the feudal system is right or not, but about how Seibei can find satisfaction in life: by focusing on the clan and his duties or by focusing on raising his daughters with love and attention. Those vertical structures of family and interpersonal relationships are more important to Seibei than those of his clan or country.

                  One aspect where this film differs from the classic Anti-Feudal Drama is that the main character, Seibei, is not a ronin. He is a long-standing member of his clan, and fulfills his duties to them, even if that isn’t his highest priority. But, he is somewhat of an outcast among his clan due to his lack of money and prestige, so he still fills that “lone-wolf” role to some extent. This might reflect on modern Japan because nobody is really banished or wandering the country alone anymore, but there are many who feel outcast and separate from the society that constantly surrounds them.

                  Seibei is also a great swordsman, which is one of the characteristics of the Anti-Feudal Drama. He is sent by the clan to eliminate a rouge hiki-komori (shut-in), and he displays his ability with the short sword. He enters a fight to the death inside a dark and dingy home. It is interesting how the antagonist in this fight is a lone old man, and it seems to reflect an increasingly common mindset in Japan these days. There is a lot of talk in Japan about those who shut themselves in their home and never come out, living in solitude and, quite often, in filth. This could be seen as a comment about the state of the Japanese individual and the modern condition.

                  Overall, this was an interesting film that overlayed modern issues and concerns with the classic genre of an Anti-Feudal Samurai Drama. The ways it addresses single parenthood, divorce, and abuse appeal to modern audiences while the classic nature and theme of the film are relatable to all who are familiar with Japanese culture and tradition.