Genre and Politics in '13 Assassins'

It’s rather cool that “13 Assassins” is reminiscent of both “Seven Samurai” and “The Wild Bunch,” further reinforcing the connection between the samurai and western. Moral codes. Honor. Sentimentality. There’s a scene in “13 Assassins” of samurai being forced away by the sight of guns – a historical point with much to say about our postmodern culture that was created by numerous technological advances. Out with the old, in with the new. Not only does the scene invoke Kurosawa and Peckinpah, but it trumps the argument that the action film can’t be for thinkers.

But what makes “13 Assassins” electrifying is the stamp of Takashi Miike, an incredibly prolific director (about 40 movies since 2000!) who ignores the line between the highbrow and lowbrow. For the most part, “13 Assassins” is impressive from a technical standpoint, but Miike throws in CGI bulls on fire, an effect that really looks like shit. If I had seen such a thing in any other historical epic, you would likely be reading a mini-rant now. But in this case I remember that Miike has directed many direct-to-video productions. His lack of taste, if anything, has made the world of film more interesting and funny.

I don’t want to mislead you, though. “13 Assassins” is one of Miike’s most accessible films. The humor is sharp rather than demented. While the film is very violent, the level of violence is comparable to movies like “Saving Private Ryan.” As in “Seven Samurai,” the good guys are introduced one by one; this formula, for whatever reason, is always fun.

As agreeable as the film is to general audiences, I couldn’t help but notice subversive elements. With films like “Ichi the Killer” and “Izo,” Miike is as satirical as he is fond of genre. In “13 Assassins,” the samurai poses are very obvious (and thus awesome), but the coolness is countered by some of the deaths that follow. I found myself relishing the genre glory but losing the high moments later. Early on, images of an amputated victim approach the territory of “Audition,” Miike’s horror masterpiece.

In interviews Miike has deflected the idea that his work has social commentary. Nonetheless, “13 Assassins” touches on a few political morals. For example, the major question is whether a samurai should stay loyal to his master if the latter is corrupt and murderous. Obviously, the 13 assassins say no, and we root for them. But what are we doing in our actual lives? Are we blindly following an inhumane Military Industrial Complex and/or leader, or is our political reality not so bleak?

In “13 Assassins,” a bandit/hunter named Kiga is found in a cage and freed. Although he is of samurai lineage, he rejects samurai tradition (i.e., he fights with sticks and stones and doesn't appear to be someone willing to commit ritual suicide). He joins the cause as the thirteenth assassin but is flippant about the carnage that ensues. In a way, Kiga represents postmodern culture. Rather by direct or indirect participation, we make up a political entity that fights other political entities, but many of us are often disconnected from the traditions and sacrifices involved (even as voters). But like Kiga, we find meaning in our personal lives. But would we appreciate life more from a different perspective? Lord Naritsugu, the antagonist of the film, provides an answer with his rumination on war: “With death comes gratitude for life.” The veterans I know might agree.