Zatoichi's Pilgrimage (1966)

The blind swordsman’s 14th film continues to explore the self-analysis theme of the previous adventure. Ichi wants to be free of killing. He wants a path of non-violence and is fully prepared to pilgrimage to find it.
It’ll be no surprise to anyone that the request is followed by bloodshed and difficult solutions. In such matters his timing is impeccable.
It raises a number of philosophical questions. Can violence be justified when the innocent are suffering? Does doing nothing make us guilty?
The camera takes an occasional dramatic stance, but mostly it’s watchful, seeking out openness and sincerity of character.
It's an unusual entry, but one that really shouldn't be overlooked.

3½ closed shutters out of 5

Zatoichi's Flashing Sword (1964)

The blind swordsman’s 7th film has Ichi paying a debt to a young woman that helped him. Whilst doing so he gets embroiled in a fight between two bosses over control of a profitable venture. It’s less complex than what’s come before, but the emotions are of the usual high standard.
There’s a lot of comedy in the first half. People try to pull a fast one on the blind guy and the blind guy attempts the same on the sighted.
It’s nice to see him get some downtime, but the simplistic story is dragged out a little too long. When the sword does begin to flash, however, Ichi cuts a forest of enemies down like they were kindling.

3 pretexts out of 5

Zatoichi and the Chest of Gold (1964)

The blind swordsman's 6th film opens in style and lets you know you’re in for something a little different this time. There are scenes that are very obviously played out on a set, but I suspect they’re deliberate. Like the opening, in those moments the setting is of less importance than what’s said or the actions taken by the cast. It’s good that they’re there, because the basic plot isn't anything new. Ichi gets wrongly accused of theft and must clear his name or face the consequences.
It was heart-warming to see him embrace music and as thrilling as always to see him share screen space with Tomisaburô Wakayama.

3½ avoidances out of 5