Zatoichi's Conspiracy (1973)

Film number 25 was the end of the original, unbroken run of Zatoichi films. Shintarô Katsu stayed with the character for a subsequent 100 episode TV Series (1974-79), and he came back for one last blind farewell many years later (1989), but it's here that a line can be drawn and an emotional marker laid.
The swordsman returns to his home town, a place he's not been in over twenty years, with mixed feelings in his heart. Sadness shares space with remembered joy, and old faces with new.
All happenings point towards an inevitable and familiar ending, but it's how he gets there that's important. Being who he is means it's bloody and with the best of intentions. Other than the setting, there's no real indication that all concerned knew it was to be the last. Nevertheless, as a farewell it's decent and thankfully less bleak than the few films that preceded it.

3 trust penalties out of 5

Yōkai Monsters: 100 Monsters (1968)

A greedy, villainous magistrate who disrespects a small village Shrine doesn't count on the Yōkai actually being present in it.
For at least two-thirds of the running time the second film in the trilogy attempts a serious Jidaigeki with a supernatural element in the fringes, surfacing occasionally, and it does it really well; I suspect access to Daei’s existing sets was a huge help in that regard.
There’s a story within a story segment that aids in setting a mood and keeps the eeriness in mind before the big reveal. When the haunting side of things is eventually elevated to centre stage it doesn't skimp.

3½ evening stories out of 5

Zatoichi Meets the One-Armed Swordsman (1971)

The blind swordsman's 22nd film was a crossover event that added the Chinese hero/anti-hero Fang Kang to the cast. You’d expect that to result in a Chanbara/Wuxia hybrid, but in my version the ratio is about 90:10 in favour of the Japanese technical style. The Chinese cut reportedly had more Fang Kang screen time, but I can’t find it for sale anywhere.
It’s a violent film with a cultural message that’s clear to read and an ending that leaves you with plenty to think about.

3 language barriers out of 5

Zatoichi and the Fugitives (1968)

The 18th film goes from quiet beginnings to a spectacular finale that takes place in close quarters and is one of the bloodiest of the series so far, but it doesn't neglect the slow burn and traditional moments in between.
Most of the villains, a group of yakuza who gather in a small town at the same time as Ichi arrives, are ruthless, senseless thugs led by a man who’s characterised by his biding of time and sense of caution. Their behaviour forces the blind swordsman to get his rage on to take them down. It’s such a fierce feeling that even the skies respond in kind.
It adopts a spaghetti western style in places, even musically, but the spaghettis were heavily influenced by chanbara, so it kind of works.
Takashi Shimura lends support as a kindly doctor.

4 shoulders of great men out of 5

Daimajin (1966)

aka Majin / Majin, the Monster of Terror / Majin, the Hideous Idol

The Daimajin series is a kaijū trilogy from the studio that gave us the original Gamera franchise. but this first entry is an altogether more sophisticated breed of film. It’s foremost a quality jidaigeki about clans, control and a merciless militaristic coup. It’s male dominated but the few women that do feature wield the kind of power that matters.
The creature is more like a crushing force of nature or an angry god’s retribution personified, punishing the evils of mankind. It takes a long time for it to appear. but in all probability you won’t miss it because the drama that occupies the remainder of the running time is excellent and holds its own. It keeps colours very natural but still manages to look beautiful.

4 stone fingers out of 5

Zatoichi's Cane Sword (1967)

In Ichi’s 15th film he's forced to give up his trusty cane sword. Without it his connection to the world and his confidence is shaken, leaving him blinder and more vulnerable than ever.
You might think a film about a Samurai with no weapon would be boring, but he still has ability, wits and a desire to be happy, so there’s still a lot to be explored. Fans of the series will have wondered before now that if being free from the blade might finally give Ichi the peace he’s long sought. The plot acknowledges that in a meaningful way.

4 barrel spins out of 5

Adventures Of Zatoichi (1964)

The 9th film returns the series to the darker side of human nature and is a lot more serious as a result. The New Year celebrations are just around the corner, but not everyone gathered in town is there to spread joy. It’s a good thing Ichi is the voice of reason (and the sword of justice).
Fans who've followed the series from the beginning will be pleased to know that we’re treated to some revealing info about Ichi’s past that's integral to the story and further deepens our understanding of his nature.

4 necessary strikes out of 5

Zatoichi on the Road (1963)

The blind swordsman's 5th film kept the series quality high. He stumbles (blindly) into the greedy paws of two rival gangs who each have their sights on a young woman. Being the noble chap that he is means Ichi becomes honour bound to protect and deliver her to safety.
Director Yasuda makes proper use of the expansive film frame. He also knows how and when to use zoom for maximum effect - take note Hollywood! Shintarô Katsu is at one with the character and the film lens by this stage in his career. Everything gels beautifully.

4 bitter persimmons out of 5