Love and Honour (2006)

The last entry in Yôji Yamada's Samurai trilogy deals with love and honour; both states that can set you free or trap you in a vice-like grip.
Like the two previous films it's a character driven story with very little swordplay, but unlike them it’s more focussed on the conflict that arises from what is unknown rather than what is unsaid.
The protagonist Shinnojo Mimura, again a warrior on low pay, isn't afraid to act on his feelings; he uses them to his advantage when love becomes a casualty and honour must be reclaimed.

5 fallen leaves out of 5

The Hidden Blade (2004)

The second film in Yamada’s trilogy of Samurai period dramas is structurally very similar to its predecessor, but the characters and setting are different and their actions have further reaching consequences.
It's a story of the individual trapped within a social structure that places great strains and limitations on his conduct and his affections.
Yamada is a master filmmaker. His ability to weigh the passing of time against the stillness of contemplation is honed to perfection. He’d plenty of practice, having made over seventy films previously.

5 sakura out of 5

The Twilight Samurai (2002)

Seibei Iguchi was once a swordsman but is now a low-rank accountant on low pay because the ending of an era meant the warrior class were either retired or moved into positions of bureaucracy.

Despite his change in circumstances, Seibei's main concern remains his family; he'll do everything he can to protect them.

Yamada’s film is a samurai film with a difference, it has almost no swordplay. It's a quiet character study focussing on relationships and personal sacrifice, filled with simplicity and portentous symbolism. It's perfect in every way.

5 azaleas out of 5