Movie review: ‘Rurouni Kenshin: Kyoto Inferno’ is a live-action anime epic

The follow-up to 2012’s box office hit, “Rurouni Kenshin” (based on the classic manga and anime of the same name) is finally here with “Kyoto Inferno,” the first of two announced sequels (the second, “The Legend Ends,” is scheduled to arrive in theaters next month). 

 

Following the media blitz of two weeks ago that saw director Keishi Otomo (who also helmed the first film) and lead actors Takeru Satoh (Kenshin), Emi Takei (Kaoru), and Munetaka Aoki (Sanosuke) attend a red carpet premiere (the only such event to be held for the film outside Japan) here in Manila, anticipation is at fever pitch.

 

First introduced in a serialized format by writer/artist Watsuki Nobuhiro in “Shonen Jump Weekly” magazine in 1999, the “Rurouni Kenshin” franchise is the tale of Himura Kenshin, a former assasssin seeking to atone for his murderous past. In the largely-faithful film version that hit cinemas two years ago, audiences were presented with Takeru Satoh (“Kamen Rider”) as the title character, who brought a relatable humanity to the role as he found sanctuary and friendship at the home of Kamiya Kaoru (played by Emi Takei), a Kendo instructor teaching out of her father’s school. Rounding out the cast on the page, small, and big screens were no-nonsense police officer Saito Hajime (Yosuke Eguchi), and Sagara Sanosuke (Munetaka Aoki, from the live-action version of “The Girl Who Leapt Through Time”), a happy-go-lucky brawler perpetually in search of a fight and/or a good meal.

 

Where the last film was about Kenshin’s personal journey, the story this one centers around civil war-era assassin Shishio Makoto (Tatsuya Fujiwara, “Battle Royale”). A former assasssin much like Kenshin, Shishio was sentenced to death by his victorious masters in order to cover up the deeds he performed in their service. Unfortunately for the Meiji administration, Shishio survived the attempt on his life and directed himself towards eliminating the very government he helped to establish. At his command are a veritable army headed up by the Juppongatana, a group of ten master swordsmen whose skills are as legendary as their brutality. 

 

When the government official in charge of recruiting our hero to eliminate Shishio turns up dead, the battle-weary Kenshin must take up his now-reverse-edged blade to save his country. Not wanting to endanger his friends, Kenshin takes leave of his adopted home, steeling himself for a final confrontation that will require a resurfacing of the killer instinct the has fought so long to suppress.

 

Keishi Otomo presents “Kyoto Inferno” with deliberate pacing, making the most of his now-extended runtime (“Kyoto Inferno” and “The Legend Ends” were filmed simultaneously), wisely giving the film moments to breathe. When the prerequisite sword fights and various punch-ups do show up, they are pitch-perfect live action extrapolations of the hand-drawn scenes that have enthralled fans for the past fifteen years. Whether it was Sojiro’s (Ryunosuke Kamiki) trademark playfulness belying his lightning-fast blade work, or Kenshin’s ability to strike a mid-air opponent half a dozen times before said opponent hits the ground, Otomo’s keen cinematic sense for staging and framing fantastic fights – while maintaining some semblance of reality – is fully intact. 

 

As with the first film, changes have been made to the classic storyline (with regards to re-sequencing of some events and truncation of others) but fans will most likely be pleased with the overall respectful approach taken by Otomo and his team. Also to be praised is the larger scope we are presented with, with period detail vividly reproduced – even without the colorful heroes and villains, this would still be a magnificently-realized Japanese historical drama. 

 

Performance-wise, the cast is uniformly excellent, going above and beyond in their efforts to imbue their characters with nuanced performances that manage to transcend the two-dimensional source material. At this point, it must be noted that, while the main cast can easily pass for their animated counterparts, Munetaka Aoki as Sanosuke is the only one acting like he actually is a cartoon, which blessedly makes for much of the film’s  comic relief. At the other end of the heroic spectrum, Takeru Satoh builds on the impressive groundwork he laid in the first film, managing the transitions from hapless wanderer to master swordsman (and back) with surprising dignity. As nemesis Shishio, Tatsuya Fujiwara manages to be charmingly ruthless, with palpable rage showing through, despite his being covered in bandages from head to toe. 

 

What prevents “Kyoto Inferno” from hitting the home run of its predecessor is the shoehorning of charismatic criminal (and fan-favorite character) Shinomori Aoshi (Yusuke Iseya, “13 Assassins”) into the mix. Sadly, the abrupt manner in which his revenge-based subplot is brought in comes across as somewhat superfluous in relation to the primary narrative, as is his (admittedly well-staged) fight sequence that happens alongside the battle for Kyoto that makes up most of the third act. It’s a shame, really, as Iseya channels the role of aggrieved crime boss pretty well. Perhaps if Aoshi had been in the previous film, it would be easier to empathize with his arc, but as it is, his presence here seems to be little more than incongruous fan service. Here’s hoping he gets more to do in the next one.

 

“Kyoto Inferno” ends on a cliffhanger at precisely the right time to leave audiences satisfied while wanting more. As to be expected, with the third film on the way, this is a decidedly darker chapter in the “Kenshin” cinematic mythos than the one that introduced him, and one looks forward to seeing just how this legend ends. — VC, GMA News


'Rurouni Kenshin: Kyoto Inferno' will premier in Philippine cinemas tomorrow