In this classic samurai tale, we follow the deadly trail of Zatoichi-a blind swordsman who has sworn to prove his innocence with regards to his unknowing involvement with the robbery of a chest of gold containing the local farmers tax payment while bringing the real culprits to justice. Here we have the classic hero, the defender and champion of the poor albeit here a most unlikely since the farm villagers think he was responsible for the robbery and he is as he might say "a simple blind man". A bit of suspension of disbelief is required but boy is this ever great stuff! Any fan of sword-fighting films should find much to enjoy here.
12 Reviews
Adding a vivid, sociocritical and humorous twist to the franchise
kluseba2 March 2018
Zatoichi and the Chest of Gold is one of the most entertaining entries in the franchise and on the same level as the strong predecessor Zatoichi on the Road. The movie starts with Zatoichi paying respects at the grave of a man he wrongfully killed two years ago. He meets some local villagers who are celebrating the fact that they are finally able to pay their tax debts to the local intendant. However, the chest with the money from eighteen different villagers gets stolen by some ruthless ronin. Since Zatoichi was seen near the scene of the crime, he gets accused of a crime he didn't commit and swears to find the real culprit in order to clear his name. Zatoichi starts his investigation by meeting a bandit who has found refuge on a mountain after he was chased away by political opponents. Zatoichi finds out that some of the bandit's men went rogue but realizes the bandit himself is innocent. They team up in order to clear their names, fight the local intendant and his associates who are behind the theft and conspiracy and help the upset villagers.
There are several reasons why this film stands out. First of all, it has a quite fast pace and doesn't waste any time with a lengthy introduction or an overlong conclusion. No scene is unnecessary and no minute is wasted in this dynamic film. Secondly, the movie has a sociocritical component as it portrays how abusive politicians are only interested in their own objectives while poor villagers are constantly tricked and tortured. Thirdly, the movie includes some straightforward humor for the first time in the franchise. In one scene, Zatoichi surprises a beautiful woman in a hot spring and then coincidentally discovers two young perverted men who were peeping through a window in the roof. In another scene, an ugly prostitute offers her services to Zatoichi who remains polite aside of commenting that the woman smells like a field of pumpkin flowers until he realizes that the prostitute demands a hefty sum for a massage which leads him to suggest her she should take a bath from time to time.
In the end, Zatoichi and the Chest of Gold is an entertaining, fast-paced and refreshingly vivid entry in the franchise and you won't see the film's eighty-three astonishing minutes pass. Aside of the refreshing new elements, the fight sequences are great to watch as usual and especially the final duel between the blind masseur and a man on horseback using a whip is quite memorable. Fans of martial arts films can't get around this energetic film that has aged rather well without losing its connection to rural Japan in the mid-nineteenth century.
There are several reasons why this film stands out. First of all, it has a quite fast pace and doesn't waste any time with a lengthy introduction or an overlong conclusion. No scene is unnecessary and no minute is wasted in this dynamic film. Secondly, the movie has a sociocritical component as it portrays how abusive politicians are only interested in their own objectives while poor villagers are constantly tricked and tortured. Thirdly, the movie includes some straightforward humor for the first time in the franchise. In one scene, Zatoichi surprises a beautiful woman in a hot spring and then coincidentally discovers two young perverted men who were peeping through a window in the roof. In another scene, an ugly prostitute offers her services to Zatoichi who remains polite aside of commenting that the woman smells like a field of pumpkin flowers until he realizes that the prostitute demands a hefty sum for a massage which leads him to suggest her she should take a bath from time to time.
In the end, Zatoichi and the Chest of Gold is an entertaining, fast-paced and refreshingly vivid entry in the franchise and you won't see the film's eighty-three astonishing minutes pass. Aside of the refreshing new elements, the fight sequences are great to watch as usual and especially the final duel between the blind masseur and a man on horseback using a whip is quite memorable. Fans of martial arts films can't get around this energetic film that has aged rather well without losing its connection to rural Japan in the mid-nineteenth century.
A leap forward in the series
JohnSeal10 December 2001
The Zatoichi series really took off with this entry. Shintaro Katsu is, of course, outstanding in his role as the blind swordsman/masseur. What sets this one aside from the earlier entries in the series, though, is the kinetic camerawork of Kazuo Miyagawa. Utilising every inch of his Panavision frame, Miyagawa set new standards for the samurai genre, choreographing outstanding fight sequences and adding the element of gore to the recipe. For those who think widescreen mayhem began with The Wild Bunch, this is essential viewing!
Zatoichi and the Chest of Gold (1964)
mevmijaumau28 July 2015
Zatoichi and the Chest of Gold is, stylistically, a huge step up from the previous entries of the series. New director Kazuo Ikehiro revitalizes the shtick a bit and adds bloody violence, humor, faster pace and even some skin in a light-hearted onsen bath scene. The film begins with a James Bond-styled opening sequence, which sees Ichi slaughtering people in front of a black back-drop. This pretty much completely summarizes his adventures; walking in darkness and kicking ass.
The story, unfortunately, isn't a treasure hunt adventure as you'd expect from the title, but rather concerns Zatoichi pursuing thieving government officials to clear his name of stealing a chest full of a village's tax money. There's some more past continuity creeping up in the form of Ichi visiting the grave of a man he'd killed before, but luckily the film isn't too dependent on its predecessors. Unfortunately, the plot does get kinda convoluted at some point in typical Zatoichi fashion, and I'm not really a fan of the lengthy mountain sequence where Zatoichi converses with a respected master, because it just seems like a long detour from the rest of the storyline, which is crowded enough on its own right.
However, outside of some obligatory night scenes shot in pitch darkness, the movie excels in the technical field. The colors and shot compositions are fresh and the way the final showdown between Zatoichi and the remaining nemesis (played by Katsu's brother Tomisaburo Wakayama) is staged is beautiful and the fight itself is also pretty intense even though it's obvious to everyone who the winner will be.
Highlight of the movie: Probably that final duel.
The story, unfortunately, isn't a treasure hunt adventure as you'd expect from the title, but rather concerns Zatoichi pursuing thieving government officials to clear his name of stealing a chest full of a village's tax money. There's some more past continuity creeping up in the form of Ichi visiting the grave of a man he'd killed before, but luckily the film isn't too dependent on its predecessors. Unfortunately, the plot does get kinda convoluted at some point in typical Zatoichi fashion, and I'm not really a fan of the lengthy mountain sequence where Zatoichi converses with a respected master, because it just seems like a long detour from the rest of the storyline, which is crowded enough on its own right.
However, outside of some obligatory night scenes shot in pitch darkness, the movie excels in the technical field. The colors and shot compositions are fresh and the way the final showdown between Zatoichi and the remaining nemesis (played by Katsu's brother Tomisaburo Wakayama) is staged is beautiful and the fight itself is also pretty intense even though it's obvious to everyone who the winner will be.
Highlight of the movie: Probably that final duel.
Flawed, but enjoyable
poikkeus119 March 2019
Zatoichi and the Chest of Gold is one of the most exciting - and exasperating - installments in the series.
The plot is rich in incident and characters. After rural farmers pay their taxes, a corrupt magistrate and his cronies steal the gold, and leave the farmers desperate for a solution. Zatoichi finds himself in the middle of the problem. On one hand, he's pressured by the farmers, who suspect Zatoichi might have participated in the heist...and on the other, the burglary is pinned onto a cadre of honorable yakuza in a secluded hideout.
The story has a few "firsts" for the Zatoichi series. Earlier installments were bloodless, but ZATCOG shows violence for the first time - mostly with a sprinkling of fake blood. It's also the first chance for Zatoichi to develop a truly comic incident - when a smelly, less-than-competent masseuse serves him - then overcharges him.
The most problematic "first" relates to the filmmaking style. Instead of the restrained style of the first few Zatoichi films, ZATCOG uses looser editing and sound than before. Visual edits use slapdash jump cuts that are closer in spirit to the LONE WOLF AND CUB series. Faked visual and sound effects marred less several extended sequences. The most embarrassing sequence has Zatoichi carrying a little boy - clearly a dummy - on his shoulders as he slides down a ridge.
At the least, ZATCOG comes up a bunch of new situations and characters to invigorate the series - even if the director, Kazuo Ikehiro, is less than proficient at this job.
The plot is rich in incident and characters. After rural farmers pay their taxes, a corrupt magistrate and his cronies steal the gold, and leave the farmers desperate for a solution. Zatoichi finds himself in the middle of the problem. On one hand, he's pressured by the farmers, who suspect Zatoichi might have participated in the heist...and on the other, the burglary is pinned onto a cadre of honorable yakuza in a secluded hideout.
The story has a few "firsts" for the Zatoichi series. Earlier installments were bloodless, but ZATCOG shows violence for the first time - mostly with a sprinkling of fake blood. It's also the first chance for Zatoichi to develop a truly comic incident - when a smelly, less-than-competent masseuse serves him - then overcharges him.
The most problematic "first" relates to the filmmaking style. Instead of the restrained style of the first few Zatoichi films, ZATCOG uses looser editing and sound than before. Visual edits use slapdash jump cuts that are closer in spirit to the LONE WOLF AND CUB series. Faked visual and sound effects marred less several extended sequences. The most embarrassing sequence has Zatoichi carrying a little boy - clearly a dummy - on his shoulders as he slides down a ridge.
At the least, ZATCOG comes up a bunch of new situations and characters to invigorate the series - even if the director, Kazuo Ikehiro, is less than proficient at this job.
Outstanding!
inframan21 January 2005
I think this stunning film ranks among the great action films of all time but could be hung as stills in any art museum. Hokusai & Hiroshige influences abound.
Yet best of all is the unforgettable character Zatoichi himself. Shintaro Katsu created an everyman/superhero who had no equal, at least in western culture. A squat, homely, bandy-legged self-deprecating blind man full of humor & humility & an abundance of spirituality. And could he make that sword dance.
These movies have no equal. Each one is as perfectly made as any movie can be. I used to go see them when they first appeared in the theaters of San Francisco & Los Angeles Japanese neighborhoods. I still love them every bit as much now.
Yet best of all is the unforgettable character Zatoichi himself. Shintaro Katsu created an everyman/superhero who had no equal, at least in western culture. A squat, homely, bandy-legged self-deprecating blind man full of humor & humility & an abundance of spirituality. And could he make that sword dance.
These movies have no equal. Each one is as perfectly made as any movie can be. I used to go see them when they first appeared in the theaters of San Francisco & Los Angeles Japanese neighborhoods. I still love them every bit as much now.
Zatoichi gives his heart and soul for others and receives little in return
bighouseaz14 January 2005
Warning: Spoilers
This is one of my favorite films in the Zatoichi series. The opening film credit scene is amazing. This scene is a superbly choreographed, artistic display of swordsmanship that takes place on a darkened stage with three attacks on Zatoichi. Katsu Shintaro shows that the sword is an integral part of the Zatoichi story, and he is a master of the iai style of combat.
In this film Zatoichi is shown no respect. He is mistrusted by farmers, shown disdain by government officials, and finally whipped by a samurai. The samurai villain is played by Katsu's real-life brother, Tomisaburo Wakayama. In one scene Wakayama shows an incredible sword drawing technique that is as equally impressive as Katsu's.
In the end, Zatoichi saves the day as always.
Yet, unlike in the fourth film The Fugitive where Zatoichi is able to shake of the trials and pain of his struggles and dances off to the horizon accompanied by some toe-tapping music, in the Chest of Gold Zatoichi has been abused and beaten so badly throughout the film that he can only manage to shuffle away towards the horizon as the farmers celebrate their good fortune in the distance. It's a poignant and sad scene.
In this film Zatoichi is shown no respect. He is mistrusted by farmers, shown disdain by government officials, and finally whipped by a samurai. The samurai villain is played by Katsu's real-life brother, Tomisaburo Wakayama. In one scene Wakayama shows an incredible sword drawing technique that is as equally impressive as Katsu's.
In the end, Zatoichi saves the day as always.
Yet, unlike in the fourth film The Fugitive where Zatoichi is able to shake of the trials and pain of his struggles and dances off to the horizon accompanied by some toe-tapping music, in the Chest of Gold Zatoichi has been abused and beaten so badly throughout the film that he can only manage to shuffle away towards the horizon as the farmers celebrate their good fortune in the distance. It's a poignant and sad scene.
The mythic tales of Zato-no-Ichi continues with several firsts in the series.
CCharlesIC5 January 2014
Warning: Spoilers
This sixth installment is another great, and unique, entry in the series. In the opening scene we see a montage of how many of Ichi's days unfold: walking in total darkness he is suddenly surrounded by men with drawn swords. A minute later, and with no words spoken, he continues walking into the darkness blowing his masseurs whistle - as those men bleed to death on the roadside. This happens again - and again. Such is the life of this yazuka. A masterful bit of cinematography & choreography under the direction of Ikehiro. Ikehiro would direct two more Zatoichi films.
This is also the first film not to have a romantic interest for Ichi. Since the passing of his first love, Otane, in the 4th film; Ichi's heart seems no longer available to fall in love. In the early films, women were drawn to him because of his compassion for people, gentle humor, and acute moral compass. Toss in his self-sufficiency as a masseur, a keen-eared gambler, and lest we forget - swordsman extraordinaire; of course women felt they would be well cared for if he would accept them. However love seems to be only another word for curse where this zato is concerned. In the 3rd film, young Yayoi revealed she had had a crush on the slightly older Ichi as he trained under her even older brother. He seems to have harbored a crush on her too, and she proposes marriage to Ichi! Then at the finale, Ichi has to duel his former Sensai, Yayoi's brother. Both Yayoi and Ichi are emotionally crushed when the Sensei drops. Ichi has reinforced his image as a killer - not a lover - irreparably. Then in the fifth film a young and highly immature woman, Mitsu, clung to him more out of gratitude for her safety than love and not only was a generational gap revealed; but Ichi seems to have realized how rare and unlikely Yayoi and Otane's affections had been. The only romantic possibility in "The Chest of Gold" is dead Kichizo's sister, whom Ichi treats practically as a servant. What he does get, in a series first, is a "sensual massage" by a woman who had no interest in being "repaid in kind". The first instance of adult humor in the Zato series. Other firsts in this film are: an honorable boss - whom Ichi respects; a dishonest government official - in cahoots with yet another selfish boss; a village cooperative system - which amasses 1000 ryo after 3 bad years of crops(!); and a whip-wielding ronin (Katsu's real-life brother, Tomisaburo Wakayama!!) - Zatoichi briefly seems helpless against this new weapon.
Overall, this is a solid entry in a mythic Chambara series. If possible, get it as part of the Criterion Collection's 25 film set.
This is also the first film not to have a romantic interest for Ichi. Since the passing of his first love, Otane, in the 4th film; Ichi's heart seems no longer available to fall in love. In the early films, women were drawn to him because of his compassion for people, gentle humor, and acute moral compass. Toss in his self-sufficiency as a masseur, a keen-eared gambler, and lest we forget - swordsman extraordinaire; of course women felt they would be well cared for if he would accept them. However love seems to be only another word for curse where this zato is concerned. In the 3rd film, young Yayoi revealed she had had a crush on the slightly older Ichi as he trained under her even older brother. He seems to have harbored a crush on her too, and she proposes marriage to Ichi! Then at the finale, Ichi has to duel his former Sensai, Yayoi's brother. Both Yayoi and Ichi are emotionally crushed when the Sensei drops. Ichi has reinforced his image as a killer - not a lover - irreparably. Then in the fifth film a young and highly immature woman, Mitsu, clung to him more out of gratitude for her safety than love and not only was a generational gap revealed; but Ichi seems to have realized how rare and unlikely Yayoi and Otane's affections had been. The only romantic possibility in "The Chest of Gold" is dead Kichizo's sister, whom Ichi treats practically as a servant. What he does get, in a series first, is a "sensual massage" by a woman who had no interest in being "repaid in kind". The first instance of adult humor in the Zato series. Other firsts in this film are: an honorable boss - whom Ichi respects; a dishonest government official - in cahoots with yet another selfish boss; a village cooperative system - which amasses 1000 ryo after 3 bad years of crops(!); and a whip-wielding ronin (Katsu's real-life brother, Tomisaburo Wakayama!!) - Zatoichi briefly seems helpless against this new weapon.
Overall, this is a solid entry in a mythic Chambara series. If possible, get it as part of the Criterion Collection's 25 film set.
Not among the very best in the series, but still quite good.
planktonrules31 May 2009
This film sure started off well. Instead of the usual credits, these were the coolest ones yet. Against a black background, Zatôichi smokes a cigarette as periodically evil men attack him and he dispatches them like flies--and continues smoking like he's the toughest guy in town!
When the film itself begins, Zatôichi comes upon a humble village where they are having a celebration. It seems that after three years of drought, the villagers had a good harvest and can finally pay off the tax bill. However, when the money is stolen, the villagers stupidly believe the stranger in town (Zatôichi) did it. Considering that he's blind and doesn't leave after the theft, it sure seems ridiculous to blame him. Further, after the townsfolk beat him up, it's also very surprising that our hero would agree to help them find their stolen funds.
Zatôichi assumes boss Chuji is behind the theft and makes his way towards his village. On the way, he meets a beautiful but mysterious lady. He doesn't seem to think much of this meeting, but oddly you later see this lady begging the local bosses to have Zatôichi killed. But why?!
When Zatôichi finally meets up with Chuji, his assumption is proved wrong, though it IS true that some of his men were involved in the theft. Zatôichi swears to continue following the trail to the money AND also now agrees to transport a little boy for Chuji to another town. Oh, that Ichi--always helping others and not thinking one bit about himself!
A bit later, most of Chuji's men are killed and he barely escapes. It seems that Monji (another boss) is NOT Chuji's friend after all and he's in league with Jushiro. At this point, if you are feeling a bit confused, don't worry. Though you may not be able to determine who exactly is who, just rest assured that Zatôichi will be administering a well-earned butt kicking!!
Overall, this is a very good addition to the series. While it lacks some of the heart and back story of the best films in the series, the plot was engaging and different. Well worth seeing.
When the film itself begins, Zatôichi comes upon a humble village where they are having a celebration. It seems that after three years of drought, the villagers had a good harvest and can finally pay off the tax bill. However, when the money is stolen, the villagers stupidly believe the stranger in town (Zatôichi) did it. Considering that he's blind and doesn't leave after the theft, it sure seems ridiculous to blame him. Further, after the townsfolk beat him up, it's also very surprising that our hero would agree to help them find their stolen funds.
Zatôichi assumes boss Chuji is behind the theft and makes his way towards his village. On the way, he meets a beautiful but mysterious lady. He doesn't seem to think much of this meeting, but oddly you later see this lady begging the local bosses to have Zatôichi killed. But why?!
When Zatôichi finally meets up with Chuji, his assumption is proved wrong, though it IS true that some of his men were involved in the theft. Zatôichi swears to continue following the trail to the money AND also now agrees to transport a little boy for Chuji to another town. Oh, that Ichi--always helping others and not thinking one bit about himself!
A bit later, most of Chuji's men are killed and he barely escapes. It seems that Monji (another boss) is NOT Chuji's friend after all and he's in league with Jushiro. At this point, if you are feeling a bit confused, don't worry. Though you may not be able to determine who exactly is who, just rest assured that Zatôichi will be administering a well-earned butt kicking!!
Overall, this is a very good addition to the series. While it lacks some of the heart and back story of the best films in the series, the plot was engaging and different. Well worth seeing.
This entry has a lot to offer—to Zatoichi veterans and newbies alike
pkotta27 March 2016
The Zatoichi series take a huge jump upward with this entry. Everything also falls into line -- you can tell people in front of and behind the camera had really hit their stride.
This film offers more action that the previous entries, as well as stunning cinematography and gorgeous production values. Another bonus -- the appearance of Katsu Shintaro's real-life older brother, Wakayama Tomisaburo. It's as if the box office performance of the previous films justified bringing out the big guns this time.
If you're new to Zatoichi and wondering with which film to take the plunge, then "Chest of Gold" is definitely worth your time.
This film offers more action that the previous entries, as well as stunning cinematography and gorgeous production values. Another bonus -- the appearance of Katsu Shintaro's real-life older brother, Wakayama Tomisaburo. It's as if the box office performance of the previous films justified bringing out the big guns this time.
If you're new to Zatoichi and wondering with which film to take the plunge, then "Chest of Gold" is definitely worth your time.
Brother vs. brother (Katsu vs. Wakayama)
alucinecinefago9 June 2020
The following review is an extract from the book "Shintaro Katsu´s Zatoichi: Complete guide to all movies", which is now available on Amazon.
"This is the sixth part of a saga of films shot in the 1960s about the adventures of the blind swordsman Zatoichi. Always motivated by deep convictions and a strong sense of honour, on this occasion Ichi must shed light on the robbery committed against humble peasants in order to prove that he had nothing to do with the crime. Two intriguing women, the clever Ogin and the young Chiyo (sister of the warrior who killed Zatoichi the previous year) will try to prevent the blind masseur from fulfilling his laudable purpose.
(...) In "The chest of gold" we have the rare privilege of seeing in the same film the two masters of the chanbara genre: On the one hand Shintaro Katsu as the heroic Zatoichi and on the other his brother Tomisaburo Wakayama (Ogami Itto en Kozure Okami / "Lone Wolf and Cub") as his antagonist the evil ronin Joshiro. Just as in "Zatoichi's Pilgrimage" (also directed by Kazuo Ikehiro) his opponent Tohachi (Isao Yamagata) has as particularity his skill with kyudo (archery), here Joshiro stands out in the use of another weapon or combative technique: the whip."
"This is the sixth part of a saga of films shot in the 1960s about the adventures of the blind swordsman Zatoichi. Always motivated by deep convictions and a strong sense of honour, on this occasion Ichi must shed light on the robbery committed against humble peasants in order to prove that he had nothing to do with the crime. Two intriguing women, the clever Ogin and the young Chiyo (sister of the warrior who killed Zatoichi the previous year) will try to prevent the blind masseur from fulfilling his laudable purpose.
(...) In "The chest of gold" we have the rare privilege of seeing in the same film the two masters of the chanbara genre: On the one hand Shintaro Katsu as the heroic Zatoichi and on the other his brother Tomisaburo Wakayama (Ogami Itto en Kozure Okami / "Lone Wolf and Cub") as his antagonist the evil ronin Joshiro. Just as in "Zatoichi's Pilgrimage" (also directed by Kazuo Ikehiro) his opponent Tohachi (Isao Yamagata) has as particularity his skill with kyudo (archery), here Joshiro stands out in the use of another weapon or combative technique: the whip."
Surprisingly Delightful
daoldiges16 May 2018
I had low expectations for this film but have to say it was a pleasant surprise. The story had humor, visually it was very interesting, and at times beautiful. The lead actor is very good and I'd like to see more of his work.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
