Film report of Ten to chi to _ (Heaven and Earth). (VT 06718, 104 mins) - Movie Review Example

Kagetora, though not a pacifist, is powerfully drawn to that idea. He is shown in the film as someone with a compassionate heart and someone who cared for his people deeply. He doesn’t want his subjects to suffer and is thus thinks thoroughly before going to war. But circumstances, especially the claim to leadership of a unified Japan, greatly inspire him. It is probably for such reasons of pride than for conquest of material wealth that he engages in war with Takeda. Hence the movie offers enough detail and perspective for the discerning audience to study and learn.

In the case of the portrayal of Kagetora, we learn that not all feudal lords are greedy for expanding their territory. He is not much interested in increasing his political power. In this sense, Kagetora is atypical, for he is philosophical and compassionate and is reluctant to go to war. He engages with Takeda only because he thinks the ‘ends justifying the means’. Hence the film is an informative record of the variety of provincial leadership styles witnessed in feudal Japan. This is useful for a student of history, for textbooks often paint a generic picture of political leadership.

Ten To Chi To, on the other hand, presents feudal leadership in a nuanced and complex manner, informed as it is by the historical, philosophical and social undercurrents shaping major events in medieval Japan. Takeda is the aggressive feudal warlord who is quick to use force and intimidation to achieve his goals. He is someone who doesn’t care about cruelty to people. He represents a broader conflict that has been a theme in Japanese history for more than millennia. For example, on the on hand we have the fundamental conflict between the tradition and honor of the influential Samurai community.

On the other hand is the Buddhist philosophical doctrine which disapproves of violence and killing. Hence a Samurai is a conflicted personality. But Takeda is ruthless when it comes to war and doesn’t heed to Buddhist philosophy at all. To this extent, one can say that the film is an exposition on the problems confronting religious philosophy in Japan’s feudal past. It is a reflection of religion’s inability to control aggressive human impulses that Japan was one of the main participants during World War II – a bitter and tragic episode that ended with the dropping of nuclear bombs in Hiroshima and Nagasaki.

A facet of the Samurai tradition is its upholding of honor about all else. For members of this warrior caste, valor and fulfillment of duty are of utmost importance. They would rather die than be dishonored and disgraced. One of their important duties is to protect and obey their feudal masters during their military expeditions. The honor of the Samurai depends on the upholding of duties. In the film we see numerous illustrations of courage and sacrifice on part of the Samurai as they attempt to keep their honor.

It is ironic that the two opposing camps in warfare (both composed of Samurais) are united by this common virtue. In this respect, it is fair to claim that irrespective of who wins and loses the war, it is the Samurai and his set of values that come out victorious. Though the director Haruki Kadokawa does not focus much on this aspect of feudal Japan’s culture, it is available to the careful viewer of the film. Thus, alongside insights into politics and social structures of late medieval Japan, the audience