Zatoichi: The Blind Swordsman (#679) DAMAGED

The epic saga of Zatoichi begins. As tensions mount between rival yakuza clans, one boss hires a formidable but ailing ronin as his clan’s muscle—while the other employs a humble, moral blind masseur named Ichi. With its lightning-fast swordplay, sleight-of-hand dice games, and codes of honor upheld and betrayed, this first chapter sets the stage for all the Zatoichi adventures to come. And Shintaro Katsu brings author Kan Shimozawa’s blind swordsman to vivid life, making the character excitingly, indelibly his own.

The Tale of Zatoichi proved so popular that a follow-up went into production the same year. Here, Zatoichi is hired to give a massage to a powerful political official who, he discovers, is mentally ill—a secret that the nobleman’s retinue is determined to keep at any cost. This second Zatoichi film picks up the pace, featuring bigger action sequences, tighter plotting, and a mysterious one-armed swordsman played by star Shintaro Katsu’s brother Tomisaburo Wakayama (Lone Wolf and Cub).

Zatoichi is back—and in color! Hoping to leave violence behind, the blind masseur wanders to a village, where he meets an old friend fallen on hard times. With a corrupt clan leader squeezing citizens dry and the brother of a past nemesis out for payback, Zatoichi finds that he cannot abandon his true calling.

Zatoichi triumphs at a village wrestling match, much to the chagrin of his yakuza opponents. The defeated gang members pay a hotheaded ronin to take out the masseur; unbeknownst to them, the hired assassin is married to a former flame of Zatoichi’s, further complicating matters.

The itinerant Zatoichi comes across a dying man, who begs the masseur to escort a young woman back to her family in Edo. The honorable swordsman agrees, but in so doing, he catapults himself between two warring yakuza clans, each with its own interest in kidnapping the girl.

After arriving in a small village, Zatoichi finds himself accused of stealing the citizens’ hefty tax payments. To clear his name, he must face off against a corrupt official, a succession of hired blades, and a bullwhip-wielding titan, played by star Shintaro Katsu’s brother Tomisaburo Wakayama. This sixth installment of the increasingly popular and prestigious Zatoichi series features ravishing visuals by Rashomon cinematographer Kazuo Miyagawa.

The blind swordsman is shot and nursed back to health by kind strangers. He soon discovers that his saviors are caught between sparring crime lords; bound by honor, Zatoichi stays to ensure their safety. Along the way, we learn more about the origins of Zatoichi’s amazing abilities, and get to see them in action in a stunning underwater duel and a nighttime clash set against fireworks.

While on the road, Zatoichi befriends a young mother right before she is savagely murdered. Promising her that he will hand over her baby to its father, the blind masseur embarks on an adventure both sentimental and beset by perilous action. This eighth Zatoichi feature is an excellent showcase for star Shintaro Katsu, who evinces an extraordinary physical and emotional range as the blind swordsman, here father, mother, husband, and reluctant killer all at once.

The blind swordsman wanders into a town to celebrate the New Year. There, he befriends a young woman whose father has gone missing; as he tries to help her find him, he becomes entangled in a web of corruption and a series of tragic twists of fate. Returning director Kimiyoshi Yasuda and screenwriter Shozaburo Asai masterfully weave together a variety of narrative threads and tonal registers, all while playfully tweaking the conventions and motifs of the series.

Nearing the village of his sensei, Zatoichi decides to pay the teacher a visit, only to learn that he has been murdered and his daughter forced into prostitution. Ichi’s investigation into these injustices uncovers a corrupt alliance between government officials and criminals, putting the blind swordsman on a bloody path of retribution in one of the series’ darkest entries.

An elderly prisoner accused of murder begs Zatoichi to find evidence of his innocence. The blind swordsman, for the first time, chooses not to help, but fate has other plans for him. Director Issei Mori, who played a significant role in getting Shintaro Katsu cast as Zatoichi in the first place, shows his filmmaking flair, delivering bloody battles and raucous humor while mischievously upending narrative expectations.

Kenji Misumi, who directed the first installment of the Zatoichi series, returns with this tale in which the blind swordsman once again finds himself the protector of a child: a little girl pursued by both devious family members and bloodthirsty ruffians. Further complicating his journey is a new acquaintance—a tremendously skilled chess player (the charismatic Mikio Narita) who has mysterious motivations and a dark past.

Zatoichi encounters a dying man, who asks the itinerant masseur to deliver a bag of money to his young son; he agrees to fulfill the request, finding the boy in a village terrorized by criminals. This is the first entry to scrutinize the swordsman’s methods, as a blind monk confronts Zatoichi about his violent approach to problem solving and Zatoichi finds the child turning to the same bloodstained path.

Troubled by his violent past, Zatoichi begins a journey to a series of shrines for a dose of cleansing spirituality. But as always, trouble isn’t far behind, and the blind swordsman soon finds himself defending a widow from the self-interest of ruthless thugs and despicable townsfolk. Written by Kaneto Shindo (Onibaba), this fourteenth Zatoichi is a scathing attack on the upper classes and those who wield power, both in the criminal underworld and everyday society.

Wearying of his wandering lifestyle, Zatoichi yearns to settle down; unfortunately, when he does so it’s in a town overrun by yakuza. He has an eye-opening encounter with the town’s blacksmith, who reveals himself to be the apprentice of the man who forged Zatoichi’s legendary cane sword, and informs Zatoichi that it’s a hairline crack away from snapping. The news prompts Zatoichi to hang up his sword, yet leaving the fighting life and his code of honor behind proves not to be so simple.

Zatoichi arrives in a town where a gambling house is kidnapping its poor, debt-ridden patrons. A rival establishment moves to pay those debts and free the peasants, but this second house’s seemingly altruistic boss is actually laying the groundwork for a ruthless money-grabbing scheme. The sixteenth Zatoichi film is the first effort from its star’s own Katsu Productions, and it is one of the series’ most daring, with its complex characters, subversive social themes, and moral outrage.

A dying woman begs Zatoichi to reunite her son with the father he has never met, but when the blind masseur searches for the man, he discovers that he has been forced by a local yakuza boss to pay off his gambling debts in an unusual way: by painting illegal erotica. Determined to bring father and son together, Zatoichi pits his skills against the gangsters and a ronin who is not entirely what he seems.

The wandering swordsman finds himself in a small village that serves as hideout for a band of fugitives who control the town officials and enforce brutal slave labor in the local silk mill. This lean and mean entry is packed with coldhearted villainy and rough justice, but it finds its heart in the great Takashi Shimura (Ikiru), who plays a kindly country doctor caught up in a violent world.

Hired by a yakuza boss to eliminate an accused debtor, Zatoichi fulfills his task, only to witness the victim’s sister paying the owed amount minutes later. When the crime lord tries to possess the woman along with the cash, the blind swordsman wrestles with the injustice he has caused, and vows to protect the young lady at all costs.

After a two-year absence from screens, the blind swordsman returns in one of his best adventures. Zatoichi treks to a village that has always been a favorite spot of his, only to discover that it’s become a living hell, plagued by feuding father and son yakuza as well as the younger crime boss’s bodyguard—Toshiro Mifune’s scruffy, smart-mouthed, cash-hungry Yojimbo of legend. This is the sole Zatoichi effort from celebrated director Kihachi Okamoto, who supplies satirical vision and stylistic panache worthy of the two iconic characters at the film’s center.

Cowritten by star Shintaro Katsu, this adventure pits Zatoichi against one of his most diabolical foes: a blind yakuza boss whose reign of terror and exploitation has made him nearly mythic. Guest starring the legendary Tatsuya Nakadai as a ronin haunted by a traumatic past, and featuring an unforgettable nude swordfight in a bathhouse, this twenty-first entry in the series is a fan favorite.

It’s East meets East when one of Japan’s action idols crosses paths with an iconic kung-fu hero from Hong Kong. While traveling the countryside, Zatoichi comes across Wang Kang (Jimmy Wang Yu), a Chinese swordsman protecting a brutally orphaned young child. Despite the language barrier, the men forge a friendship, until nefarious enemies plant seeds of distrust to pit the two master martial artists against each other.

Zatoichi comes across a pregnant woman dying from sword wounds and helps deliver her baby. Her final request to him: take the boy to see his father. From here, the film evolves into one of the wilder rides in the Zatoichi series, including such quirky touches as a mysterious child who follows Ichi and pelts him with rocks, monkey performances, and an unexpectedly hilarious take on the ronin challenger.

Star Shintaro Katsu sits in the director’s chair for this psychedelic and unremittingly bleak entry in the Zatoichi series, which is unlike any other in its grind-house grimness. A tale of innocence corrupted by sadistic, sleazy criminality, the film is propelled by Easy Rider–esque editing and a trippy seventies funk score by Kunihiko Murai.

Everything comes full circle when Zatoichi returns to his hometown. Unfortunately, he finds that a childhood friend has become a feared crime lord, keeping the locals in debt and bilking them of their rice. Capping off Zatoichi’s feature film era before he made the transition to television in 1974, this chapter is suffused with melancholy, closing the series on a note of seriousness and emotional heft that it has well earned.