206 LAST SAMURAI, THE
before he is surrounded. Expecting to be killed, Algren is surprised when samu-
rai leader Katsumoto (Ken Watanabe) decides to capture him instead and take
him to his village. Deprived of alcohol in captivity, Algren is forced into sobriety.
Though he is initially treated with disdain, Algren eventually gains the re spect of
the samurai— and vice versa. As he integrates into samurai culture, Algren learns
Japa nese and develops a strong identification with the samurai, who chafe at the
advent of modern technology, which has eroded traditional feudalism and ren-
dered them declassed anachronisms. Back at the village, ninjas sneak in and
attempt to kill Katsumoto, but Algren intervenes and saves him. In the battle that
follows, Algren defends Katsumoto’s family. Katsumoto meets with Emperor Meiji
(Shichinosuke Nakamura) in Tokyo, but is disappointed to see that the young
emperor is Omura’s puppet. During the meeting, Omura has Katsumoto arrested
for carry ing his sword and suggests that Katsumoto perform ritual suicide to gain
back his honor. He refuses. Algren also refuses Omura’s offer to join his new army
and is set upon by Omura’s assassins. Algren makes quick work of them. Algren
and Katsumoto’s samurai arrive and find some success in their attempt to rescue
Katsumoto, but during the battle, Katsumoto’s son, Nobutada (Shin Koyamada),
is wounded and then sacrifices his own life to save his comrades. Pursued by
the Imperial Army, a mourning Katsumoto contemplates the ritual suicide of
seppuku, but is dissuaded by Algren. The samurai use the Imperial Army’s boastful
confidence to lure their soldiers into a trap that neutralizes the advantage of their
firearms. In the ensuing battle both sides suffer heavy casualties, but the Impe-
rial soldiers are forced to retreat. Knowing that the soldiers are facing defeat,
Katsumoto orders a suicidal charge on horse back that breaks through Bagley’s
line. Algren kills Bagley in battle but as they rush through the line, they are mowed
down by Gatling guns. The Imperial captain, who had been trained by Algren, is
horrified by the mechanized slaughter; he disregards Omura’s orders and orders
all of the guns to cease firing. A dying Katsumoto fi nally commits seppuku with
assistance from Algren, and the soldiers pres ent kneel down in re spect for the
fallen samurai. Days later, Algren interrupts trade negotiations at the Imperial Pal-
ace in order to pres ent the emperor with Katsumoto’s sword, asking him to remem-
ber tradition in his dealings, as Katsumoto would have wanted. As a result, the
emperor turns down the trade offer. Omura protests, but the emperor takes all of
Omura’s wealth and hands it out to the poor.Reception
The Last Samurai had its world premiere at Roppongi Hills multiplex in Tokyo on
22 November 2003 and its U.S. premiere at Mann Village Theater in Los Angeles
on 1 December 2003. During its 18- week domestic run (widest release: 2,938 the-
aters), the movie grossed $111 million. Not surprisingly, given its setting and sub-
ject matter, The Last Samurai had higher box office receipts in Japan ($119 million)
than in the United States. Worldwide grosses totaled $345.6 million for a grand
total of $456.7 million, versus a $140 million production bud get: a bona fide block-
buster. The critical response in Japan was generally positive. Tomomi Katsuta of The
Mainichi Shimbun found the film “a vast improvement over previous American