The jidaigeki (samurai period drama) is dying, we have been told again and again. Topknots and swords have become rare sights on television, while Japanese studios, which once devoted nearly half their production to the genre, now essay only the occasional chanbara (swordplay) film, with mixed box-office results.
Warner Entertainment Japan — whose Hollywood blockbusters have hurried the jidaigeki toward its demise — has emerged as the genre's unlikely savior, with its locally made "Rurouni Kenshin" films. Based on a best-selling 1990s manga by Nobuhiro Watsuki, the first "Rurouni Kenshin" became a domestic and international hit following its 2012 release, earning $36 million in Japan and over $60 million worldwide.
Now comes the action-packed two-part sequel: "Rurouni Kenshin: Taika-hen (Rurouni Kenshin: Kyoto Inferno)," which opened on Aug. 1, and "Rurouni Kenshin: Densetsu no Saigo-hen (Rurouni Kenshin: The Legend Ends)," set for release on Sept. 13. Takeru Sato again stars as Himura Kenshin, the sword-swinging if pacifistic hero. Also returning are Munetaka Aoki as Kenshin's blustering, good-hearted sidekick Sagara Sanosuke, and Emi Takei as dojo proprietor Kaoru, who serves as Kenshin's love interest. And, once again, I'm sure Warner has a global hit on its hands.