Zatoichi Meets Yojimbo represents a meeting between two beloved Japanese samurai film heroes. The Zatoichi character, played by Shintaro Katsu (and recently in a remake by Takeshi ‘Beat’ Tikano), was in 26 films, 22 of them released by Daiei. Naturally, he was one of the best-known fictional characters in Japanese cinema history. Yojimbo (‘Bodyguard’) was a character played by Japanese cinema’s greatest actor, Toshiro Mifune, and appeared in both Yojimbo and Sanjuro, directed by Akira Kurosawa. Both characters were masterless samurai, masters of the sword, each fascinating in his own way. In this film we get to see them together, doing what they do best. In cinematic terms, this is like DC and Marvel Comics getting together to make Superman Meets Spider-Man.

This was a hell of a lot of fun, watching these two characters – previously in separate mythologies – meet and interact with each other. It’s like a samurai film nerd’s dream come true. And in color, no less! Each man has his own idiosyncracies, and it is clear that great care was taken to keep each one in character, with his own mannerisms, speech habits, etc. As one would expect with a meeting between two separately-owned properties, they come off about equal in the end. Neither is portrayed as really being weaker than the other, although since Zatoichi is naturally deferential, and Yojimbo is a devil-may-care, aloof killer, the latter usually seems dominant. But that’s part of the appeal of Zatoichi, of course – everybody expects him to be a blind fool until he slices up about two dozen guys in five minutes’ time.

And make no mistake: this is, despite the balance between the characters, definitely a Zatoichi film. (‘Yojimbo’ wasn’t so much a series or franchise as much as it was simply a stand-alone film and a sequel.) The opening sequence shows Zatoichi on the road, as always; we know he will soon lodge in a nearby village before all hell breaks loose. There is also the trademark Zatoichi humor – there is humor in Kurosawa’s films, too, but here it is broader and more mainstream. Zatoichi also makes use of his incredibly sharp senses, and his amazing skill with a sword – i.e., slicing a piece of fruit into thirds while it is still in the air; being able to detect a wound in a man’s side just by listening to him walk; etc. This is the stuff of more populist entertainment than is usually found in a Mifune film.

The plot, too, is standard for the blind masseur, but with a bit more flash. In a small medieval village, two criminal gangs circle each other hungrily, each waiting for a chance to wipe the other out. Zatoichi steps in and proves to be a wildcard – will he take sides? And if so, will he betray his employers? There is the usual bloodbath in the end, the usual betrayals and twists, and in this case a further element provided by a cache of hidden gold. But the Yojimbo character is also thrown into the mix; and we know as soon as we read the title that we will be cheated of the ticket price unless these two master swordsmen go at it against one another.

This film doesn’t disappoint. It may not be the greatest samurai film ever made (Seven Samurai is), but it hits all the right notes, and leaves the viewer satisfied at the end. The American viewer, unless he is a true Japanese film fanatic, has probably seen only a dozen or two samurai films at the most. The Japanese audiences, however, have probably seen hundreds - it represents to their culture what the Western does to ours. Even still, though, I would imagine that this film ranks among the best-loved of that genre. Probably not among the best-made, but I think that a lot of people look upon it fondly.

It almost makes me want to watch Freddie Vs. Jason. Or Aliens Vs. Predator, when it comes out. I guess these will have to satisfy us, because Superman Meets Spider-Man will probably never see the light of day.