TV-MA | 1h 10m | Action Epic, Drama, History | 2024
The new TV series “Shogun” had been on my radar for quite some time. By the end, I was disappointed to learn it was produced as a limited series—leaving me wanting more.
“Shogun” is the second television adaptation of James Clavell’s bestselling 1975 novel of the same name. The first was a 9-hour miniseries, released in 1980 and directed by Jerry London.
Clavell’s novel is loosely based on real-life historical figure William Adams, an English pilot (nautical navigator) whose ship wrecked on Japanese shores in the pivotal year of 1600. In Clavell’s adaptation, Adams is reimagined as John Blackthorne, portrayed by Richard Chamberlain in the original miniseries and by Cosmo Jarvis in this latest iteration.
In the powerful opening scene, Blackthorne (Jarvis) and his crew, aboard their partially wrecked ship Erasmus, are washed ashore near the small Japanese fishing village of Ajiro. After being lost at sea with their sails in tatters, their unexpected arrival sets the tone for the epic cultural clash that follows.
The village of Ajiro is under the control of a young samurai, Omi Kashigi (Hiroto Kanai), who inherited his position from his father. Many of the Erasmus crew have succumbed to starvation and the captain dies by suicide, leaving Blackthorne as the de facto leader.
Omi wastes no time imprisoning Blackthorne and the surviving crew. Word of the mysterious Europeans and their ship spreads rapidly, soon reaching the ears of several powerful leaders. Among them is Yabushige Kashigi (Tadanobu Asano), Omi’s corrupt and depraved uncle who rules over the province , where Ajiro is located. The news also reaches the cunning and calculating Yoshii Toranaga (Hiroyuki Sanada), busho (military general) or the daimyo (feudal lord), who governs the entire province.
Blackthorne initially clashes with the Japanese. While his gruff demeanor and clumsy actions nearly get him killed on multiple occasions, his unwavering sense of honor becomes a surprising asset. The Japanese, particularly the samurai and nobles, are both intrigued and mystified by this, as they are unaccustomed to seeing such integrity from those they refer to as “barbarians.”
The initial episode centers on Blackthorne’s rapid yet believable rise from a lowly prisoner (he’s even urinated on in an early scene) to a somewhat respected captive. This shift in status never feels contrived, as there are specific circumstances that justify the growing esteem of Blackthorne. His actions in certain situations earn him respect, but they also carry a high level of risk that could have easily led to a brutal end. The tension is so expertly crafted that I felt as if I were walking on eggshells alongside this likable, if audacious, rapscallion.
A pivotal and turbulent time in Japan’s history 1600 marked the end of the violent Sengoku Jidai (or Warring States period) and the beginning of the more peaceful Edo period, following Japan’s unification under Ieyasu Tokugawa, represented in the series by Toranaga.
Besides the superlative acting and direction (by an international team of six directors), the series serves as an entertaining and insightful gateway into Japanese history, as many of its elements are rooted in real events. The series also features the Council of Regents, a powerful group of daimyos forced to share authority after the recent death of a leader, though each secretly schemes to seize power. This mirrors the historical Council of Elders, of which Tokugawa was a member before ultimately becoming shogun.
The acting in Shogun is outstanding, particularly among the Japanese cast. While I appreciated Cosmo Jarvis’s portrayal of Blackthorne, his performance lacked some of the nuance seen in his co-stars.
Asano, for instance, who appears in “Thor: Ragnarok” and “Midway,” perfectly embodies the depravity of his character. Sanada, a remarkable actor whose talent has only been glimpsed in Western films like “The Wolverine” and “John Wick: Chapter 4,” taps into his true potential, delivering a performance of depth and subtlety.
The series’ lead female character Mariko Toda (Anna Sawai) doesn’t feature prominently in the first episode. However, it’s hinted that she has a tragic past and is poised to be a key player in Toranaga’s plans, though the exact nature of her role is shrouded in mystery.
The set designs, costumes, and minimalist score all contribute to a wonderfully immersive production, enhancing the authenticity of the storytelling and making this introduction to the “Shogun” series even more entrancing.
The series has been picked up for at least two additional seasons, fantastic news for those, like myself, who have thoroughly enjoyed this sublime show so far.
