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THE ORIGINS OF CHAMBARA Japan’s action films dealing with the Feudal era are known as Chambara, which is slang for Japanese swordplay or swashbuckler films. Chambara films have been around from the silent screen to the present day. These films are generally set in 15th- to 19th-century Japan. The first Chambara jidai geki (period films) utilized the fighting techniques found in traditional Kabuki theatre productions. The Japanese public showed a great appreciation towards these films because they served as a visual reminder of Japan’s rich and colorful history. The film titled “The Fight at Honno Temple” was released in 1908 and its director, Makino Shozo, became known as the father of Japanese cinema. Because of this films popularity, many renowned traditional masters at that time became the primary source of inspiration for developing the techniques used in the making of future Samurai and Ninja movie epics. This brought a new sense of “Realism” to these films because the characters actually used historically proven fighting techniques that had been adapted to film. The significance of the Chambara film genre in world cinema is enormous. Inspired by the Westerns of Hollywood, Japanese director Akira Kurosawa made a few of the most memorable Chambara films. Among Kurosawa's best-known swordfight films are “Seven Samurai” (1954) was later remade in America and titled “The Magnificent Seven.” The Hidden Fortress (1957) is acknowledged as an inspiration for “Star Wars,” and “Yojimbo” (1961) was remade as “Fistful Of Dollars.” Directors like Kurosawa brought dirty realism to the Chambara genre, evoking a world of immorality, violence and sudden death. CHAMBARA EVOLVES Chambara prospered in the 1960s and 1970s, with the lust for violence and sex growing increasingly fast, bloody and explicit films as Kobayashi's “Seppuku” (1962), led to the development of Ero-gro, a sadistic sub-genre of sexual horror films, epitomized by Kaneto Shindo's Onibaba (1964) and Teruo Ishii's “Joys of Torture” (1968). POWERFUL SERIES Chambara was also popular in a variety of film series including; “Zatoichi” (1962-72), “Kyoshiro Nemuri” (1963-69), “Wicked Priest” (1968-70), “Hanzo The Blade” (1972-74), “Lady Snowblood” (1973-74), and based on the epic Manga comics by Kazuo Koike and Goseke Kojima the amazing “Lone Wolf And Cub” series (1972-74), RECENT CHAMBARA Although there has not been an enormous amount of Chambara created recently, there are a few that deserve honorable mention. Mitsumasa Sato's Black Magic Wars (1983), and Kaizo Hayashi's phantasmic Zipang (1991). THE MANGA CONNECTION Japanese Manga comics based on historical characters have become extremely popular over the years and Japanese Animated films (Anime) depict many of Japan’s historical adventures in a fresh medium that allowed storytellers the opportunity to exceed the limits of normal filmaking. Although not directly related, the Chambara flavor is present. Whether displayed in a Samurai film epic or in a post-apocalyptic animated adventure with heroes clad in robotic armor, the Chambara ingredients remain the same. Colorful characters, realistic traditional fighting skills and a flare for the overly dramatic that is uniquely Japanese. CHAMBARA IN AMERICA? Action films are popular throughout the world. No matter what country or language, action is an easily translated medium. An abundance of moviegoers love to see fights, explosions, car chases, high falls and other stunt related feats; the more intense the action, the better. To meet the needs of this audience, film makers have put every effort into intensifying the action in their films. In doing so, both Stunt and Special effects budgets have increased dramatically to produce more elaborate scenes that will stimulate the “Adrenaline rush” that the audience has become accustomed to. Until recently there was one area that was still lacking in American action films. This area is related to fights and how they are filmed. Most American directors use camera tricks to make a fight scene believable. Quick cuts, special edits and stunt doubles have become standard in the American fight scene. Many actors need such gimmicks to appear as though they are capable fighters. But, as most Martial Arts fans would agree, nothing can replace the real physical skills depicted in Chambara films. The skill level of the performers displayed in these films is often astounding if not utterly unbelievable. Amazing feats of dexterity, unmatched prowess with exotic weapons and the sheer genius of their unique unarmed fighting maneuvers make these films a pleasure to experience. Such skills allow wider angles to be used so the audience can actually see the fight from beginning to end with fewer edits. Fortunately, there have been quite a few changes in the film and television industries in relation to Martial Arts. There has been a distinct rise in the number of action-related projects that are making use of extremely talented performers. In television we have seen a major change. Various ongoing series have become far more innovative in their use of Martial Arts. Shows such as Highlander, Mortal Kombat - Conquest, Walker Texas Ranger, Buffy the Vampire Slayer, Martial Law, The Crow-Stairway to Heaven and even Xena and Hercules have all creatively integrated the Martial Arts into their overall scheme. Film too has changed. More and more projects are making use of extensive Martial Arts. Films such as Blade and Lethal Weapon IV have brought this action directly to the mainstream audience. This is not to say that the Martial Arts have not been prevalent in the film industry before this point, they have, but the difference lies in the way the Martial Arts have been filmed. As with all things, the art has evolved. We are seeing scenes involving more complex choreography, wire effects and stunts, which makes it obvious that this current trend is highly influenced by the techniques used in Asian Cinema. THE NEW BREED OF PERFORMER The unique Chambara filming style is not uncommon among a small community of performers, many of which have been applying these techniques in their projects for years. Actors like Gary Daniels, James Lew and Mark Dacascos are among a special breed who have performed in some of the best fight scenes ever filmed. Beyond those mentioned, there are also a multitude of stunt professionals who have displayed their abilities in film and television over the years with little or no recognition, because at the time, the general public was not ready to acknowledge their skills. Times have changed. Starting with the U.S. release of various John Woo films, the re-urgency of Jackie Chan films and the recent interest in the fantastic feats of Jet Li, many American directors began pulling out all the stops. They are spending more time on shooting fight-related scenes than ever, which demonstrates that a new art form is on the horizon. An art form that utilizes a unique blend of American and Asian filming methods that will create a new genre of action film….a new breed of Chambara performer THE FUTURE OF CHAMABARA With Chambara as a foundation, almost any genre can be enhanced to a new level. There is a new generation of up and coming American directors that aspire to keep this art form alive. Actor/Directors like Mark Steven Grove, a Master-level practitioner in the arts of Ninjutsu, Kenjutsu, Kunoichijutsu and the founder of American Chambara. Mr. Grove is quoted as saying that “Although extreme by American standards, the requirements necessary to actually become a qualified Chambara actor are quite vast and complicated. First and foremost, the Chambara initiate must seek to attain a high level of proficiency with unarmed fighting skills and acrobatics. However, they must always keep in mind that Chambara is not solely a Martial Art , but a Theatrical Art as well. All moves must be practiced in a fashion that translates to screen. Without this foundation, it would be impossible to deliver believable Chambara action. “ ACROBATICS Acrobatic skill is a necessity to the Chambara actor. Supreme dexterity is a valuable ally. Such physical grace allows the Chambara actor to not only perform feats involving rolls, springs and flips, it also enables them to adapt to their surroundings, using walls, tables, chairs and other inanimate objects as improvisational props that can be used during the application of the acrobatic technique. WEAPONRY The Chambara actor must also be skilled a number of weapons, striving to become overly animated in their application. Learning to fight with props is a Chambara specialty. Swords, firearms, and improvised weapons such as bottles or chairs must become a natural part of the Chambara actor’s arsenal. Although the Chambara actor must be skilled with a number of weapons, it is not uncommon for them to choose a specific weapon that they will use during all aspects of their training. This does not mean that they will be excluded from training with other weapons, it simply means that they would have one weapon in particular in which they would be extremely skilled. This type of signature weapon can be quite valuable in the later stages of the Chambara actor’s career. ACTING ABILITY Although praised for their physical gifts, the Chambara performer must also hone their acting ability, emotional presence and physical appearance are important for character development, which in turn compliments the Chambara actor’s fighting ability. These skills can only be attained by practicing scenes involving dialogue with other actors, focusing on attuning with the character portrayed. STUNTS Aside from delivering action scenes involving unarmed, acrobatic and weaponry techniques, the Chambara actor must expand their awareness to stunt skills, such as; High falls, Jerk harness, Body burns, Wire flying, Linear falls, Breakaways, Horsemanship, Car rolls and Air ram until they reach a refined state. In actuality the number of intricate stunt skills is limitless, bound only by the imagination of the Chambara practitioner. | |
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