This scene makes Kyoto Inferno different from two-part films like The Hobbit, which literally kept you hanging. Kenshin’s jumping off the ship to save Kaoru also signals the end of the first part. In fact, I see her being kidnapped as a symbolic gesture of Shishio, ‘kidnapping’ the ideal of peace and the symbol of the restoration efforts of the government. Thus as a character, compared to the broken people surrounding her, she is as pure as the ideal of a new Japan. Kaoru was born towards the end of the Bakumatsu. He says that for him, it was a good way to end the first film while giving Kenshin more reasons to fight Shishio and what he stands for. Otomo-san explained Kaoru’s kidnapping in one of the Manila interviews. And the third worth mentioning is Kaoru’s kidnapping. The second is Shishio’s Black Ship leaving for Tokyo unscathed by the end of the film. The first one is the clever Bakkyusai addition discussed before. These plot deviations subsequently affected the events in The Legend Ends. There are at least three major plot deviations from the anime in Kyoto Inferno. Major Deviations from Anime (*Major Spoilers too!) This is also true for the rest of the Juppongata members, although, understandably most of them didn’t get enough screen time.
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After watching The Legend Ends, I was glad that his character development came full circle. An actor I have admired for his portrayal of sickly forward-thinking Choshu retainer, Takasugi Shinsaku in Ryomaden and talented boxer, Toru Rikiishi in Ashita no Joe. It’s a good thing he was played by a good actor, Yusuke Iseya. As a character with a vile purpose, we are left wondering and unconvinced about his internal motivations. Kyoto Inferno felt this miss but not too much as to make him irrelevant. He was supposed to be part of Takeda Kanryu’s opium dealings but his character was left out in the first Rurouni Kenshin (2012) film. Aoshi is a unique film character because his character came too late. We care more because each character acted based on their principles, each a victim of the turbulent times. Kaoru and her little dojo family with Sanosuke, Megumi, and Yahiko Misao, Okina, and the Oniwanbanshu at Aoiya Arai’s family, and even Shishio and his Juppongatana. In place of romance, the film focuses on love for the other characters. But since I already know that I’m not getting any since Kenshin saying goodbye to Kaoru was shown in the film’s trailer, I was not disappointed. Like any Rurouni Kenshin fan, I also wanted the firefly scene. I think this is the reason why Rurouni Kenshin is also a romantic story. And for me, she is the embodiment of Kenshin’s ideal of peace. While Kenshin will always be the man who is the center of all the fighting and struggles, Kaoru is the center of peace. Rurouni Kenshin, apart from being a story of repentance and redemption, is about one man’s quest for peace amidst being the center of struggles against it. No Firefly Scene but More Love from the Characters As this is only one of the very first scenes in the film, we are also told that this is only the beginning. When Kaoru said that as Battosai, Kenshin is now a thing of the past, we know as viewers that Kenshin’s internal battles between his past and his present self is far from over. While serving the purpose of his comedic role on the stage is also misjudged by being portrayed a fool who doesn’t know what he’s doing.
With this scene, we are presented with the sharp contrast of the promise of peace in the Meiji Period versus the turbulent years of the Bakumatsu when Kenshin served as a hitokiri to topple the Shogunate government and restore power to the emperor.īut like Himura Battosai whose actions as hitokiri served a purpose and can easily be judged as wrong and shameful, we are presented with a Bakkyusai.
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The cleverness of this scene is why I love director Keishi Otomo ever since I watched his other great work, a long drama series called Ryomaden. Kenshin Himura, former hitokiri, former rurouni, and now a peace-loving citizen, enjoys a stage play starring his legendary past self – Battosai in a mockery aptly termed ‘Bakkyusai’.
Rurouni Kenshin: Kyoto InfernoĪfter this chaos and a backgrounder on why Shishio became the way he is, we are presented with Kenshingumi (Kenshin’s group) having fun at the village festival. It also conveyed to us the central conflict of the film, by allowing Saito to become privy of Shishio’s plans of revenge against the new government. This is a very good opening scene that let’s us meet Shishio’s character for the first time showing us how menacing he has become. He was welcomed fierily by Shishiogumi (Shioshi’s group). Hajime Saito, formerly, the celebrated leader of the Shogun’s Shinsengumi goes to Shishio’s hideout. Kyoto Inferno started strongly with a visual of Shishio’s idea of inferno.
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