A world weary Ichi once again finds his past and his reputation catching up with him. After chasing away a band of would-be swordsmen hoping to get revenge for the death of one their own, Ichi meets up with a childhood friend. Their charming reunion, highlighted by a song Ichi performs in celebration at an inn is cut short by masked thieves demanding money. One of the bandits is identified and Ichi pays them a visit the next day to collect the money with interest.

Ichi's rediscovery of his past continues after Banno, his sensei appears and conveniently disrupts another fight where Yasuhika, the brother of a yakuza member slain by Ichi offers a challenge. Ichi becomes reacquainted with the man who taught him how to handle a sword four years prior. Yet, it doesn't take eyes to see that Ichi's teacher is not a man of great or even good character. He demands that Yayoi, his sister marry into a samurai family despite her reluctance and he discards a mistress to her abusive husband. Worst of all, Banno concocts a plan to use eight criminals on the run to take 300 ryo from one of his student's family by having the thugs hold the young man for ransom. Making things worse, Ichi and Yayoi declare their love for one another and ask Banno for permission to marry. He not only refuses, but kicks Ichi out for good. Matters come to a head as Ichi finds that Yasuhika, a man he comes to respect has been killed by Banno, while his former teacher's plot is uncovered. After dispatching with the criminals, Ichi is confronted by his sensei.

Although we have already been introduced to Zatoichi in his prior films, this episode really begins to refine the character and his main struggle, not with blindness or discrimination, but with his vicious yakuza lifestyle. Early on we see a man who desires to be free from his own reputation which seems to only bring more suffering to those around him. We see a lighter, more human side of Ichi as he laughs with cheering children and sings about his simple, yet troubled life. Actor Shintaro Katsu really fills out the character. His subtle and comfortable performance as a regretful, yet deadly killer who yearns for happier days is easily the progenitor and better archetype for similar characters played by the likes of Clint Eastwood, Beat Takeshi, and Chow Yun Fat.

What the film does with this character as he wanders through a colorful tapestry of tightly woven characters and subplots is what grants this film genius status. One of the finest plot devices ever involves Ichi's vow he makes to Yayoi to put his killing behind him. This promise is strongly reinforced by Ichi offering his life to Yasuhika when he comes to challenge the blind man. Yasuhika spares his life out of grudging respect, but that's not the end of it. Banno refuses the union between Ichi and his sister, insults Ichi, and later kills Yasuhika who is drunk and unarmed. After Banno offers a challenge, Ichi is left with no option but to fight, thus breaking his oath with Yayoi and forcing him to return to his wandering. Western audiences might scoff at this romanticized ending, but in Japanese culture where integrity and shame weighs heavier than love, it is a fitting end.

Aesthetically, Zatoichi 3 benefits from the generally high production values of Japanese film from this period. This is the first color entry in the series and features lush, green settings that are mostly on soundstages, but you'll rarely notice or care. Chichi Makiura's camera work with elegant tracking shots is excellent. The direction, especially noticeable on fight scenes is pleasantly spartan, favoring strategic placement over quick edits which have come to be overused so often in modern action filmmaking.

Just about everything in this film is first rate. More location shooting would have been welcome, but the intimate nature of the plot works well on a more modest stage. The soundtrack does its job well, which is to accent the story without overpowering it. There is not a lot of swordplay, but what is present compliments the film's engrossing story and thus has greater impact. This is the kind of historical action film that is timeless and begs to be seen repeatedly for it's level of depth and character.

After running into an old friend and aiding fellow travelers at an inn by tracking down the men that robbed them, Ichi begins to reflect on his violent ways and the mounting grudges and bounties on his head. He returns to his hometown, reuniting with his sensei, Banno, and Banno's sister Yayoi, and pauses to take a breath and reassess his life. But, a gang of thieves, the Tengu Gang, has been terrorizing the area. Ichi is overwhelmed when Yayoi, despite her brothers plans to marry her off to a respected man, professes her love for the scoundrel blind masseur. Ichi pleads to resign his rough way of life for her, but his old life is not so easily left behind as a vengeance seeking brother tracks him down and Banno refuses that his sister marry such a lowly man like Ichi. When the Tengu Gang hatch a kidnapping scheme and Banno decides to double cross them while delivering the ransom, Ichi finds himself thrust back into the violent life, not only against a gang of swordsmen but the very man who taught him how to use a blade.

One of the appeals of Zatoichi and an element that would be crucial in maintaining interest in the character throughout the films is that his history is mainly hinted at, little clues dropped here and there. New Tale of Zatoichi is one of the most revelatory Zatoichi films and is one of the best in the series, though that latter fact has more to do with just being an emotionally moving, well plotted film as opposed to its glimpses into Ichi's past.

New Tale of Zatoichi is pretty much perfect, a great samurai film, and, I think, better than the first Zatoichi movie. The elements of drama and danger, the essential stable of characters that populate and prove so important to every Zatoichi film are just so well honed and involving in this film. Particularly standout is the interaction and development between Ichi and Yayoi. His reaction to her professed love is devastating, a perfect example of star Shintaro Katsu's acting skills and why the series was so popular. He goes from amazement, to flattery, to feeling worthless, to joyful in the span of a few minutes, and it is followed by his humble kowtowing to her brother, his teacher, and complete vulnerability and sadness as his sensei rejects him and hurls venomous insults at him. It is pure, fleshed out, and alive character work. Add to that the simple moments, like a gaggle of children Ichi passes on the road, who surround him and sing an innocent mocking song, to Ichi massaging and poking a sore spot on a boastful ronin thief, and of course, as the series is known for, a fantastic final fight. The great composition of its imagery is further proof why the Japanese where the stately masters of evocative images for so many years. That they took the time to compose such sequences as the one where Ichi and Yayoi are walking through a bamboo forest is especially amazing considering how quickly the Zatoichi films were turned out.