Based on James Clavell’s 1975 novel of the same name, FX’s Shōgun is a fictionalized retelling of one of the most pivotal periods in Japanese history. The miniseries follows the rise of the Tokugawa Shogunate — and the transition from the tumultuous Sengoku (“warring states”) Period into the Edo Period, a time of isolation and peace. While the original 1980 miniseries won an Emmy Award, the 2024 production is also likely to impress modern viewers.
Shōgun Episode 1, “Anjin,” and Episode 2, “Servant With Two Masters,” follow Yoshii Toranaga — a fictionalized version of historical figure Iyeasu Tokugawa — as he wrestles with the unstable political landscape of Japan. If Toranaga is going to assume the role of supreme leader of Japan, he will have to come up against enemies at home and abroad. However, an opportunity comes when English sailor John Blackthorne offers him a glimpse at the true intentions of the Catholic missionaries and Japan’s place on the world’s stage. But Toranaga’s new foreign ally may also draw unwanted attention and suspicion, too.
FX’s Shōgun Is Richer Than the Previous Adaptation
FX’s Shogun Adaptation Has a HUGE Cultural Legacy
FX’s adaptation of Shogun carries a tremendous weight, not only in following the successful 1980 miniseries but from a cultural standpoint.
It’s inevitable for the 2024 Shōgun to draw comparisons to its 1980 counterpart. There are many stark differences in both the miniseries’ technical aspects and its storytelling, with James Clavell’s daughter Michaela overseeing the FX adaptation. While the 1980 version was mainly told from the perspective of Blackthorne — a fish out of water and surrogate for the audience — the 2024 Shōgun takes a more omniscient approach.
The episodes move beween different characters’ perspectives, especially those of Toranaga, Blackthone — dubbed “Anjin-San” — and Toda Mariko, one of Toranaga’s most trusted allies. This results in a more panoramic story, clearing up some of the confusing and intricate nuances of the Japanese political world. There’s more detail in the tensions between the Damiyos, the vested interests of the Jesuit and Portuguese powers, and the different players on the political stage. While the greater array of perspectives can be dizzying — the downside of having such a large cast — it makes for a richer narrative, and gives audiences more of a chance to get to know characters on their own terms.
The comparisons between Shōgun and Game of Thrones and its ultra-violent contemporaries are understandable. There are some scenes where the brutality is gratuitous, almost to the point of over-emphasis, and casualties pile up quickly in the first two episodes — which only scratch the surface of the politically-driven plot, with varying factions fighting for the sole seat of power. However, given that Clavell’s original novel was published in 1975 — predating George R.R. Martin’s A Game of Thrones by 21 years — the similarities would seem to be coincidental. If anything, Shōgun outdoes Game of Thrones by scaling back on its setting, while using violence more judiciously and less sensationally.
Shōgun Has a Well-Rounded Cast of Complex Characters
Why Yoshii Toranaga’s Important in FX’s Shōgun
Shōgun is FX’s latest miniseries and Yoshii Toranaga is not only compelling, but essential to the beautifully crafted plot.
Toranaga, played by Bullet Train star Hiroyuki Sanada, sparkles as Shōgun‘s lead. His stoicism masks subtle brittleness, fear and tender humanity; he comes across as intimidating and untouchable, yet also conflicted and vulnerable due to his circumstances. The character is portrayed as human in spite of his lofty place in Japanese politics. Sanada’s castmates are equally formidable. Anna Sawai is poised and sympathetic as Toda Mariko, a woman caught between duty and her Catholic faith, by way of the invading missionaries. She has genuine rapports with both Toranaga and Cosmo Jarvis’s Blackthorne. The former is a paternal, authoritative relationship, while the latter pulses with romantic tension. Jarvis holds his own as Blackthorne, providing a passionate, grimly determined and fiery foil to Sanada’s icy calmness.
Even the supporting characters have memorable moments that add richness and depth to Shōgun‘s world. Tadanobu Asano is appropriately creepy as the brutal Lord Kashigi Yabushige, and Yasunari Takeshima’s minor role as the bard-like fisherman Muraji adds an almost whimsical, fantastical presence to the otherwise dark and grounded story. Tokuma Nishioka’s tough and dry-witted veteran general Toda Hiromatsu and The Morning Show alum Néstor Carbonell‘s smart-aleck Portuguese sailor Rodrigues bring necessary comic relief. Nishioka’s flat-footed delivery and blunt humor, and Carbonell’s blithe sarcasm and endearing crudeness elicit genuine laughs. The result of all this is one of the most well-rounded ensembles in recent TV history.
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While Shōgun channels hit series from TV’s Golden Age, it also has some pitfalls. There’s a lack of focus that comes from a combination of its large cast and an intermingling of their storylines. This is a flaw that also existed in Clavell’s novel, and not surprising from any movie or TV show that has such a grand scale. The nuanced characters and ambiguous motivations that come with the political drama also blur the lines between heroes and villains; this isn’t a bad thing, but reflects the cynical storytelling trend in film and television and media. The historical setting of Shōgun alleviates some of this, but the miniseries remains unflinching in its depiction of cultural clashes and the ensuing violence, as well as the more brutal customs of life in the late 16th Century.
Technically, Shōgun also highlights the less-than-glamorous aspects of modern TV and filmmaking, mainly the dreaded HDR effect: an over-correction of colors that makes everything appear too dark, gray, desaturated and washed out. This is a great disservice to viewers, because it spoils the sophisticated art direction as well as the gorgeous period settings and costumes. The sound design is also flawed, including unnecessary explosions and sonic jump cuts — making scenes feel like movie trailers rather than television. At worst, the sound design is overwrought, oversensationalized, jarring and disruptive. This puts it in direct contrast to the subtle performances of the actors and takes viewers’ attention away from the story.
But while its approach may be rooted deep in the pre-established conventions of modern television, Shōgun has all the grandeur and scale that befits a major cultural phenomenon. Its excellent international cast carries the production, and the show creates the sweeping narrative it’s aiming for. Add in the appeal of great historical drama and the wonderful visuals (when they’re not washed out), and the miniseries will delight viewers who remember the 1980 version as well as audiences who have never seen it before.
Shōgun premieres Feb. 27 on FX.
Shogun (2024)
Set in Japan in the year 1600, Lord Yoshii Toranaga is fighting for his life as his enemies on the Council of Regents unite against him, when a mysterious European ship is found marooned in a nearby fishing village.
- Release Date
- 2024-02-00
- Creator(s)
- Rachel Kondo , Justin Marks
- Cast
- Anna Sawai , Hiroyuki Sanada , Tadanobu Asano , Yûki Kedôin
- Seasons
- 1
- Characters By
- James Clavell
- Network
- FX
- Streaming Service(s)
- Hulu
- Excellent, well-rounded ensemble cast
- Historical drama is epic yet emotionally nuanced
- Violence is strong but not oversensationalized or used as a crutch
- Phenomenal historical setting, period costumes and art direction
- Poor lighting detracts from excellent art direction
- The sound design is unoriginal and overdone
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