‘Shogun’ Review: Rediscovering Japan

The new FX mini-series “Shogun” is getting a lot of credit simply for not being “Shogun,” the 1980 NBC mini-series also adapted from James Clavell’s best-selling novel about the last days of feudal Japan. But the new show stands and falls on the same terms as the old show: its success as an epic costumed soap opera. You can correct for wooden acting, dated production values and Eurocentrism, but you can’t really correct for the basic nature of the material.

And on those terms, this “Shogun” — which premieres Tuesday on FX and Hulu with two of its 10 episodes — is perfectly successful. It is sumptuously produced, mostly well acted and not excessively sentimental or sensational. If its story seems to stop and start a bit, there are reasons for that, which become clear in a satisfying and moving ending; if there are major characters who don’t stand up to scrutiny, there are others who come alive and hold your interest. It may not live up to its hype, and it may leave you wondering why so much time (more than a decade) and money needed to be spent reanimating Clavell’s tale. But it delivers.

Created by the husband-and-wife team of Justin Marks and Rachel Kondo, the FX “Shogun” is still the story of an English navigator, John Blackthorne, who arrives in Japan at the turn of the 17th century and becomes embroiled — to a startling degree — in the political, cultural and romantic life of the country. (Blackthorne, like most of the significant characters, is loosely based on a historical figure.)

Kondo and Marks have recalibrated the narrative, however, moving Blackthorne’s point of view down in the mix and elevating the roles of many of the Japanese characters, particularly Toda Mariko, the noblewoman who becomes Blackthorne’s translator and love interest, and Yoshii Toranaga, the lord who both protects and manipulates him.

That’s a notable change from the original “Shogun,” but 44 years down the road, it’s not as if the show should get a ton of credit — it’s an easy win. In the current global TV environment, the show’s emphasis on Japanese characters and language is welcome but not exceptional. (Tremendous effort reportedly also went into vetting the details of period costume and behavior; few viewers, even in Japan, are likely to know the difference, but what’s onscreen certainly looks credible to the rest of us.)

As the plot, busy yet not all that complicated, unwinds — Toranaga and his rival Ishido jockeying for power, with Blackthorne as a reluctant pawn; Blackthorne being alternately repulsed and seduced by his new surroundings — the real difference between the old and new shows has less to do with cultural enlightenment than with a higher level of tastefulness and technique. Though there is a multicultural dimension there, too: Marks and Kondo’s show is informed by the craftsmanship of classic Japanese samurai films, which were in turn heavily influenced by the attitudes and styles of Hollywood westerns and swashbucklers. This “Shogun” sits in a polyglot comfort zone.