Captain Nathan Algren (Tom Cruise) is a veteran of the American Civil War, who proudly fought for his men and for his country.

At the request of the Emperor of Japan (Nakamura), Algren travels to the Far East to school the Tokyo troops in the art of modern warfare.

Soon after, Algren leads his ill-prepared troops into battle against a small group of Samurai, led by the enigmatic Katsumoto (Watanabe), who are rebelling against the Emperor.

The result is a massacre and Algren is captured by the rival Samurai and taken back to their village in the mountains, where Katsumoto's sister Taka (Koyuki) nurses him back to full health, even though the American captain killed her husband in battle.

At first, Algren refuses to speak to Katsumoto, unwilling to betray his countrymen.

However, as winter sets in and it becomes clear that there is no hope of escape, the American captain begins conversing with Katsumoto, and is shocked to find himself moved by the warrior's crusade.

The Last Samurai is an impressive tale of clashing cultures and the re-education of a spiritually dead man, who re-discovers the glory and honour of fighting for something he truly believes in.

The film invests its characters with a rare intelligence and nobility, punctuating the philosophising with bravura action set-pieces and a tender love story.

Cruise delivers a strong if not entirely convincing performance as the outsider, who is reborn thanks to Katsumoto's sage teachings.

He looks far too polished and preened for a grizzled military man, but certainly takes the punches during the gruelling fight sequences.

Watanabe is mesmerising as the old school warrior who teaches Algren about the honour in dying for a cause, bringing a quiet intensity and grace to the part.

Edward Zwick directs the battle sequences with panache, which are both hauntingly majestic and terrifyingly brutal, using slow motion and handheld camerawork to great effect.

Only in the heavy handed closing frames does the film shoot way off the mark, pandering to the masses who demand a happy ending (of sorts), rather than the downbeat denouement which the material surely merits.

GEORGE GAYNOR