ollowing a devastating Soviet attack in 1957, the United States has become a wasteland. In the 40 years since the war, only one area, the city of Lost Vegas, has remained prosperous. While Elvis Presley had ruled the thriving metropolis for nearly four decades, his recent death has attracted musicians from throughout the land to the Nevada desert, each hoping to take his place as the next King of Rock 'n' Roll.
Journeying through the post-apocalyptic devastation is Buddy (Falcon), a young guitarist and samurai swordsman who wants to become the new ruler. When he rescues a boy, known simply as The Kid (McGuire), from a group of degenerate savages, the vagabond performer reluctantly gains a traveling companion. Although he tries to ditch the child--offering him to both a cannibalistic family and a diminutive gang leader--The Kid manages to escape each time and continues to follow the musician.
In addition to dealing with the youngster, Buddy must also face numerous foes who want to keep him from reaching the flourishing city. A deadly trio of bounty-hunting bowlers, astronautic "windmill people," a Russian Army squad and other players all attempt to kill him as he traverses the last few hundred miles to Lost Vegas. With a mixture of courage and martial artistry Buddy meets each challenge, but just as it seems he and The Kid are finally going to reach their goal, they find themselves in a showdown with Death (Stephane Gauger) himself.
Rock 'n' roll is here to stay
On the surface Six-String Samurai may seem fairly derivative, with visual and narrative elements similar to Mad Max, The Postman and nearly every other post-holocaust film. However, it is actually a remarkably enjoyable adventure that offers a truly speculative perspective on the indomitable human spirit.
With his broken glasses and torn tuxedo, Falcon looks like a rundown Buddy Holly, and under his strong yet subdued demeanor he clearly embodies a bygone era when lifestyles and music were both significantly less complex. Death, who sports a taped-up top hat and guitar-pick trophy necklace, represents the nihilistic specter of flashy modern rockers like Slash from Guns N' Roses, while The Kid, who remains mute for much of the movie, exemplifies a battered but eternally hopeful view of the future.
Director Lance Mungia adds wry touches of humor to the low-budget project, creating brief but smart homages to such films as Star Wars, The Wizard of Oz and innumerable spaghetti Westerns. He also deftly incorporates an original score by composer Brian Tyler and various melodies from The Red Elvises, an energetic rockabilly/surf band comprised of Russian émigrés that generates an interesting blend of Soviet and American musical styles. Although the basic setup is familiar to most science fiction cinema fans, the undeniably fresh approach to the subject makes Six-String Samurai a highly entertaining and thought-provoking motion picture.
