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File: 1419722502171.jpg (28.11 KB,448x252,16:9,Film_302w_Harakiri_origina….jpg)

 No.2749 [Last50 Posts]

What are your favorite Samurai films, /film/? I'm a huge fan of the genre, Harakiri is my favorite. I also like the Zatoichi series, all of the Kurosawa ones, Lone Wolf and Cub, and Sword of Doom. I'm looking for lesser known Samurai flick recommendations, so let me know what you guys's favorites are
____________________________
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 No.2756

Sword of Doom is one of my favorites at the moment.
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 No.2772

Harakiri is my favorite as well. Samurai Rebellion is another Kobayashi masterpiece and must see.

Samurai I: Musashi Miyamoto and Three Outlaw Samurai are a few other underrated ones.
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 No.2783

File: 1419926730958.jpg (36.19 KB,339x475,339:475,goyokin.jpg)

Goyokin is another one worth seeing
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 No.2823

File: 1420415285200.jpg (72.26 KB,486x720,27:40,13 assassins.jpg)

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 No.2973

File: 1422286783178.jpg (294.61 KB,772x1107,772:1107,ran so far away.jpg)

>>2749
>All this taste
You're all my Daimyos.
Bumping with my favourite Samurai movie.
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 No.2976

File: 1422291131602.gif (980.44 KB,500x229,500:229,yojim.gif)

>>2973
I really need to see that one
I mostly enjoyed Yojimbo but it's not quite as good as what's already been mentioned
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 No.2984

Sword of Doom is up there pretty high on my list.

I still need to see HaraKiri one day when I get the chance. The Musashi trilogy was decent.
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 No.2988

File: 1422322023019.gif (459.05 KB,500x222,250:111,tumblr_mxed24SRBB1qz5nl8o1.gif)

Love this scene.
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 No.2996

File: 1422358946331.gif (488.78 KB,497x373,497:373,1413158545374.gif)

there was a really good one from maybe ten years ago, about a blind samurai wanting revenge for his wife being raped by a superior samurai but i can't recall the title of the film. anyone?
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 No.2997

>>2973
that flick is in effect, the absolute masterpiece.
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 No.3654

>>2823
>>2973
My favourites.
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 No.3662

File: 1425516847035.jpg (71.32 KB,769x1100,769:1100,Kagemusha poster.jpg)

I've only seen Kagemusha and the start of Yojimbo, I like their gumption and I'm trying to get into this kind of stuff, can any one recommend any entry level ones. Maybe some non Akira Kurosawa movies
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 No.3664

File: 1425518655691.jpg (263.46 KB,1066x1500,533:750,81cEdiZF49L._SL1500_.jpg)

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 No.3665

>>3662
I'm still watching some of these myself but you can't go wrong with Harakiri.
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 No.3677

>>2996
Zatiochi maybe?
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 No.3678

File: 1425556001082.png (341.94 KB,706x540,353:270,Shura.png)

>>2749
>>2756
>>2973
>>2984
You all should check out Shura (Demons) by Matsumoto. He normally doesn't make Jidaigeki or Chanbara but this one is great, definately on point with Sword of Doom, lot of similarities too.
Don't be apalled by the awful imdb cover
http://www.imdb.com/title/tt0165473/
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 No.3680

>>3678 here

Im now a half hour into Kill, so far very amusing.
Came to mind I saw this trailer for a new samurai flick but I can't seem to be able to find it anywhere yet, please help me out.

https://www.youtube.com/watch?v=-c-hs5NUv6s
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 No.3681

>>3662
Yojimbo
Hidden Fortress
Rashomon
Seppuku (Hara Kiri)
Samurai Rebellion (bit boring imo but still entry level i guess)
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 No.3694

Sword of Doom
Seven Samurai
Ran
Yojimbo
Kagemusha
Samurai Rebellion
Harakiri
13 Assassins
The Hidden Fortress
Throne of Blood
Musashi Miyamoto
Twilight Samurai
The Hidden Blade
Love and Honour
After the Rain
Zatoichi(there's too many for me to pick one)
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 No.3695

>>3694
Oh I forgot:
Sanjuro
Kochiyama Soshun
The Million Ryo Pot
Humanity and Paper Balloons
Rashomon
Sukiyaki Western Django (batshit insane Samurai/Spaghetti-Western tribute to Django/Yojimbo)
Red Sun (Bronson vs Mifune, need I say more?)
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 No.3697

>>3695
Drat I also forgot:
The 47 Ronin (Mizugichi)
Akô-jô danzetsu
The Loyal 47 Ronin
Samurai Assassin
47 Samurai
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 No.3753

Finished Yojimbo, I really enjoyed it, it was fun and easy to watch. Would anyone recommend watching the sequel Sanjuro?
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 No.3754

>>3753
Absolutely, it's a great film. Somewhat more light hearted than Yojimbo and the swordplay is excellent.
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 No.3755

Any good one's on Netflix breh?
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 No.3757

>>3680
Gonne give it another try. Anyone know where to get Bushido/Shundou (2013)? I really want to see this.
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 No.3784

File: 1425796126702.jpg (54.85 KB,482x686,241:343,600full-satan's-sword-3:-t….jpg)

Does anyone know why the Sword of Doom trilogy was not made as planned?

I see that an earlier film Satan's Sword – which was made into a trilogy – covers the same story.
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 No.3789

>>3784
Sadly nobody knows for certain. The most likely answer however is that given the sheer length of the novel and costs of making films that long combined with the dwindling numbers of people in Japan going to the cinema due to the rise of Television made the producers too doubtful on whether they'd get their money back.

Personally I'm kind of glad that the rest were never made, I love the sudden ending.
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 No.3799

>>3789
If they weren't planning on a making more films, they would have certainly ended things differently. I think the ending would have been changed to something with less of an impact. I wonder what the new commentary track has to say about it.
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 No.3820

>>3757
Looks interesting, I can't find it either

>>3784
Actually, it's been done several times:

First in the 30s starring Denjirô Ôkôchi with Hiroshi Inagaki directing:

Daibosatsu tôge: dai-ippen - Kôgen itto-ryû no maki (1935)
http://www.imdb.com/title/tt0200557/

Daibosatsu tôge: Suzuka-yama no maki - Mibu Shimabara no maki (1936)
http://www.imdb.com/title/tt0961182/


Then there was a trilogy in 1953 at the Toei Studios starring Chiezo Kataoka, which is not registered in the imdb and all but forgotten in Japan as well. But Kataoka apparently liked the character a lot and it was remade a few years later. This trilogy (Souls in the Moonlight), directed by Tomu Uchida has become a classic, although there was some controversy as Kataoka was considered to be too old for the role:

Daibosatsu tôge (1957)
http://www.imdb.com/title/tt0199443/

Daibosatsu tôge - Dai ni bu (1958)
http://www.imdb.com/title/tt0960751/

Daibosatsu tôge - Kanketsu-hen (1959)
http://www.imdb.com/title/tt0960752/


Just a year later, Daiei Studios followed with their version (Satan's Sword) starring their biggest star Raizo Ichikawa with Kenji Misumi as director. Raizo is generally considered the quintessential Ryunosuke, although some people prefer Nakadai:

Daibosatsu tôge (1960)
http://www.imdb.com/title/tt0409866/

Daibosatsu toge: Ryujin no maki (1960)
http://www.imdb.com/title/tt0199444/

Daibosatsu toge: Kanketsu-hen (1961)
http://www.imdb.com/title/tt0199445/

/some interesting information I copied and pasted
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 No.3825

File: 1425895441456.png (833.99 KB,837x480,279:160,vlcsnap-2011-08-30-07h54m0….png)

>>2749
The "best" samurai movie I know about is definitely Ran, though Seven Samurai might be a personal favourite, and Kurosawa is my favourite director.

>>3678
I'll check it out.
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 No.3834

>>3820
Thank you very much for these titles. Sword of Doom is definately one of my favourites and im very curious to see another man's interpetation of the same story and character.
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 No.4033

Mifune has such a great character in Samurai Rebellion … one of my favorites of his roles.
I'm wondering how much you guys pay attention to the time period of specific Japanese films? I was thinking it would be nice to have a better grasp of what was happening in Japan in the centuries when these films are set. So given a particular year, you'd generally know what to expect – rather than thinking it's all in some vague samurai era.
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 No.4039

File: 1426737824351.jpg (27.82 KB,325x474,325:474,MV5BMjE4NDE0OTI3NF5BMl5Ban….jpg)

>>2749
Watch Ugetsu.

One of those most beautiful films I've seen to date.

and check out the rest of Mizoguchi's work while your at it.
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 No.4041

I've seen a good share of Samurai flicks, but I think all of them I saw were set around the Sengoku time period. I'm looking for some of that 'Samurai vs. Modernity' flavor, so any films set around, say, the Bakumatsu era that are good?
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 No.4052

YouTube embed. Click thumbnail to play.
I like this video review of kurosawas work very much. it's only 8 minutes, so i recommend it to anyone who wants to know why the films are so appealing
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 No.4055

Lately I came across "uzumasa limelight", over the life of a samurai cinema extra.

is not great cinema but is an easy and heartwarming movie
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 No.4072

File: 1426962576224.jpg (35.03 KB,600x480,5:4,6603dc5a9292104b44c349b85b….jpg)

>>4052
Shit man, this'll make a great source for my research project on Kurosawa.
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 No.4359

File: 1428585237847.png (1.91 MB,1914x886,957:443,Screen Shot 2015-04-09 at ….png)

Let's keep this thread bumped up, I'm enjoying samurai films a lot as of late, just finished Ran and it was stunning (I enjoyed yojimbo more though)

One thing i was curious about, and can't find the answer to, is why there are so many images of clouds intercut into the film, any ideas?

Also any non-Akira Kurosawa samurai films that are considered to be obligatory viewing for the genre?
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 No.4388

>>4359
A lot of the films mentioned in this thread aren't by Kurosawa.
3 from the top of my head that I'd say are the best non Kurosawa samurai films:
Seppuku (Hara Kiri)
Sword of Doom
Shura

But as usual, these are opinions.
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 No.4852

>>3799

>I wonder what the new commentary track has to say about it.

About the sequel? I listened to the commentary track and there's no further information, but it sounded like Sword of Doom underperformed at Japanese theaters. That likely contributed to the decision to abandon the project. The film was, however, more successful with Western audiences.

One more interesting point was that the source material never properly concluded either. It was an ongoing newspaper serial from 1913 to 1941(!). The author Kaizan Nakazato died in 1944.

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 No.6427

File: 1449741195647.jpg (16.75 KB,180x270,2:3,11178025_ori.jpg)

sergio leone was a hack

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 No.6431

>>3678

I second this. Underrated gem.

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 No.6432

>>6427

or a genius for picking a fucking fantastic samurai film for a western.

like, if it wasn't for yojimbo and eastwood, i'm sure fistful of dollars would have been shit.

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 No.6433

Don't really care of samurai shit. 13 assassins got me and Seven Samurai, but nothing else really.

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 No.6443

>>6432

It wouldn't existed in the first place

And honestly The Man with no Name is small time compared to the character Sanjuro is, instead of the Mary Sue that was somewhat fixed in other movies with a suspicious similar shooter but with a different director

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 No.6447

>>6443

>The Man with no Name is small time compared to the character Sanjuro is

i'm not sure what you mean by this

because eastwood has had a much larger impact on culture n stuff

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 No.6474

>>4072

youtube(dot)com/watch?v=ZXwoqeQnvzc

was looking for other videos about kurosawa and found this if it helps.

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 No.6960

File: 1458956886210.jpg (136.84 KB,1000x796,250:199,samurai-I-miyamoto-musashi….jpg)

Just saw the first film in the Samurai Trilogy- I was a bit underwhelmed with the ending it seemed really rushed skipping 4 years of his training

There were some glorious panning shots in there though

Are the sequels any better

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 No.6966

File: 1458975693660.jpg (1.65 MB,1000x1500,2:3,gRDpQaelCAOAH2vDPxmXih1SHe….jpg)

>>6960

most people think Samurai III is the best of the bunch

I haven't seen this trilogy but it makes me wonder if Jap sequels perform better than Hollywood

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 No.6967

>>6966

Maybe, Sanjuro was just as good as Yojimbo- in regards to sequels

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 No.7018

>>6960

They're not very good films imo, some of the scenery is incredible, especially the final fight in the final film, but all in all it's a very inferior Samurai product compared to other classics of the time.

The story seems incoherent and disjointed a lot of the time.

I only really enjoyed Mifune's performance.

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 No.7022

File: 1459907485721.jpg (48.87 KB,500x576,125:144,zat.jpg)

how about the zatoichi series

has anyone watched the full run?

Should you watch all of it or just the best ones?

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 No.7152

File: 1461706440859.jpg (Spoiler Image,241.25 KB,1600x600,8:3,Shigurui.jpg)

Forgive me Anon for I am a sinner

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 No.7172

>>7152

There's a movie? Anyways I read the manga and I thought it was great, I know it's a film board but I would also recommend Lone Wolf and Cub

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 No.7192

>>7172

Not a movie, no. 12 episodes anime. It's not a complete story arc, be forewarned. Very unique and very tense, 10/10 imo but it's a point of contention.

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 No.10709

YouTube embed. Click thumbnail to play.

okay, here's a fun battle scene from Holy Weapon

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 No.10714

>>7152

>>7192

Not samurai related but you should check out Texhnolyze. It's by the same director as Shigurui. I'd argue it's the greatest anime ever made. It's a slowburn but considering you're on this board you probably won't have an issue with that.>>7192

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 No.10715

>>7152

>>7192

Not samurai related but you should check out Texhnolyze. It's by the same director as Shigurui. I'd argue it's the greatest anime ever made. It's a slowburn but considering you're on this board you probably won't have an issue with that.

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 No.10717

>>4033

Japanese history is very easy to get into because it's so short and they are so isolated. All you need to do is read a single good book on Japanese history while looking up pictures of clothing and some maps and you will have a fairly solid grasp of their history.

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 No.10718

>>10717

> Japanese history is very easy to get into because it's so short

How is it short? I would think it's a long history, more like England than the US.

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 No.10724

>>10718

Realistically not much happened in Japan until almost the mid millennium AD. 1500 years is a very short history. Human habitation was longer but in terms of history rather than anthropology it doesn't go back much father.

By contrast the Roman Empire lasted 2000 years. Not the Italic of Greek peoples but Rome as a political state is longer than the recorded history of the Japanese as a people.

>more like England than the US.

Comparing Japan and England isn't particular fruitful since in one you are comparing a nation against land with people on it. If you are going to be fair you have to talk of the history of the people of the British isles versus the history of the Japanese people in which case the Japanese come short in terms of length.

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 No.10725

File: 746cc89ace031ae⋯.jpg (1.61 MB,1841x2100,263:300,Tokugawa_Ieyasu2.JPG)

>>10724

Thanks, I see what you mean

So out of curiosity I looked around for a chronological order of Japanese historical films. Here's the best thing I could find, a pretty useful page for historical films in general.

http://www.vernonjohns.org/snuffy1186/movies.html

The Asuka period (538-710)

X Shotoku taishi (Prince Shotoku) (2001) – established a centralized government; aka Prince Umayado; his existence is disputed

Heian period, 794-1185:

Shin heike monogatari (The Taira Clan Saga) (1955) -- an unpaid special forces commander under Emperor Toba who ruled Japan from 1107-1123

Kamakura period, 1185-1333 and Kemmu restoration, 1333-1336:

Zen (2009) -- 'Zen' Buddhist teacher Dogen Zenji

Muromachi period, 1336-1573:

X Kikuchi sembon-yari: Shidonî tokubetsu kôgeki-tai (Thousand Spears of Kikuchi: Sydney Special Attack Unit) (1944) -- Nanbokucho wars in Nanboku-cho period, 1336-1392, with Northern Imperial Court founded by Ashikaga Takauji in Kyoto & Southern Imperial Court established by Emperor Go-Daigo in Yoshino

Furin kazan (Under the Banner of Samurai; Samurai Banners) (1969) -- Yamamoto Kansuke (1501-1561), Japanese samurai and General who planned the victory at the fourth Battle of Kawanakajima against Uesugi Kenshin

Azuchi-Momoyama period, 1568 to 1603:

Kagemusha (1980) -- Takeda clan, one of three warlord clans, 16th century

Ugetsu (1953) -- two peasants in search of success in war-torn Japan, 16th century

Ran (1985) -- (Akira Kurosawa) Japanese lord finds his kingdom disintegrating as his sons go to war with each other (adaptation of King Lear & life of Mōri Motonari), 16th century

X Mōri Motonari (1997) -- NHK's TV drama

Rikyu (1989) -- Buddhist priest and improver of the tea ceremony runs afoul of Lord Hideyoshi Toyotomi

X Sekigahara (1981) -- drama set in the time when the Eastern and Western Armies met in the Battle of Sekigahara in 1600

Tokugawa Shogunate (1603-1868):

James Clavell's Shogun (1980) -- based on the achievements of the first Englishman in Japan, early 17th century

Seven Samurai (1954) (Akira Kurosawa) -- wandering ronin (i.e., unemployed samurai) defend a peasant village from bandits, 17th century

Makai tenshô (Samurai Resurrection) (2003) – the Shimabara Rebellion of mostly Christian peasants,1637–1638, during the Tokugawa era against rising taxes

The Samurai Trilogy (1967) -- based on the novel that has been called Japan's Gone With the Wind, 17th century

Life of Oharu (1952)

Hara-kiri (1962) -- Japanese period film 1630, dealing with the plight of the poor end of the samurai spectrum

Ako-Jo danzetsu (aka Swords of Vengeance) (1978) -- Ronin revolt against 5th Togukawa shogun (Tokugawa Tsunayoshi, reign 1680-1709) in honor of their master Lord Asano

X Genroku Chûshingura (The 47 Ronin) (194l) -- the famous actions of the Forty-seven Ronin defending their master's honor in 1701-1703; the country's "national legend"

Dai Chûshingura (A Matter of Valor) (1957) -- the 47 Ronin

Chûshingura (The Loyal 47 Ronin) (1958) -- national legend of the 47 Ronin

X Chushingura: Hana no Maki, Yuki no Maki (The 47 Ronin) (1962) -- ditto

X Ô-oku: The Movie (2006) – 1713, scandal of a power struggle between Ietsugu's concubine mother and the late Shogun's official wife

Goyokin (1969) -- 1831,debts owed by a small province to the Tokugawa Shogunate causes province leaders to stealing goyokin (gold and silver) from mining sites on Sado Island & worse (e.g., massacre)

Chinmoku (Silence) (1971) --two Portuguese missionaries face torture and death in a closed Japan

X Ansatsu (The Assassination; The Assassin) (1964) -- set in 1853, a masterless samurai's loyalties move dangerously back and forth between the Shogunate and the Emperor

X Sekigahara (1981) -- Ieyasu Tokugawa

X Sen-hime to Hideyori (1962) – based on Princess Sen, daughter to Shogun Tokugawa Ieyasu and wife of Toyotomi Hideyori Masahiro Maкино

Shinsengumi (1969) – band of ronin devoted to the Tokugawa shogun fights to protect the Shogun when he confers with the Emperor on expulsion of foreigners; 1863-1864

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 No.10726

File: 929844c81d626c2⋯.jpg (232.37 KB,999x786,333:262,Satsuma-samurai-during-bos….jpg)

>>10725

Late Tokugawa Shogunate, 1853-1867:

Bushido Blade (1981) -- a drama set around 1854, US Naval Commodore Matthew Perry opens up Japan to trade with the West

The Barbarian and the Geisha (1958) – in 1850s US President Pierce sends to Japan the first U.S. Consul-General

Eijanaika (1981) -- rocky road for a love relationship set against carnival atmosphere in 1867 and 1868 for the approach of the Meiji Restoration

The Last Samurai (2003) -- American civil war veteran hired to teach the Emperor's troops how to defeat the last of the samurai, late 19th century

Ansatsu (Assassination) (1964) -- Kiyokawa Hachiro & initial phase of Shinsengumi, the Shogun's corp of ex-ronin fighting anarchy in the Imperial capital Kyoto

X Gohatto (Taboo) (1999) -- Shinsengumi man falls in love with a girlishly attractive young man which causes great instability in a local militia

Mibu Gishiden (When the Last Sword is Drawn) (2003) -- a poor samurai joins the Shinsengumi under economic duress in last days of the shogunate

X Hitokiri (Tenchu) (1969) -- one of the famous assassins of the Bakumatsu era

Okami yo Rakujitsu o Kire (The Last Samurai) (1974) -- the Bakumatsu and the involvement of men on different sides in the fighting

Kedamono no ken (Sword of the Beast) (1965) -- Japanese period film shows how the clan system used and betrayed the samurai

X Tokugawa ichizoku no houkai (1980) -- Matsudaira Katamori (1836-1893), a samurai & the Military Commissioner of Kyoto who fought against the Meiji Government armies

Director Yoji Yamada Trilogy:

The Twilight Samurai (2002) -- lower samurai helped by the merchants, end the Tokugawa government and make way for the Mejii government

Kakushi ken oni no tsume (The Hidden Blade) (2004) -- set in the late Tokugawa era, dealing with the dissatisfied lower samurai who brought an end to the era, a clan makes a samurai kill his friend

Bushi no ichibun (Love and Honor) (2006) -- problems between husband and wife when the samurai poison taster is actually poisoned; about the lower samurai

Meiji Restoration, 1868-1912:

X 1895 (Blue Brave: The Legend of Formosa in 1895) (2008) -- Taiwan's resistance against the Japanese invasion

Fall of Eagles (1974) (TV miniseries) -- part of it deals with the 1904-1905 Russo-Japanese War from the perspective of Russia.

X Nihonkai daikaisen (Battle of the Japan Sea) (1969) -- fought May 27–28, 1905 in the Tsushima Strait; Admiral Heihachiro Togo destroyed two-thirds of Russian fleet under Admiral Zinovy Rozhestvensky

X 203 kochi (The Battle of Port Arthur) (1980) – battle for Hill 203 during the Russo-Japanese war, 1905

X Meiji tennô to nichiro daisenso (Emperor Meiji and the Great Russo-Japanese War) (1958) – Japanese attack on Manchuria

X La Vallee des fleurs (Valley of Flowers) (2006) -- love story (with reincarnation) spanning two centuries starting in the early 19th century

Sisters of the Gion (1936)

Memoirs of a Geisha (2005)

Zi Hudi (Purple Butterfly) (2003) -- espionage and counter-espionage between the Japanese and Chinese in Shanghai

Behind the Rising Sun (1943) -- triumph of fascism over liberalism in Japan and a Japanese father wants his Americanized son to be part of the Sino-Japanese War

Wu Qingyuan (The Go Master) (2006) -- a Chinese man becomes a master of the game of Go in Japan despite the rise of fascism in Japan

Ningen no jôken (Human Condition: No Greater Love) (1959) -- 1st part of the trilogy The Human Condition about a pacifist socialist trying to survive in Fascist Japan

Ningen no jôken (Human Condition: Road to Eternity) (1959) -- 2nd part of the trilogy The Human Condition about a pacifist socialist trying to survive in Fascist Japan

Ningen no jôken (Human Condition: A Soldier's Prayer) (1961) -- 3rd part of the trilogy The Human Condition about a pacifist socialist trying to survive in Fascist Japan

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 No.10881

I have never been interested in watching samurai films, but after reading this thread and looking at the videos some of you have posted, all I can say is that Im VERY much interested in them now!

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 No.10893

One of the videos is Hong Kong martial arts >>10709

it's more flashy ans less moody than the Japanese samurai films

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 No.11030

>>2749

>Lone Wolf and Cub

Does anyone know of any other samurai films that feature more visceral, colorful violence?

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 No.11034

>>10726

>>10725

Awesome, thanks

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 No.11039

>>11030

>visceral, colorful violence

Can you explain what you mean exactly? I have not seen that one. Compare it to Sword of Doom for instance. Do you want something that is more focused on action than atmosphere?

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 No.11041

>>11039

Hi. What I meant is actually far more trivial than action or atmosphere. The Lone Wolf and Cub films feature graphic, stylistic, even over the top blood sprays and gore upon impacts I was asking if anyone knows of any similar samurai films that feature this relatively unique feature.

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 No.11042

YouTube embed. Click thumbnail to play.

>>11041

Lady Snowblood is bloody but maybe less than what you want

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 No.11064

>>11042

Thank you, this is stellar. When filmstruck first started streaming I added this to my watch list and finally gave it a view. Just what I was looking for, now only if there was one that is a little bit more hidden than a criterion-core title...

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 No.11067

File: fa2b141615ebf1a⋯.jpg (304.16 KB,1588x1024,397:256,qkxnl.jpg)

File: f31df33768f41af⋯.jpg (65.9 KB,720x509,720:509,6a00d8341c6e6853ef01bb092b….jpg)

File: a12a1e88ad76d72⋯.jpg (330.56 KB,2126x1412,1063:706,maxresdefault.jpg)

There's a lot that hasn't been mentioned yet. I will repost this nice guide + collection of films from mortadello at Karagarga. The site is featuring "Bloody Samurai Swords" for October 2017.

A Chanbara Collection

Dramatic Japanese cinema can be broken down into two broad categories: gendai-geki (dramas set in contemporary times) and jidai-geki (period dramas). A Japanese movie set in the more recent past, such as a World War II drama, is not considered jidai-geki. Generally speaking, any Japanese period film set before 1868 (the end of the Tokugawa shogunate and the dawn of modern Japan) is classified as jidai-geki. A great many jidai-geki films have nothing to do with samurai, or feature them only peripherally. The movies might be about lords and nobility or struggling peasants instead of samurai. Most of the great works of Kenji Mizoguchi are jidai-geki that would not be classified as samurai movies.

To identify the large and popular subcategory of jidai-geki movies that involve swordplay and action scenes, the term chanbara is used. In fact, the word itself, chanbara (チャンバラ), is an onomatopoeia for the sound of blades striking together. Typically action-oriented, chanbara focus on samurai or ronin and these films usually take place in the Edo period, 1603 - 1868. However, there are also several chanbara that are set in the late Muromachi (1333 - 1573) and Azuchi-Momoyama (unification) (1573 - 1603) periods.

One of the most common themes that frequently emerge in these movies is the conflict between giri (one’s obligation to one’s group) and ninjo (one’s true emotional feeling/ desires). In the chanbara world, this often causes the samurai to try and balance the things he is expected to do and what his conscience really tells him to do. There are various ways of treating this conflict. Sometimes duty means doing bad, personal belief and emotion symbolizing the course of action which would benefit society. Sometimes duty means doing good; human feelings and inclination would demand a bad action. At other times the 'social' evil of refusing to do one's duty is outweighed by the humanity and the righteousness of the opposing course of action.

Far from being a junk product of modern culture, chanbara boasts a proud heritage that dates back to ancient kabuki dramas and bunraku puppet theater featuring dramatizations of swordfights.Some of the earliest silent films in Japan were primitive chanbara with ornately choreographed, balletic fight scenes as well as chaotic Keystone Cops-style melees. Japan's most prolific film critic, Sato Tadao, estimates that until the end of the 1950s (with the exception of the period of the US Occupation), half of all Japanese films made belong to the samurai genre.Though nowadays largely confined to NHK's Sunday night samurai drama and to re-runs on late night television, the samurai film still haunts Japan's ultra-modern everyday culture. To the Japanese, these movies hold a similar place in the nation’s heart to the Spaghetti Westerns that many Americans were raised on. Except in this case, sword fighting, samurai and Hideo Gosha replace gun slinging, cowboys and John Ford.

According to the writer Patrick Galloway, “the samurai ultimately represents the good man, the man other men aspire to emulate, if only in their imaginations.” Perhaps that is the main appeal of the chanbara dramas: the samurai represents a kind of idealized version of ourselves, determined to follow their own path even if it costs them their life. We too, like the samurai in the movies, have to fight through many conflicting forces in order to find some kind of place in the world. - (Thanks, D.Trull)

Regarding this collection:

The films of Kenji Misumi and Raizo Ichikawa aren't listed here as they were the focus of the previous Chanbara MoM. None of the Zatoichi films will be included as they all fall loosely into the genre of ninkyo-eiga, a subgenre of the yakuza film. Many of Kurosawa’s movies involving samurai can be argued not to be chambara, despite the presence of samurai and swordfights. Kurosawa's Throne of Blood is left out here as it's paced and scripted like jidai-geki rather than chanbara. Likewise, Kurosawa's The Hidden Fortress is excluded because the main characters are not samurai or ronin, but two bumbling farmers. Additionally, the samurai epics Kagemusha and Ran are clearly jidai-geki, not chanbara. Also, these films feature only big battles, not swordfights (or more specifically, duels between learned swordsmen, not necessarily one on one, but definitely focusing on individuals, and not full battles).

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 No.11068

>>11067

Notable directors:

1) Tomu Uchida (1898-1970):

>Uchida, a well-known director from Japan’s silent film era in the ’20s and ’30s, remains largely unknown in the West, even though his films are considered foundational to the samurai genre. In his youth he gave himself the nickname Tomu as a variant on the Anglo name "Tom," which he spelled with kanji characters meaning "to spit out dreams".

- Chiyari Fuji (1955)

- Souls in the Moonlight 1 - 3

- Miyamoto Musashi 1 - 6

2) Hideo Gosha (1929-1992):

>Hideo Gosha helped create the archetype of the samurai outlaw. Gosha's films are as important as Kurosawa's in terms of their influence, visual style and content, yet are not as well known in the West. Gosha's films often portray the struggle between traditional and modernist thought and are decidedly anti-feudal. According to the film historian Alain Silver, Gosha's 1969 film, Tenchu, is "one of the most accomplished examples of the samurai genre since World War II".

- Sanbiki no samurai (1964)

- Sword of the Beast (1965)

- Tange Sazen: The Secret of the Urn (1966)

- Samurai Wolf (1966)

- Samurai Wolf 2 (1967)

- Goyokin (1969)

- Hitokiri AKA Tenchu! (1969)

- Bandits vs Samurai Squadron (1978)

- Hunter in the Dark (1979)

3) Eiichi Kudo (1929-2000):

>Eiichi Kudo has garnered a reputation as one of the outlaw rebels of Japanese cinema, but he started out his career very much a cog in the Toei studio machine. He initially aspired to work in contemporary films and felt reluctant when the studio assigned him to duty in its jidai-geki department. Along with his colleagues Tadashi Imai and Tai Kato, Kudo spearheaded a movement at Toei to explore more realistic and artistically ambitious territory amidst the commercial chambara fare. The result was a flourishing of cruel jidai-geki features, generally shot in black and white scope and focusing on injustice and dishonor in the samurai era.

>[The stories of Eiichi Kudo's Samurai Trilogy] functioned as mirrors to the hot topics of the 1960s: rebellion and political assassination.

>13 Assassins was a kind of reworking of Akira Kurosawa's Seven Samurai. [However,] Kudo - and scriptwriter Kanao Ikegami - brought a different perspective to the Seven Samurai story; whereas Kurosawa's film pitted lowly samurai against each other for the benefit of a despised class - namely, the peasantry -, Kudo's film sees samurai fight merely among each for the benefit of samurai society - the bakuhan. In a way, Kudo's film is darker than Kurosawa's as it describes a corrupt world fostering unrewarding violence.

>In The Great Killing, Kudo took more liberty and replaced the high rank samurai of 13 Assassins with characters of a condition more suited to his social conscience: poor, marginalized samurai, whom he might have looked on as the students of the conflicted 1960s.Kudo has stated very clearly that his masterpiece The Great Killing was a reworking, under the guise of jidai-geki, of events surrounding the student movements. [During] the postproduction of the movie...Eiichi Kudo inserted in the sound tracks of the frenzied melee sequence a recording of student demonstrations against the ANPO treaty, thus revealing his empathy with the student movements.Misao Arai also reveals that scriptwriter Kanao Ikegami did synthesize in the script Eiichi Kudo's aspirations for rebellion against corrupt authorities.This revelation would seem to imply that The Great Killing is the triumphant expression of Kudo's ideals. But the three films are far from that; their revenge plots lead merely to chaos and despair. There is no triumph in killing. Moreover, the great killing of the film will not change much about the social order. As Dirty Kudo puts it, 'the movie shows but mangy dogs nibbling at the political system'. The pessimistic view of violence, once again, makes The Great Killing more than just another swordplay movie. It is also a nouvelle vague film with a political and moral bias. It may be seen both as a metaphor of student activism but also as the moral stance of a director who stemmed directly from samurai lineage and saw violence as the twilight of enlightenment. 11 Samurai, as Arai put it, 'shows human beings dazed and alienated by their own violence in a metaphorical environment'. (- Robin Gatto)

The Samurai Revolution Trilogy:

- The Thirteen Assassins (1963)

- Dai Satsujin AKA The Great Duel (1964)

- Eleven Samurai (1967)

- Bounty Hunter 2: The Fort of Death (1969)

- Ansatsu shirei AKA Assassination Orders (1984)

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 No.11069

>>11068

4) Daisuke Ito (1898-1981):

>Daisuke Ito originated the sword fight film, which recreated the fight scenes of previously filmed Kabuki and Shimpa plays with greater cinematic realism.

>He, almost single-handedly, pushed the period film to its greatest heights. Even though most of Ito’s films from his most glorious period, the 1920s and 1930s, are now lost, enough of his silent-era work remains to prove that he was one of the greatest of Japanese filmmakers. Second to none at filming dazzlingly complicated ballets of action, Ito was also blessed with a sensibility that was exactly in tune with the romantic nihilism that characterized the late Edo period, a favoured era for jidai-geki. His work shows not only astonishing kineticism, merciless pace, visual invention, and terrific style, but also an understated realism that still feels contemporary today. Ito was noted for the violent realism of his films or, more particularly, for the amount of blood and horror he managed to show on screen. Ito's philosophy of rebellion and his exaltation of the nihilist hero pervades his films. For example, his film Zanjin Zamba Ken AKA Man-Slashing, Horse-Piercing Sword (1930) denounces the "exploiting classes"; in effect, it's social criticism hidden under the armor of the samurai.

>Sources: The Japanese Film: Art & Industry, Melodrama and Asian Cinema

- Chokon (1926) - [one reel (15 minutes) has survived thanks to the National Film Center of Japan, which screened it two years ago. Mifune - The Last Samurai (2016) features a stunning excerpt.]

- Zanjin zanbaken AKA Man-Slashing Horse-Piercing Sword (1929) - [a 26-minute excerpt has been saved and restored by Tokyo's National Film Centre. It's been screened at various film festivals. Its availability in digital format for home consumption is unknown.]

- Initiation of the Two-Sword Style (1943)

- Five Men of Edo (1951)

- The Vassal's Neck (1955)

5) Hiroshi Inagaki (1905-1980):

>Hiroshi Inagaki is considered one of the founding fathers of jidai-geki films. In the West, this sword-drama specialist is primarily known for his 1950s Miyamoto Musashi Trilogy, starring Toshiro Mifune.

- Date Masamune (1942)

- Sasaki Kojiro (1950)

- Sengoku burai AKA Sword for Hire (1952)

- Miyamoto Musashi 1 - 3

- Daredevil in the Castle (1961)

- Whirlwind (1964)

- Sasaki Kojiro (1967)

6) Tai Kato (1916-1985):

>Having worked as assistant director to greats like Akira Kurosawa (Rashomon), Tai Kato debuted as film director in 1951 with a chanbara effort, Kennen Jonan AKA Trouble over Swords and Women. Interestingly, prior to Kato virtually none of the new directors of the postwar period chose to make their directorial debut with a samurai movie.When viewed against the background of the contemporary trend toward a modernization of attitudes modeled after American-style democracy, Kato's decision to start making samurai films in 1951 reveals a directorial stance that was decidedly against the spirit of the times. In Tai Kato's mind, his most important formative experience prior to becoming a director himself was his assistant directorship under Daisuke Ito. To him, the word 'movie' itself was all but equivalent to the samurai films of this great director.

>After long years of shooting chanbara, Tai Kato established a unique style all his own. Central to it was the long, low-angle, fixed shot. Unlike Mizoguchi, Kato almost always avoided crane shots and pans, choosing rather to keep the camera at an extremely low angle - sometimes even to the extent of imbedding the camera in the floor. Furthermore, while Kato had been an avid admirer of Ozu's work since the silent era, his low-angle shots are distinguished from those of his predecessor in that they do not assume as a precondition the agreement of camera viewpoint and action. Kato's low angles define and enliven a small corner of disorderly space in which lonely men and women, though fated to remain apart, may coexist for a brief time.

>Source: Samurai Loyalty - A Film Genealogy of Kato Tai by Hasumi Shigehiko

- Genji Kuro (1957)

- Genji Kuro 2 (1958)

- Hizakura Daimyo Aka The Hectic Lord (1958)

- Tange Sazen (1962)

- Cruel Story of the Shogunate's Downfall (1964)

- Miyamoto Musashi (1973)

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 No.11070

>>11069

7) Kihachi Okamoto (1923-2005)

>Okamoto was one of the main proponents of the wave of chanbara filmmakers that, in the wake of Akira Kurosawa, took a very critical attitude to bushido, the samurai lifestyle, and Tokugawa society in general. Starting from the early 1960s... the emphasis of the genre was no longer on honour and heroism, but on the death and misery that inevitably follow those who live by the sword and those who cross their paths.

>After starting work in chanbara, with 1963's Warring Clans, [Okamoto] began designing a very rhythmic approach to filming and editing action sequences. He carefully timed the placement of sound effects and music to fit camera movement and movement within the frame, creating a very rhythmic, almost musical whole." (- Tom Mes)

- Sengoku yaro AKA Warring Clans (1963)

- Samurai Assassin (1965)

- The Sword of Doom (1966)

- Kiru AKA Kill (1968)

- Akage AKA Red Lion (1969)

- Tokkan AKA Battle Cry (1975)

- Vengeance for Sale (2001)

8) Sadatsugu Matsuda (1906-2003)

>Sadatsugu Matsuda was the illegitimate son of Shozo Maкино, the legendary director credited as the founding father of Japanese cinema.Throughout his career, Matsuda specialized in jidai-geki, frequently starring chanbara luminaries like Chiezo Kataoka and Utaemon Ichikawa. Working within the confines of the Japanese studio system, Matsuda's films displayed the virtues of a classical training: economy, pace and graceful choreography of action. Matsuda is a representative example of the proficient but anonymous artisans working in jidai-geki between the 1920s and 1960s.

- Swordsman of the Two-Sword Style (1956)

- Seven from Edo (1958)

- Sanguine Battle (1959)

- Shingo's Original Challenge 1 - 5

- Restoration Fire (1961)

- Duel of Blood and Sand (1963)

9) Akira Kurosawa (1910-1998):

- Seven Samurai (1954)

- Yojimbo (1961)

- Sanjuro (1962)

10) Masahiro Maкино (1908-1993)

>The son of Shozo Maкино, Masahiro first directed at the age of 18 for his father's company, initiating a productive career in which he was to make 261 films. Specializing in jidai-geki, he first achieved critical esteem during the silent era with two downbeat samurai films.

- Sozenji baba (1928)

- Ronin-gai (1928)

- Ronin-gai (1929)

- Chikemuri Takadanobaba (1937)

- Musashi & Kojiro (1952)

- Ronin-gai AKA Street of Ronin (1957)

- Echo in the Mountains (1959)

- Kurama tengu AKA Goblin in Stirrups (1959)

- Evil Man of Edo (1960)

- Mask of the Moon: Tsukigata Hanpeita Story (1961)

11) Yoji Yamada (1931-)

>Veteran film director Yoji Yamada's first foray into the samurai genre was at the age of 65. His samurai trilogy is representative of modern samurai cinema. These films represent a more contemporary view of women and family. The needs and even opinions of female characters are now significant. This outlook is greatly divergent from past samurai films.

- The Twilight Samurai (2002)

- The Hidden Blade (2004)

- Bushi no ichibun AKA Love and Honor (2006)

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 No.11148

File: 2018124ea6e8cda⋯.png (668.64 KB,1280x546,640:273,Harakiri.1962.Criterion.Co….png)

File: 7184e7f3c269090⋯.jpg (73.13 KB,460x624,115:156,4-Harakiri_French_Ainelare….jpg)

File: 6ca5519eda775e3⋯.jpg (34.2 KB,308x410,154:205,137216R1_CR.jpg)

What did you guys thought about Miike's Hara-kiri?

Being a 3D remake of such a great classic made me cautious, of course, but I have to say that it ended being quite a surprise, particularly because of what Miike did with the wooden sword, that was very impressive and really amplified the pacifist message of both films.

It could use a bit less melodrama at the middle though.

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 No.11171

>>11148

Did you watch the 3d version?

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 No.11182

>>11171

No, I don't think it even got to the cinemas in my country. But I would always choose the regular version, anyway.

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 No.11428

>>11068

>>11069

>>11070

Awesome, thanks

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 No.11429

>>11428

There's more to it, maybe I will add the rest sometime.

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 No.11435

>>11429

Cool, I am having difficulty finding a lot of the movies. Is there any site you would suggest, even if it were subscription based I wouldn't mind; I just don't have the money to buy each video individually.

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 No.11438

File: d22e5dd3ea5998c⋯.jpg (93.76 KB,639x408,213:136,zatoichi-d3c2258f62fe6f9a0….jpg)

>>11435

> Is there any site you would suggest

The usual film torrent sites. That was a karagarga guide but I removed all the links. Some films were only on Asian DVD Club. I bet cinemageddon has plenty too. I keep getting booted off Avistaz for inactivity so I can't check that one.

I don't know how much non-Criterion samurai content is on streaming sites because I haven't subscribed lately.

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 No.11439

File: f6e45b412ea49eb⋯.jpg (141 KB,900x1200,3:4,幕末残酷物語 poster.jpg)

One more good site

http://samuraidvd.net/

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 No.11440

>>11438

>>11439

Thanks fam

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 No.11447

File: 87db832c9adec5e⋯.jpg (119.36 KB,549x734,549:734,Shogun-Assassin.jpg)

File: 8d805e2da6d0c3c⋯.webm (13.05 MB,640x264,80:33,Shogun Assassin (1980) Tr….webm)

Why no mention of Shogun Assassin?

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 No.11448

>>11447

It's kind of the same thing as Lone Wolf and Cub

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 No.11531

File: a7ea638164b736c⋯.png (928.59 KB,1366x768,683:384,yojimbo.png)

I just finished Yojimbo, I didn't nearly like it as much as Harakiri, it felt more like popcorn entertainment than a film because of the goofy acting and awkward pacing.

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 No.11532

File: 01fc00b46cc88e5⋯.jpg (92.92 KB,1352x810,676:405,a-fistful-of-dollars-scree….jpg)

>>11531

I was underwhelmed by Yojimbo too, probably because I expected something better. It was one of the first Kurosawa films I watched; it took a while for me to watch another from him. It's definitely nowhere near Harakiri.

For me, the Leone connection is the most interesting aspect of Yojimbo.

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 No.11534

>>11531

It was very lighthearted in comparison to other works, but i found the use of black & white in particular very, very good.

The use of rich textures and their respective light and shadow results to create dense-to-the-eye backgrounds is excellent, sometimes with movement too (flowing sake madness, the silly encounter in the middle of smoking the mansion, destroyed guard house).

Sounds pretentious but that kind of level of detail did impress me, especially when it was one of the first Kurosawa i saw too.

Sanjuro takes on a slightly more serious note but it's just as silly later on in terms of violence and some acting. It does retain the quality level in most aspects, it wasn't a shameless sequel.

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