Samurai / Yakuza Classics Reference Thread 1920s - 1984

[Guest vengeanceofhumanlanterns]

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[Guest vengeanceofhumanlanterns]

I got this idea from the Fabulous 50 Shaw Films Of All Time And Why??? thread and Angry Guest's suggestion of posting information threads on particular genres. This is just intended as a reference thread to samurai and yakuza films made from the 1920s to 1984. This would be a thread that you can feel free to expand upon with your favorite samurai/yakuza lists over time and not have to deal with repeating yourself as the threads are lost through the pages. I realize Linn has already posted the favorites threads, but this thread is (as Daisho and others understood on the favorites) a reference list that is meant to inform newcomers and also be elaborated on as any given contributor's appreciation grows with new insight on a given film, and not have to rewrite even a mini review on the film, but just add this new insight to their existing/stationary review. So anyway, if you know of any samurai or yakuza films from this period, you feel people who are into these films may wanna know more about, please feel free to list them here.

[Guest vengeanceofhumanlanterns]

Sword Of Doom 65'

director: Kihachi Okamoto

leads: Tatsuya Nakadai, Toshiro Mifune

co-stars: Michiyo Aratama, Yuzo Kayama, Yoko Naito, Tadao Nakamaru, Kei Sato, Ko Nishimura

fighting instructor: NA

music: Masau Sato

photagraphy: Hiroshi Murai

editor: Yo****ami Kuroiwa

In this original story by Kaizan Nakzato, in 1860 Tatsuya Nakadai portrays (Ryunosuke) a gifted young swordsman tainted by a gloomy and unfeeling perspective in life. Scorned by his father and entangled with a woman who only berates him further, Ryunosuke (Nakadai) spirals down a remorseless path of drinking, killing, and abandoning his only son and killing his (lover/wife) with absolutely no regrets. Toshiro Mifune is absolutely fantastic in this film. The atmosphere, the sets, the music, and more especially the violent swordplay are second to none. The climatic ending of the film is somewhat controversial as to whether Ryunosuke's mind is unhinging, or if the ghosts of his evil deeds are indeed coming to haunt him, it seems both. Regardless, the ending of this film is one of Tatsuya Nakadai's finest moments. He has many. A must have Tatsuya Nakadai/Toshiro Mifune film fans.

10/10

Portrait Of Hell 69'

This enjoyable film was directed by Toyoda Shiro (someone I'm not too familiar with) and written by Akutagawa Ryunnosuke (Rashomon). Starring; Tatsuya Nakadai (Swood Of Doom) and Nakamura Kinnosuke (Samurai Banners) who work very well off one another’s characters.

Tatasuya is a famous korean painter (Yoshihide) who is living in Japan, has a painting school, and is commissioned by the Paramount Lord to paint for him at his whim. Tatsuya's character is very eccentric about his work, and insists on painting only what he has experienced or seen, much to the dismay of the lavish Paramount Lord surrounded by his citizen's in abject poverty.

Tatsuya's daughter (Yoshika) falls in love with one of his students (Hiromi). This affair is condemned by Tatsuya and he locks his daughter in the downstairs of their dwelling. She escapes (her pet monkey lets her out) and immediately searches for Hiromi. This eventually brings her to Paramount Lords residence, who upon first seeing her, desires to possess her. When Tatsuya learns of this he admonishes Paramount Lord to return her to him, but his daughter has told her story to him, and Paramount Lord uses this as an excuse to retain her for her own good as well as though it should be an honor for them both. This starts a downward spiral for Tatsuya, the artist.

Meanwhile, Hiromi happens upon a masked bandit and is inspired to join him. Eventually they raid the village with intention of infiltrating the Paramount Lords dwelling and assassinating him. They fail in this, Hiromi is mortally wounded, and Tatsuya comes across the dying man. This further perpetuates Tatsuya's unravelling mind.

Paramount Lord wishes for Tatsuya to paint the walls of some holy temple with magnificent scenes of beauty, but Tatsuya insists he cannot because everything around him is subject to so much suffering, as though this was hell and he (Paramount Lord) were the devil, and this is what he'd prefer to paint on the temple walls. This further enrages Paramount Lord, who begins to scheme cruel endeavors for Tatsuya and his suggestions, the most abhorrent of which was the vision Tatsuya describes of Paramount Lord descending into the flames of hell in a chariot streaming with flames. He promises Tatsuya shall have his wish come true and he will contact him when all is ready.

Paramount Lord calls on Tatsuya and shows him the chariot to be burned, though not with him in it, but rather someone representing him. Unveiling the chariot reveals Tatsuya's daughter chained within. Paramount Lord tries to coerce Tatsuya into painting beauty on the walls of the temple if his daughter were to be spared. Tatsuya calls him on what he believes a bluff and remains adamant about being a true artist. Paramount Lord then calls him on it and commands the conflagration of the chariot and its innocent victim. This scene is at first done somewhat theatrical, but then as the flames entirely engulf his daughter, the camera work captures a very realistic scene of Tatsuya's daughter's dead body, flames stretching from it in the blowing wind amidst an inferno of fire, which diminishes and increases blotting out then revealing his daughter's burning corpse. A very shocking scene horror fans will definitely appreciate. Nakamura does a great job of looking like he can't even believe he's done such a horrible deed.

Near the end Tatsuya has finished his Portrait Of Hell (he looks like he's completely insane by this point, understandably so) and is informing Paramount Lord the painting is ready for viewing. During this meeting Paramount Lord condemns Tatsuya for being so selfish and prejudice of his daughter's affairs and presents him with an urn filled with his daughter's ashes, reminding Tatsuya that, " see, I told you I'd return your daughter to you." Tatsuya then departs. Upon returning home some snow falls from the roof of his dwelling and he looks up in a strange way (this scene is highly significant considering what follows). Tatsuya's dead body is discovered (he hung himself) and is immediately reported to Paramount Lord who snaps back with "you fool he's sitting here with me now!" Then turning to address Tatsuya , who was just there an instant ago, realizes he's been remonstrating an apparition, excellent scene. He then, all discombogulated and shaken, goes to view this Portrait Of Hell. He then becomes transfixed by terror and finds himself drawn into the infernal masterpiece painted by the late, Tatsuya Nakadai. The snow falling from the roof scene is significant because he's supposedly a ghost at this point. Weird Tales style of story writing, pretty cool stuff, IMO.

The acting is excellent and the story is very well done. The film is shot in a little bit of a theatrical manner rather than raw realism. This dosen't hamper the conviction of the film. This is very little fighting. The story is basically a statement to artists of any genre to always be true and keep it real. But in this scenario personal matters were handled incorrectly by the artist and things took a devastating turn.

This is an AnimEigo re-master taken from a new 35 mm print and the picture quality is pristine. The audio is fine. The subtitles are the usual standard for AnimEigo, but there are a few times when the dialogue between Tatsuya and Nakamura are colour coded and they miss coding Tatsuya's green subs in a few scenes.

Overall an enjoyable diversion from my preferred viewings of vintage martial arts and samurai films.

I think I'd rate it a 7/10

Definitely a must have for Tatsuya Nakadai fans.

Inn Of Evil 65'

Here is an early film with Tatsuya Nakadai and Shintaro Katsu on screen together. Tatsuya is THE badass in this film and Shintaro is the drunken stranger who insists on drinking at the Inn Of Evil (Easy Pace Inn or something to that is what they actually refer to as the IOE). This movie is highly entertaining with Tatsuya as a stressed out bandit of a gang who owns and operates this Inn and takes some humiliating treatment from a few characters in the film. But they get what's coming to 'em. Shintaro is an utter worshipper of wine who's always drunk, comes to drink at this Inn, even though it's a gang members only establishment. The action is well paced throughout the storyline (though there could've been a little more of it) and sprinkled with some very amusing character interplay especially on Tatsuya's and Shintaro's scenes. I'm not gonna give anything away, but I was disappointed with Shintaro's ultimate purpose in the film, and the ending is somewhat anti-climatic. However, this film is a must have for any Tatsuya Nakadai fan and Shintaro is positively drenched in his character's role.

Enjo 58'

Though this isn't really a samurai film, there are some yakuza elements involved, so I feel the film deserves mentioning. I do not understand why a company like Criterion hasn't leased the rights to release this film.

It was a real treat to see such a realistically filmed story with both Tatsuya Nakadai and Raizo Ichikawa. Despite this film having very little action -I usually cannot stand sitting through japanese or chinese films if there's not enough action- I was coached right along through a film of profound interest in human nature and sardonic humor. Raizo stutters and when his father dies is left to the master of a school who peruses the image of being an upright monk -though we see the contrary- who by Raizo's humble and unchecked honesty is won back over to the principles of uprightness -this takes the entire length of the story. Tatsuya plays a very sarcastic cripple who besides praying on women’s sympathies for sexual companionship, deals in stolen goods, and loan sharking. Raizo befriends the philosophical Tatsuya identifying with one another because their both being outcasts and objects of humiliation in japanese society. Through it all Raizo's pure and true character even wins over the corrupt and bitter Tatsuya. The director Kon Ichikawa flows through this testimony of conflicting dishonest interests between people and their self centered contempt for those who are less fortunate around them seemlessly and spot on the mark with every scene. I'm talking flawless continuity here. Kon Ichikawa is a master craftsman. I've never seen any of his films that I'm aware of and I'm actually gonna put this flick in quite soon just get a clearer understanding of the story's concept.

There are some excellent quotes in the film. The dialogue in the story is profoundly thought out. One quote by Raizo who's rejecting his mothers attempt to live with him at the monastery and expressing his feelings about why he has a hard time talking to people, "When you learn your alone and live in despair then... words don't come easily." Another great quote by the priest of the monastery who being remonstrated by Raizo, who'd witnessed the priest visiting a brothal and stating he knows he (the priest) has been breaking his own vows, annoyed by this meddlesome neophyte the priest snaps back with, "So? knowing without understanding... means nothing!"

Tatsuya comes off as this Boris Karloff type character being severely crippled, yet who can still walk though most awkwardly, plays is role with matchless conviction.

An extremely realistic film, so much so, it's surreal.

5/5 an absolute must have for Raizo Ichikawa and Tatsuya Nakadai fans.

The Betrayal 66'

At the beginning of the story two samurai (Jurotai is one of them/being the main villian in the end) are running an errand and are made fun of by a neighboring clansman. They cut him down as he turns to leave and before they can finish him off (to avoid being blamed) passerby's interrupt them and the mortally wounded samurai mounts his horse, which he dies on as it returns to his clan.

The Iwashiro Clan's sensei shows up at the Minazuki Clan demanding the killer to be handed over. This causes a crisis in the Minazuki Clan as the Iwashiro Clan is larger and more powerful. And this is how Ichikawa Raizo's character comes into the story.

Raizo is about to marry the daughter of an important Minazuki Clan member. Raizo himself is also a respected samurai of the same clan. His future father in law requests of Raizo to take responsibilty for the murder while he tries to smooth things out. Raizo agrees seeing that he's been promised by him that his name will be cleared in a while on pain of his (the father's) committing harakiri. Jurotai over hears all this and starts making his plans.

While Raizo is gone he takes some abuse as being noticed he's more than a mere construction worker. Shortly after this incident he decides to dress and move about through society as the samurai he is. The time comes when he's to meet his fiance's father (secretly), who's passed away meanwhile, but is greeted by another clan member who has taken over and plans on using the current situation to his advantage. Jurotai is still patiently planning. Raizo demands a samurai's sense of honor but is attacked instead.

(SPOILERS from here on...) This leads to Raizo's being outcast from his clan becoming a very real and painful realization. In fact this is where the story, and especially the dialogue, grows more intense. The first 35min. of the film is rather mundane with a fight scene here or there.

Raizo meets a very pretty woman (the chick from Zatoichi/On The Road), and throws away his ties to his former clan. They almost take one another but Raizo can't fully let go of his would be fiance. She runs off and is accosted by two samurai who (seemingly) rape her and then kill her. Raizo was not far behind, for he was going to accept her at once, but then finds her dead body. This is where Raizo really starts showing what he's made of as an actor.

He is hired as a mercenary by some clan and starts drinking like a fish. There is an excellent scene where Jurotai finds Raizo's whereabouts and is brought to him, being told all he does is sit there morosely drinking all day, when they arrive at Raizo's table he looks up and he is totally wasted. Later, Jurotai feigns friendship with Raizo and tries to get him completely wasted so he can lure him outside and cut him down in front of about 150 witnesses, including the Iwashiro Clan, and government officials of some meager sort. This brings us to another awesome scene where as their heading out the door (Raizo has no idea what awaits him outside) he sees his would be fiance on the stairs and approaches her to take her with him. As their walking out the door swords come flying at him out of nowhere, the scheme is revealed to him as he's cornered and holding his now considered wife who's very worried, but Raizo tries to reassure her and comes out with what must be one of the best quotes I've heard in a long time; "Namie-dono, don't give up! DON'T LET YOUR FATE CRUSH YOU!".

This is where Ichikawa Raizo really proves himself as one of the best leading actors of his genre. While he's slaughtering common soldiers, teachers, and heads of clans, he falls down in exhaustion only to continue wiping out any who dare approach him from his prostrate position. Another superb scene is where he breaks his sword cutting down on another's, and after killing a few more with his short sword, has to back into a corner and begin peeling (with difficulty) his cramped fingers from the hilt of the broken sword.

This movie builds slowly at first, but appropriately so, I feel. As the story unfolds it becomes progressively painful (convincingly) for Raizo's character, who transforms from being respectful and mild mannered into a state of despair and remorse, which erupts into a fearless thirst to kill all who oppose him. The film only gets darker and more dismal as it comes to the final showdown, which in itself (amazingly) continues to its end unpredictably, courageously, and with a thorough sense of justice being done.

I give this film a 9.5/10

Sleepy Eyes Of Death vol. 1 - 12

The Chinese Jade 63'

Sword Of Seduction 64' (she-devil slaying sword by Shibata Renzaburo)

director: Ikehiro Kazuo

leads: Ichikawa Raizo, Tomisaburo Wakayama, Fujimura Shiho, Kubo Naoko

co-stars: Juh Kenzaburoo, Kobayashi Katsuhiko, Harukawa Masumi, Negishi Akemi, Moori Ikuko

fight choreographing: Miyauchi Shooei

music: Saitoo Ichiro

This is a great addition to the cannon of Sleepy Eys Of Death. Princess Kiku is turning women of the court into hopeless drug addicts with opium, denying them their cravings, then after this torture in which she delights, throws their naked, dead bodies, into the river. Nemuri is asked to save a female christian saint by an underground christian. As the religion is outlawed in Japan the authorities are looking for this Virgin Shima to put her to death who supposedly knows the origins Nemuri's birth.

The actor who plays the blind Biwa playing priest in Zatoichi's Vengeance is here as Dr. Muroya Jundo official physician of the inner court of Princess Kiku. This actor has such a distinctive voice. Very cool actor. He's using opium to control the princess and certain factions of her inner court. As he's explaining this to an accomplice Tomisaburo Wakayama, who was invited by these drug dealers, over hears and introduces himself as Chen Sun, the 13th descendent Chen Gen-Ping of Shaolin Temple in Ming-era China, who introduced Shorinji-style to Japan.

There's a great quote (there's many) where a girl (the lead actress in Zatoichi's On The Road) walks by as Nemuri and Chen Sun are talking in the street. Chen (Tomisaburo) observes Nemuri (Ichikawa) staring at her as she passes and states, "Oh, an ardent women chaser I see!" To which Nemuri responds, "I don't chase after average women... but she seemed to have a particular aura surrounding her. I doubt that she'll be alive for to much longer." Chen Sun, "Hmm." Nemuri, "I've never felt a premonition of good news'... but I can always sense bad omens." There's great chemistry between Tomisaburo Wakayama and Ichikawa Raizo.

Kosuzu, (the lead actress in On The Road) is an underground christian who goes to prison on orders to seduce a foreigner (so as to have her brother freed from prison), Johannes to make him denounce his faith. He does and Nemuri has a special reward for him doing so. Of course the cruel Princess Kiku betrays her and while she's approaching her brother who's hanging on a cross in the middle of a field, a band of the princess' subordinates attack her and attempt to rape her in front of her helpless brother. Of course Nemuri isn't very impressed with the situation.

Great pacing between the violence, unfolding of plot, and the dialogue is extremely well done, as usual.

The cinematography is astounding. There's one scene inparticular where there's a building standing out in the moonlight and all around and beyond are varying shades of indigo blue, lending the vision of the structure as though it were black and white being swallowed up in a very dark waves of night.

Nemuri befriends a stray dog. The stray dog scenes are pretty cool.

Near the end the conflicts become climatic upon a sailing vessell, this scene is exquisitely picturesque for a studio set. The colours look beautiful here. Very quaint cinematography reminiscent of a pirate tale.

Tomisaburo and Ichikawa's duel at the end of the story is awesome! Tomisaburo is without question one of the finest actors in this genre. The director of this chapter in the Nemuri Kyoshiro series tried exhaustively to explain Nemuri's (the Bastard of Satan) origins.

9.5/10 easy

Sword Of Adventure 64'

Full Circle Killing 64' (Nemuri Kyoshiro: the full moon cut)

a novel by: Shibata Renzaburo

director: Yasuda Kimiyoshi

assistant director: Kuroda Yoshiyuki

leads: Ichikawa Raizo, Hamada Yuuko, Azuma Kyooko, Marui Taroo, Narita Jun'ichiroo, Uemura Kenjiroo, Date Saburo, Mizuhara Kooichi

fight choreographing: Miauchi Shoohei

music: Saito Ichiroo

editing: Suganuma Kanji

screenplay: Hoshikawa Kiyoshi

period music: Nakamoto Toshio

photography: Makiura Chishi

Starts off with a young Lord Takayuki the son of Lady Matsujo, a once concubine of the shogun who is raising her 'bastard son' to be as cruel, selfish, heartless and violent as humanly possible, so as to give (what she considers the courage and strength) to become the next Shogun. This 'bastard son' is witnessed beheading a refugee (he does this regularly) to test the blade of a newly acquired sword by Nemuri Kyoshiro (Ichikawa Raizo). This infuriates the son of the victim who in desperation toward having a duel with the unknown samurai kidnaps a young girl connected to a suspect samurai clan. This brings Nemuri into the scheme, who witnessing the beheading, tries to talk sense to the devastated victim's son.

Nemuri decides to visit the young Lord Takayuki to inform him of his disgust with the 'Bastard Son's' (young lord's) practice of testing his new swords by beheading the homeless. While there young Lord Takayuki observes Nemuri's sword (the Muso Masamune - the swords given name) and asks to handle it right there, as Nemuri is in young Lords domicile surrounded by warriors, very tense scene. Nemuri ends up offending Takayuki and one of young lords baddest ass warriors who's mastered the Lai (drawing the sword from a seated position) technique challenges Nemuri to a duel, who in turn agrees and suggests dueling using the Lai technique. Excellent duel right here.

Later, Nemuri visits the fiance of young Lord Takayuki and rapes her. Great scene. Great dialogue as well. Nemuri feels impelled to define to her, upon raping her, what happiness actually is.

Nemuri is having an affair with a married woman who's husband is in jail, Banzo (the flying squirrel). He's bought out of jail to rid Takayuki of Nemuri's highly offensive meddling and discovers his wife is having an affair with his intended victim. Nemuri is then set up by his now ex-girlfriend who reluctantly goes along with her husbands plan.

There is an expert swordsman in this story that can possibly beat Nemuri in a fair duel named, Yori

Kanbei. A very humble swordsman who lives very simply and focus' on nothing other than mastering his swordsmanship. When he's commissioned out of owing a debt of honor to an official of a rival clan to challenge Nemuri Kiyoshiro who's been requested an audience at Yori's humble abode, he offers to have a drink with Nemuri firstly and that then they should take a short walk into the forest to conclude their duel. Great chemistry between these two actors. The tension between their knowledge that either are superior swordsmen capable of defeating the other is tangible with gravity. Their duel takes place in a mist enshrouded forest. Very cool scene.

There are some startling ambience scenes with thunder and lighting. Extremley cool scenes.

The fights, the attitude of all the characters involved, the perfectly paced storyline, and the profound and precise dialogue make this installment one of the best to be sure.

A must have samurai film. 9.5/10

Sword Of Fire 65'

Sword Of Satan 65' (Nemuri Kyoshiro subversive-sword)

director: Yasuda Kimiyoshi

original story: Shibata Renzaburoo

leads: Ichikawa Raizo, Saga Michiko, Hasegawa Machiko, Miyoojoo Masako

co-stars: Suga Fujio, Hokujoo To****aroo, Gomi Ryuutaroo, Mizuhara Kooichi, Asano Shinjiro

fight choreography: Miauchi Shoohei

music: Saitoo Khiroo

editing: Miyata Mitsyzoo

director of photography: Takemura Yasekazu

Very gloomy beginning with rain pouring down on Nemuri (Ichikawa Raizo) walking along at night. He's soon accosted by woman (of obvious samurai rank) hidden in the dark of a doorway who wishes for him to buy her for the night. Inticed by this strange request Nemuri accepts, but as he enters her now lightened domicile, he finds her wearing a mask. Her refuses to sleep with her masked so she tells him her story. Upon the conclusion of this story he still refuses, but leaves her the gold piece he originally threw to her, declaring, "He merely payed for the story." She begs, but he flatly refuses with, "Sleeping with a woman who has spiraled from such a high rank and who's resorted to selling her body," He explains, "would only torment him." This encounter sets off a fatalistic chain of events for Nemuri, the young lord of the woman he refused, and the now desperate Iwashiro Clan.

Nemuri, who now feels indebted to the woman he's refused son (she's committed suicide), decides to fight for the childs right to refuse the Iwashiro Clan's insistence he return to them as head of the clan. The child depises samurai for what happened to his mother. This scenario is complicated for Nemuri even further by a woman has vowed vengeance on him for killing her brother.

A great quote in the film. A plan hatched by Orin (Iwashiro Clan) with an old man who's learned explosives sets a young girl reprimanding her younger brother for attempting to pick pocket Nemuri meets him later in the evening on a lonely trail insisting she's returning what she believes her brother stole from him. He informs her it's not his possession, so she instead insists he take her lantern, "pardon me... but, I'm sure... that a lantern would be useful walking at night." Where as Nemuri responds, "darkness... is no stranger to me." Nemuri's aware that something’s up of course, yet takes the lantern anyway, taunting the mysterious form of surprise attack.

There's also an excellent duel between Nemuri and the top swordsman of the Iwashiro Clan, Akaishi. Akaishi is an honorable swordsman and besides defending his clans interest is hell bent on defeating Nemuri's Full Moon Cut technique. Akaishi is an excellent actor and deserving of his role as being one of the few swordsman in the story worthy of seeing the Full Moon technique.

Another great quote in the film is when the young Lord Tsurumatsu ends up helping Nemuri out of a very tight spot. Nemuri then declares to him, "Tsurumatsu, Don't close your eyes! This is what it means to be a samurai... to kill each other!" He then proceeds to cut down a small battalion of men. A final great quote in the film is at the very end when Nemuri is given charge of the young Lord to defend him on his journey. While they're traveling (departing the village where he lost his mother), Nemuri notices Tsurumatsu's hesitation as he looks back and remonstrates the child with, "Never look back Tsurumatsu!" The child nods reluctantly. "Always look straight ahead of you!" Nemuri admonishes.

The AnimEigo version is only about 1:15min. long which leaves me feeling inclined to suspect this version is cut. Why it's taking so long for these masterpieces of samurai cinema so long to be released to western audiences is certainly a shame.

There is some good and bloody choreography at a Black Mass Nemuri shows up at to expose and a bit of nudity here as well. The story is very quick moving and the editing is spot on as usual. There's a good amount of blood in the film which makes the violence that much more appreciable.

A definite 9/10

The Mask Of Princess 66'

The Sword That Saved Edo 66'

The Trail Of Traps 67'

The Ronin Called Nemuri 67'

The Human Tarantula 68'

Castle Menagerie 68'

Harakiri 62'

producer: Tatsuo Hosoya

director: Masaki Kobayashi

original story: Yasuhiko Takiguchi

leads: Tatsuya Nakadai, Akira Ishihama, Shima Iwa****a, Tetsuro Tanba, Masao Mishima, Rentaro Mikuni, Kei Sato

co-stars: Ichiro Nakaya, Yoshio Inaba, Yoshiro Aoki

cinematogrophy: Yoshio Miyajima

music: Toru Takemitsu

1630 may,13th/4pm -Hanshiro Tsugumo (Tatsuya Nakadai) visits the official residence of the Iyi Clan. Tsugumo was a retainer to the former Fukushima Clan from Hiroshima. Tsugumo's visit is to request that he may commit harakiri in the honorable abode of the Iyi Clan as he can no longer endue the disgrace of poverty, being a samurai/warrior looking for employment in these times of peace, has left him in destitution.

He's granted an audience with the senior counselor of the house of Iyi, Kageyu Saito. Saito asks Tsugumo if he's heard of another man from the Fukushima Clan, Motome Chijiiwa. Tsugumo feigns ignorance stating that in the early days his house possessed upwards of 12,000 men. Chijiiwa came earlier to the house of Iyi to commit harakiri for the 'exactly stated' same reasons as he, Tsugumo. Saito, the senior counsellor, then begins the story of Chijiiwa's tragedy at the house of Iyi.

This film has an amazingly tight script, expertly written, even flawless.

The counselor accepts Tsugumo's (Nakadai's) request and upon declaring who'll be Tsugumo's second, Tsugumo makes a request as to who will be his second, firstly it is Omodaka (Tetsuro Tanba) the samurai who insisted the counselor make an example of Chijiiwa's ruse with his bamboo swords, but he's not there and apparently ill, so Tsugumo requests another second, Kawabe, the samurai who insisted Chijiiwa be forced to use his bamboo sword to commit his harakiri, yet this man is not available to attend, thirdly Tsugumo requests Yazaki the samurai who greeted and invited Chijiiwa to his doom. While awaiting these gentlemen Tsugumo requests that he, a lowly ronin explain his story, and that just maybe the samurai attending his harakiri or quite possibly the counselor himself may learn a thing or two about sealing one's own fate. He then describes Chijiiwa's side of the story much to the alarmed and increasingly dismayed Saito's chagrin.

A wonderful quote made in Chijiiwa's school class (he was a teacher of chinese classics), "Confucius said, he who knows not the will of heaven, is not a superior man." After Saito's brutal story Tsugumo informs Saito of just what Chijiiwa came to beg at the Iyi house. Chijiiwa is desperate to obtain medicine and a doctors services to save his ailing son. He informs Tsugumo that he's going out to raise funds, but what Tsugumo dosen't know is that it's because of his mentioning people posing as samurai in destitution and requesting to commit harakiri at established samurai house's they are usually given small sums of money and sent on their way. We find Chijiiwa was a teacher not a samurai in desperation who approached the house of Iyi looking for sympathy and a small stipend, with no guess they would actually force him to follow through with his request to commit harakiri on their property. So we find Tsugumo is somewhat responsible for Chijiiwa's terrible fate.

While almost done telling his story, the counselor becoming increasingly fearful of this man before him, demands he commit harakiri whithout further delay and stop his useless mutterings. In response Tsugumo exclaims, "counselor, there is a proverb, the suspicious mind conjures its own demons."

As neither of the three samurai requested by Tsugumo return to accomodate him as his second, Tsugumo describes just why they cannot attend as he throws each of their locks of hair before himself in blatant disgust and pride, knowing he was easily their superior in swordsmanship. He then goes on to relate what befell the three samurai in their duels with him. Excellent scenes right here.

After this the samurai's of the Iyi house descend upon Tsugumo with great consternation and outright fear. And with good reason. Wonderful ending to this film.

I'd give this film a 9/10 it was by no means perfect, the duels and final battle could have delivered a bit more, though they are impressive. It's Tatsuya Nakadai's performance here, as he sets up the Iyi Clans house for his steady and oncoming revenge, that makes this film so appreciable.

Miyamoto Musashi 44'

Throne Of Blood 61'

Samurai Rebellion 67'

Samurai Assassin 64'

Illusion Of Blood 66'

director: Shiro Toyoda

lead actors: Tatsuya Nakadai, Mariko Okada, Junko Ikeuchi, Kanzaburo Nakamura

music:

cinematogrophy:

Lyemon (Tatsuya Nakadai) is an expert swordsman who loses his lord, decides instead of selling his sword he shall use it to remove anyone who may hinder his destiny, so... He first pays a visit to his ex-fiance's father, who renigged on her marriage to him because his (Lyemon's) lord died. To worsen this humiliating blow her father sells her and her sister to a local brothel for much needed funds, since Lyemon won't be bringing any money to his family. Lyemon vists the old man asking why he won't reconsider and the old man very rudely denies him. So Lyemon reprimands the old man down. Lyemon's good friend loves Lyemon's ex-fiance's sister who's been sold to the same brothel. When her fiance shows up he also decides to commit a horrible deed for the sake of love. He stabs him in the back then drags the body to some quiet place and proceeds to mutilate, gut, and skin her now ex-fiance. Then he drags his mutilated corpse to her now dead fathers home. Both men men support one anothers lies when the women they've committed these heinous acts of love for return home. After Lyemon has a child with this poor daughter he soon grows tired of her and the child, so he decides to hook up with the daughter of a more established house, and they provide the means of removing his wife with an old secret family recipe/medicine. These horrendous acts of brutality which continue to escalate lead to a very haunting and deleriously tragic ending for Lyemon his buddy and everyone who's become involved with them.

The film starts off a bit slow, but after about 25 mins really begins to pick up, with a bit of Sword Of Doom gloom and atmosphere.

Great film. 7.5/10

Tenchu 69'

Seven Samurai 64'

Chushingura 62'

Goyokin 69'

Sword Devil 66'

Destiny's Son 67'

Lady Snowblood 74'

Blind Woman's Curse 70'

Drunken Sword 62'

Shiranui Kengyo 62'

Zatoichi vol. 1 - 26

Zatoichi Meets The One-Armed Swordsman aka: Zatoichi Destroy The Chinese Sword 71'

producer: katsu shintaro

director: yasuda kimiyoshi

assistant director: ota akikazu

assistant producer: nishioka hiroyoshi

original story: shimozawa kan

screenplay: yasuda kimiyoshi, yamada takayuki

cinematography: maiura chishi

recording: ootani iwao

lighting: mima hiroshi

art direction: nishioka yoshinobu

music: tomita isaoshi

property master kusumoto eiichi

editor: taniguchi toshio

sound effects: kurashima yo

production manager: sanada masanori

starring: katsu shintaro, jimmy wang yu, hama yuko, nanbara koji, terada michie

co-starring: chang yi, sun lin, abe toru, sasaki takamuru, hanazawa tokue, ito shiro, totsuka mutsuo, minami shinsuke, okawa osamu, mori shoji

The story opens with Shamo (Chang Yi) and wife Yumay (Sun Lin) as martial art street performers. As they finish their act Shaolong their son collects monetary offerings. One of these offerings is a chinese silver tail. shaolong calls his father over upon noticing it and this is where they meet Wang Kang (Jimmy Wang Yu). Wang Kang explains he's here to visit a friend staying at Fukuryu-ji temple near Mamada, Japan. Shamo offers to take him there, but next morning, tonight they should have a few drinks. Next morning on their way a procession of abalone for Lord Nanbu advances on them. Shaolong is tempted to disrupt this royal parade and before his mother has time to remove him from their path she is cut down. Horrified, Shamo intercepts the next attack on his wife cutting down the ruthless samurai, only to be sliced up from behind, as he tends to his dying wife and protecting his child. Wank Kang can stand no more and he jumps in to fend off the brutality of the parading samurai.

Zatoichi hears the moaning and groaning of someone in great physical distress accompanied by the cries of a child and investigates.

Wang Kang is chased to the quarries where he is trapped in a tool shed. Great scenes follow this attempt at apprehending the chinese fugitive. Jimmy Wang Yu certaintly proves his abilities as an actor here. Katsu and co. also made Wang Kang's fantastical feats very credible looking on film with the editing and extra efforts made to obtain just that result. Running along the shoulders of an army of his adversaries. Jumping through the roof of his emblazed refuge. Cutting down all who transgress his personal space. Later Wang Kang reunites with Shaolong whilst Zatoichi is bringing the boy along with himself. Wang Kang takes charge of the child but Zatoichi isn't so sure he should be leaving the child with this chinese fugitive whose supposedly slaughtered a bunch of townsfolk. Though Wang insists and just to prove his point demostrates his hand to hand abilities, mightily impressing Zatoichi. Still later they (inadvertantly?) meet again at night in some backwoods shed. Where this time Zato tries to win the chinese fugitives confidence while displaying his own extraordinary abilities. They decide to accept Zato as their guide to the temple. There is a great deal of dialogue play between Zato and Wang. They cannot understand one-another yet try and the similarities between their languages which have the same phonetic qualities yet different definitions are exemplified. "Sha sha -chinese for thank you- sounds like the phonetic equivalent for water in japanese and great humor results in these misinterpretations. Later that evening they stop at a homestead for food and water for the child. The Mr. Osaku and his daughter Oyo-ne witnessed the samurai slaughter the townsfolk to then blame the chinese fugitive and are stunned to see the fugitive with the child at their doorstep. The father informs Zato of the scheme of Lord Nanbu's samurai and that there is a fifty ryo reward leading to the capture of the chinese fugitive. Mr Osaku allows them to hide in his potato shed.

Next day Zato sets out to bring back sake and food. He meets another blind massuer at the bar. Who's fairly adept at gambling as well, so Zato just can't resist. These are very humorous scenes. Whilst gathering info in a round about fashion it is announced Nanbu's clan have discovered the where abouts of the chinese fugitive. Tobei's men murder the family and take Oyo-ne prisoner to be tortured for info as to where the fugitive has gone. While she's taking her beatings rather stoicly she's misinformed as to how they'd obtained knowledge of the fugitive hiding at her home. Boss Tobei explains who Zatoichi is to Oyo-ne and tells her quote, "Zatoichi is yakuza and will do anything for money". She betrays her involvement with harboring the fugitives at this shocking news and the gang prepares to rape and torture miss Oyo-ne. However, Zatoichi is here and the boss begrudgingly greets him. More great dialogue during these scenes. Boss Tobei tries to remonstrate Zato with yakuza codes of ethic only further antagonizing Zato's contempt for boss' such as Tobei. Indeed he teaches Boss Tobei a very painful lesson as not to belittle Zatoichi when he requests a favor. This rescue of Oyo-ne turns very sour for Zato for she believes still that Zato turned her family in for the fifty ryo. Oyo-ne touches a nerve here.

Later Zato is drinking hard, alone, at the local bar. A local prostitute, miss Osen, has nothing to do this evening, everyone stays in at night on account of the mad chinese fugitive. She has seen Zato before and considered him a bit curious so she asks him if he'd like some company. She asks also for some sake which Zato very begrudgingly oblidges. It's then samurai enter the premises very quitely, yet menacingly, and pay miss Osen to bring Zato his sake as though everythings normal. What follows is some of the best choreographing done in a Zatoichi film. One samurai walks behind Zato just as they're about to attack and as this samurai strikes Zato so quickly dismembers him, that the samurai himself is stunned to see his arm with sword in hand lying still on the table before him. As the fighting continues you hear the groaning of the half unconscious maimed samurai lying on the floor. Very dark, morose, and vicious is Zatoichi in this scene.

Meanwhile, Wang Kang reaches the temple with Oyo-ne and Shaolong. Zato visits to be sure they made it safely and inadvertantly runs into Kakuzen, Wang Kang's classmate in China, who resides and teaches martial arts here. When Kakuzen informs Wang Kang that a blind man asked for his party, Wang becomes enraged, and this intrigues Kakuzen. Kakuzen questions Oyo-ne and develops a scheme of his own.

Osen is duely impressed and wants Zatoichi now. So she decides to have him brought to her home and explains this to him in no uncertain terms.

A plot unhatches where Shaolong is kidnapped at the temple and a note is left for Wang Kang to meet these abductors to effect the safe return of the child. Zat is informed of this by Oyo-ne who's been brought to Zato by Osen. Zato then sets out to redeem himself to the child and miss Oyo-ne. As Zato is question the last of the samurai guarding the child about who informed on Oyo-ne's family miss Oyo-ne witness' her mistake in believing Boss Tobei and begs forgiveness. But now it's off to help Wang Kang defend himself against an army of men once again, only this time his good friend, Kakuzen reveals his true nature to Wang. Wang Kang condemns Kakuzen's actions with a great quote, "the law is not above the word of a friend or brother!". They commence to duel. Great styles scene for Kakuzen.

Wang Kang is found killing his last antagonist as Zato approaches. Zato tries to convey the misunderstanding between the two but is unable. The girls are on their way but will they make it in time to enlighten Wang Kang? For now, Zatoichi and his chinese counterpart are going to have to have it out. (You have to at least acknowledge the strokes of marketing genius on Katsu Productions for pairing these two great cinematic heroes against one another. Zatoichi Meets Yojimbo -Toshiro Mifune- and Festival Of Fire -Tatsuya Nakadai- are two others.)

AnimEigo did a good job on the picture quality but completely dropped the ball on sound quality. This too much high frequency and you basically have to turn your treble tone control button all the way down for the sound not to be too hard on your ears. A simple matter of audio remastering mistakes you rarely experience. Another folly is the "new improved" translations for the english subtitles. These new improved translations that are coming out nowadays (and this is with criterion, Home Vision, etc.) are becoming increasingly impersonal and are certaintly taking away from the charm of the characters in these films. Not to mention the lack of attention to the actual order of names, verbs, pronouns, etc. in which the actors are speaking their sentences are translated out of sequence with how the actor is actually speaking their lines.

But this movie is certaintly one of the most entertaining in the series and cannot be enjoyed enough by any Zatoichi fan.

I certaintly rate it 10/10

I can't diminish the story, acting, choreographing, cinematograpy, etc. in rating due to a slight lapse in AnimEigo's remastering of the film.

Lone Wolf And Cub vol. 1 - 6

In A Ring Of Mountains 62' (Nakayama Shichiri)

original story: Hasegawa Shin

director: Ikehiro Kazuo

leads: Ichikawa Raizo, Nakamura Tamao

co-stars: Osekoichi, Sawamura Munenosuke, Miyata Shinjiro, Date Saburo

fight choreographing:

music: (theme song) Hashi Yukio

Masakichi (Ichikawa Raizo) is a top selector of fine lumber (cypress in this case) for the lumber importer Soshu-ya Lumber Yard. He loves drinking and gambling, is very magnanimous, and is loved by almost everyone.

list will be... added to... updated... and revised...

[Guest daisho2004]

I'm posting this link here for some great reviews on Japanese Cinema:

http://www.weirdwildrealm.com/filmindex-asian.html

[Guest daisho2004]

I'm posting this link here for some great reviews on Japanese Cinema:

http://www.weirdwildrealm.com/filmindex-asian.html

[Guest CrazyFrog]

I guess that while I am pretty freakin' noobish when it comes to Japanese cinema, the Twilight Samurai (2004) was a great, great film. Not particularly full of action (hardly at all, except for the end) but a very meditative piece on the conflict between duty, family, and honor. Highly recommended for anyone.

[Tosh]

Hey Vengence, you need to get back to this bro, you were doing a great job, I'll have to start adding to this myself, I've been on the Yakuza kick lately.

[BlackLamaFaction]

Goyokin

Director: Hideo Gosha

Writer: Hideo Gosha, Kei Tasuka

Cinematographer: Kozo Okazaki

Released: May 1969, 124 min. Color

Cast:

Tatsuya Nakadai as Magobei Wakizaka

Kinnosuke Nakamora as Samon Fujinaki

Tetsuro Tanba as Rokugo Tatewaki

Yoko Tsukaga as Shino

Ruriko Asaoka as Oriha

Ben Hiura as Rakuzo

One of two of Hideo Gosha's 1969 masterpieces along with Tenchu, Goyokin is an examination of one Samurai's loyalty and where that loyalty should reside. It is a question we have seen posed in other films of this genre, when a samurai is ordered by his clan and master to do something that violates his principles and the code he lives by, determining the correct course of action is a dilemma that questions the very nature of what it means to be a samurai. Gosha's characters can never be taken at face value, there is a complexity to them that goes far beyond good and evil, or right and wrong. It is ultimately left to the viewer to choose a side in Gosha's morally ambiguous worlds.

Goyokin begins in a small fishing village on Sado island. A young girl is returning home after 5 years training as a weaver. She arrives to find the village completely empty, the villagers seemed to have disappeared without a trace, "taken by the gods" as the local stories begin to claim. The truth however is far, far uglier. A ship carrying a load of the Shoguns gold crashed on the rocks off of Sado island. The villagers discovered the ship and it's cargo and planned on keeping the gold for themselves. Rokugo Tatewaki is the chamberlain of the local clan called the Sabei, after learning of the fate of the ship he devises a plan to steal the gold and slaughter the whole village so he can keep the gold for himself rather than give it back to the Shogun. One clan member, Magobei Wakizaka, who also happens to be the Rokugo's best friend and brother in law objects to the plan. Outraged over the slaughter of innocent people, he accuses Rokugo and the clan of not behaving like samurai. Rokugo counters that the villagers are far from innocent having stolen shogunate gold, and that the money is necessary for the clans survival. Rokugo allows Magobei to quit the clan, and swears upon his sword to never again commit the clan to this type of atrocity.

Leaving his home and wife, Magobei roams the country for 3 years until he winds up with a traveling circus displaying his sword skills as an attraction. ( I swear I’m not making this up.) He has become a brooding empty shell of his former self, his appearance has deteriorated to that of a vagabond. One is given the impression he was forever changed by the actions of his clan. One night a group of assassins accompanied by a member of his former clan try to kill him. After killing the assassins he is told by his former clansman that Rokugo has ordered his death, and that he is planning to use the “Taken by the gods” routine once again. Mogobei sees this as a chance to atone for his inaction before and vows to stop Rokugo no matter what the cost.

The thing I loved about this film and other Gosha films is he does not let the viewer off the hook by making it clear to us who is the cowboy and who is the indian. Mogobei and Rokugo are now on a collision course and both men absolutely believe that they are right. There resolve will not be swayed by each other or by those they would effect no matter how much misery or hardship they endure or inflict. This is what it means to be a samurai, as Ogami Itto so eloquently put it “A samurai lives as if already dead” always putting service and ones principles before any personal gain, and laying down one’s life without hesitation. Ideals so foreign to most in our modern western society. It was only 40 years ago actor and writer Yukio Mushimi committed seppuku in protest of the loss of these ideals in Japanese society. It’s possible there is no place for such devotion in today’s world, but I’m of the opinion we are all the worse for it’s scarcity.

[vengeanceofhumanlanterns]

Awesome Black Lama! Great read.

[BlackLamaFaction]

Tenchu (Hitokiri)

Director: Hideo Gosha

Writer: Shinobu Hoshimoto

Rytaro Shiba

Music: Misaru Sato

Cast:

Shintaro Katsu: Izo Okada

Tatsuya Nakadai- Hampeita Takechi

Yukio Mishima- Shinbei Tanaka

Yujiro Ishara- Ryoma Sakamota

Mitsuko Baisha- Onimo

Takumi Shinjo- Manakawa

Aug. 1969 140min Color

The plot of this film takes place and is central to one of the more tumultuous periods in Japan’s history; the fall of the Tokugawa after more than 300 years of rule. In this period of uncertainty many clans, daimyo, reformists, and loyalists alike were jockeying for position and power in the new structure to come. Hampeita Takechi, (Nakadai) is leader of the Tosa Loyalist Party, a group that outwardly supports the Shogun, but is secretly following it’s own agenda in a bid for power. Izo Okada (Katsu) is a Tosa born samurai whose poor financial situation and lack of sophistication makes him easy to manipulate, and therefore a perfect pawn for Takechi to use to in carrying out secret assassinations of key figures he sees as obstacles in his overall plan. Izo’s skill as a swordsman is somewhat renowned, and he takes to his new occupation with tenacious enthusiasm, believing he is handing down divine punishment screaming “Tenchu” before slaying his victims. Izo is completely loyal to his master, constantly seeking his approval, even as Tekachi is very cold and detached when dealing with him (and everyone else for that matter). Takechi’s plans are too complex for someone like Izo to even contemplate and it is Izo’s arrogance and brutish notion of pride that make him incapable of seeing how he is being used and manipulated. It is an inevitability that Takechi’s plans for power will eventually involve Izo killing someone who is close to the shogun. When this happens, representatives of the shogun threaten to dismantle the party and send Takechi’s men back to Tosa. At this point Takechi attempts to reign in Izo, but it becomes clear he has created a monster beyond his control, Izo’s exploits are now becoming a liability threatening to undo the entire party. Needless to say Takechi cannot allow this. What follows is a plot which in part attempts to expose the cut throat dog eat dog world of clan politics, a subject I have seen portrayed frequently in these films, but never once in a favorable light. This coupled with Izo coming to terms with the party he believed in ultimately betraying him completely, makes for a film I highly recommend seeing for yourself.

The most interesting thing about these two characters is that while they are so different, one coarse and loud, the other refined and restrained, they are both equal in their arrogance which now has them both charging blindly down a path that will ultimately be their undoing. It becomes increasingly more clear as the film progresses that Takechi’s ambitions will eventually exceed his grasp. Takechi’s response to this reveals more about his true character. He begins to descend into a megalomaniacal madness becoming more defiant, speaking of sacrificing thousands, any and everyone for his power hungry cause. I can’t help but think Gosha is perhaps trying to draw a parallel between Takechi’s Tosa clan and the twilight of Imperial Japan. He spins a complex tale of ambition, deception, pride, humility and honor (or lack thereof) but never lets it become preachy in these principles. The film is based on real people and historical events, but one need not be a history major to grasp the broader view Gosha intended, the characters are morally ambiguous to the point right or wrong breaks down to perspective..One of the more satisfying elements of the film is the painful introspective journey, and gradual change in Izo (played masterfully by Katsu), this character is immediately as sympathetic as he is detestable, his noticeable flaws in character are what draw us to him, this may be partly because he is the only character that achieves anything resembling redemption in the end. It is hard for me to speak objectively when it comes to Gosha, but I must say in his long list of masterful work that one would be hard pressed to chose a favorite amongst, this quite possibly may be his best.

[BlackLamaFaction]

The Great Duel (Killing)

Director: Eiichi Kudo

Writer: Kaneo Ikegami

Original Idea: Norimichi Matsudaira

Cast:

Kotaro Satomi - Jinbo

Chochiro Kawarasaki - Hayato

Toru Abe - Yamagi

Ryutaro Otomo - Minister Sakai

Mikijiro Hira - Asari

Yoshio Inaba - Tokai

Rinichi Yamamoto - Kusaka

Toei Films 1964, 118 min B&W

The Great Duel is the second offering in the Samurai Revolution Trilogy, I am beginning with it because it is my absolute favorite of the three. Let me just start by saying that all three films are very similar from the standpoint of plot. The details are of course different and there are minor differences as far as who did what and why, but you will notice a basic formula at work here. That being said, do not be discouraged, the formula is wonderfully effective: disgustingly inhuman, entitled lords doing absolutely vile things and getting exactly what they deserve.

The film begins by explaining that an unfair and unjust land tax has been levied against the farmers of the territory making their lives virtually unlivable. As unrest begins to spread, the state secretary is accused of planning a revolt. The clan puts together a list of 50 samurai suspected of being involved and orders them rounded up and executed. Jinbo is a young, newly married samurai in the clan, a close friend of his who is one of the 50 condemned men seeks refuge in his home. This leads to Jinbo being accused of being part of the plot and arrested. He is later freed when the group escorting him are attacked by some of the rebels. After spending the night at the home of a young ronin who has grown weary of samurai life, he is accosted by a mysterious girl who shows him his wife has been murdered and offers to hide him with one of the leaders of the rebellion. It is not long before Jinbo decides that he will fight with the rebels. We soon begin to learn that there is much more going on here than what appears. The minister charged with squashing this rebellion has an agenda of his own. The current shogun’s health is failing and he is without an heir. The minister intends to back the son of one of his peers in an exchange for power. When the minister learns that the leader of the rebellion is a very high ranking official who is personal friends with the shogun, he realizes that the rebels know of his plot and intend to stop it. When the rebels put their plan to stop the plot in action, all hell breaks loose.

The plot of this film is a little bit more intricate than 13 Assassins and 11 Samurai the other two films in this series, however the real strength of this film lies in the masterful work of Eiichi Kudo, the films director. The somber almost melancholy tone is set from the first few shots of Shin Furuya’s superb camera work and never lets up. The film comes off as beautiful and rigidly austere as the culture it is depicting. You may also notice a lack of the one slice kills you see in more action based films, here a more brutal, (and I feel) more realistic approach is taken. You feel the fear induced adrenaline of these untested samurai as they draw their swords for real for the first time and swing madly at everything. In the final battle Kudo uses a chaotic documentary style of filming complete with water splashes on the lens, this along with a small army of men you truly believe are exhausting themselves to the point of insanity made for one of the most amazing sequences I have ever seen put to film. If I never saw another film by Eiichi Kudo, I would still be in awe of him just based on the final 20 minutes of this film. Also look for my main man Mikijiro Hira who’s overall time in the film is short but he pretty much steals the show. One final note; it was great to see Ryutaro Otomo playing such an evil bastard. Definitely check this one out if you haven’t already.

[vengeanceofhumanlanterns]

Nice, BlackLamaFaction!