So You Want to Be an East Asian Film Buff Canon Essay Next 25 (26-50) out of 100

[masterofoneinchpunch]

26) Ran (1985, Japan, Akira Kurosawa): While you might think there is a bit too much Kurosawa on here, I just cannot leave off these films and ultimately one director per pick defeats the purpose of this list.  With Kurosawa, like Hitchcock, there are a multitude of movies that are important to many different canons.  Ran is too critically and publicly popular to not have here. This adaptation of Shakespeare’s King Lear has one of my favorite actors Tatsuya Nakadai in the King Lear role as Lord Hideotra Ichimonji, one of the greatest of the tragedian characters.  I also consider Lady Sue (Yoshiko Miyazaki) to be one of the great villainesses of cinema.  It is amazing that Kurosawa made this in his mid-70s, had already did several years of preproduction work and he even suffered the death of his wife during production.  The result is a cataclysmic cacophony of crestfallen chaos.  It would be the last masterpiece he would direct though I consider his remaining films to be good.  Random information you do not need to know: this was the first Kurosawa directed film I had seen.

For Further Study:
The Bad Sleep Well (1960, Japan, Akira Kurosawa): Influenced by Shakespeare’s Hamlet and a powerful indictment of corruption.  Yeah you really should see most of Akira Kurosawa’s films.
Samurai Banners (1969, Japan, Hiroshi Inagaki): A quite good strategy film with Toshiro Mifune as the historical Yamamoto Kansuke and ending with The Battle of Kawanakajima that reminds me as a combination of Red Cliff and Kagemusha.  

27) Princess Mononoke (1997, Japan, Hayao Miyazaki): Miyazaki is similar to Kurosawa in a few ways. They are both detailed directors who have an abundance of most excellent cinema.  They are also known as “gateway” directors.  They tend to be the first Japanese directors watched by many western audiences, especially in particular areas such as jidai-geki for Kurosawa and anime for Miyazaki (both I feel have been sometimes been unfairly stigmatized as genre directors) and either this or Spirited Away is often the first Miyazaki film watched.  There are only two other Japanese films that have more votes than this one on IMDB: Seven Samurai and Spirited Away.  It is also currently in its top 250 as well (years later it is still there).   This beautiful movie, with its exquisite and mostly hand-drawn anime is one of those litmus tests when lending anime.  If they like it you can go down further the rabbit hole of anime, if they do not then, well I am not sure what to lend next.

For Further Study:
Whisper of the Heart (1995, Japan, Yoshifumi Kondô): Absolutely lovely story about reading books and a cat.  What more could you ask for?  Yes, Studio Ghibli.
The Cat Returns (2002, Japan, Hiroyuki Morita): I just love this film so much. While Muta is also in Whisper of the Heart, you do not necessarily have to see that one first (though you should). Yes another Studio Ghibli pick.

28) A Better Tomorrow (1986, Hong Kong, John Woo): Like Drunken Master this is a watershed film of Titanic importance in Hong Kong.  I am suspecting you have heard of John Woo and Chow Yun-fat.  Before this Woo was known for his comedies and had even been told by some he should consider retirement.  Chow started off well on TV with the TVB station, but his foray into movies had not gone well.  He was literally called “box office poison.”  This film was influenced by The Story of a Discharged Prisoner (1967) and was made with a modest budget and was not expected to be anything special.  It would go on to break the Hong Kong box office record, revitalize Ti Lung’s career, pretty much made Chow Yun-fat a star, did well in transnational sales, helped start the 80s “heroic bloodshed” movement and was hugely influential.  For example, Chow’s character Mark Lee, in homage to Alain Delon with the trench coat and sunglasses, caused many to adopt this style in Hong Kong.  It is one of Woo’s highest critical acclaimed movies in Hong Kong critic circles.

For Further Study:
A Better Tomorrow II (1987, Hong Kong, John Woo): While the story to this sequel is a bit absurd, the action is awesome – especially the ending which did permanent damage to Chow Yun-fat’s hearing.
The Postman Strikes Back (1982, Hong Kong, Ronny Yu): A fun early film with Chow Yun-fat in a supporting role actually doing some martial arts. I think it is good for you to watch an early Ronny Yu (Fearless) film as well.

29) Late Spring (1949, Japan, Yasujiro Ozu): One of the greatest actor and director combination in cinema is between Ozu, Setsuko Hara and Chishu Ryu with Hara playing the daughter and Ryu the father in Late Spring.  No other filmmaker, in my opinion, has been more successful and effective with filial shomin-geki (modern common people drama) while avoiding melodramatic tendencies.  He is often called the most Japanese filmmaker, but I think he is the most humanistic which is why his films tend to translate so well.  This movie is considered the prototype to many of his later works where he reworks the father and daughter relationships.  With western critics Ozu is among the most well known and appreciated Japanese directors.  He has been called the greatest filmmaker by cinema scholar David Bordwell.  This is his second most known film and with Tokyo Story considered among the best films ever made.

For Further Study:
Tokyo-Ga (1985, US/Germany, Wim Wenders) Fascinating documentary on Ozu.  Found on the Late Spring Criterion release.
An Autumn Afternoon (1962, Japan, Yasujiro Ozu) A brilliant reworking, not remake of Late Spring. This is his last film.

30) Drunken Master (1978, Hong Kong, Yuen Wo-ping): Even if you do not like action cinema (and if you do not like action you will not like this list) you have probably heard of Jackie Chan.  In early 1978, Jackie was not even that well-known in Hong Kong and could walk around there without being noticed.  He had already “retired” once before and moved to Australia.  He came back to work for Lo Wei Motion Picture Co., but most of the films he did for Lo did not do well at the box office.  So he was loaned out to the independent Seasonal Film Corporation.  In the span of two films: Snake in the Eagle’s Shadow and then Drunken Master, both directed by Yuen Wo-ping (action director for The Matrix), his popularity would skyrocket.  Drunken Master is basically a reworking of Snake in the Eagle’s Shadow, but using one of the most revered figures of Cantonese cinema the legendary Wong Fei-hung a famous herbalist, teacher, physician and kung fu sifu of Hung Gar.  Chan’s rise in Asia would be meteoric leading to an increase of kung fu comedies, imitation of Jackie Chan films and Jackie becoming one of the most well known stars in the world, in part because of this film.

For Further Study:
New Fist of Fury (1976, Hong Kong, Lo Wei): When Jackie first came to work for Lo Wei he was used as a Bruce Lee type in the sequel to the famous Lee film Fist of Fury aka The Chinese Connection.
Snake in the Eagle’s Shadow (1978, Hong Kong, Yuen Wo-ping): A good and fun film only marred by some of the treatment on the animals in the film.  If this was not successful, you might not have had Drunken Master and without Drunken Master we not not now be speaking of Jackie Chan.

31) High and Low (1963, Japan, Akira Kurosawa): Time for another Kurosawa adaptation, Shikata ga nai, and this time from Ed McBain’s novel King’s Ransom. The Japanese title Tengoku to Jigoku (Heaven and Hell) is more appropriate than the English title in depicting the polar opposites in the many dichotomies of the film. This is an impressive film with outstanding use of camera, plenty of motifs and one of Toshiro Mifune’s best non-Samurai roles as Gondo the hardworking, rich and pragmatic incorruptibility boss that leads to his predicament.  His opposite (and later Doppleganger) Takeuchi is also wonderfully portrayed by Tsutomu Yamazaki in his first major role and is still acting today (won the Japanese Academy’s Best Actor for Departures (2009)).  I think this is another masterpiece from Kurosawa, but I am not the only one.  This one ranks quite high on TSPDT1000, flitters in and out of the IMDB250 and is one heck of a movie.

For Further Study:
Samurai Assassin (1965, Japan, Kihachi Okamoto): Oh such a powerful ending.  Great performance from Toshiro Mifune and from the director of Sword of Doom Kihachi Okamoto.
Samurai Rebellion (1967, Japan, Masaki Kobayashi): Another wonderful performance from Toshiro Mifune and from a director you need to know more about.  The ending is heartbreaking.

32) The One-Armed Swordsman (1967, Hong Kong, Chang Cheh): Some films you can literally point to and say this is a watershed moment.  With The One-Armed Swordsman it is important for an abundance of reasons.  It is known as the first million HK dollar grossing film. It was a turning point in Hong Kong cinema as wuxia films (martial arts chivalry usually with swords), a genre that King Hu and Cheh helped create in the cinema, would become the dominant genre until kung-fu films took that mantle with Bruce Lee. This is also the first in the subgenre of "one-armed" films that ultimately would stereotype the career of the star of this movie Jimmy Wang Yu.  With Chang Cheh it helped him into becoming a superstar director who arguably was one of the most important directors in Hong Kong during the 1960s and 1970s whose work is a precursor to the “Heroic Bloodshed” era of John Woo -- who also worked under Cheh for several years. 

For Further Study:
Return of the One-Armed Swordsman (1969, Hong Kong, Chang Cheh): This official sequel is more violent, it is more bloody and just as fun as the original in the continuing adventures of Fang Gang.
The Magnificent Trio (1966, Hong Kong, Chang Cheh): This remake of Three Outlaw Samurai (1964) is one of the earlier Hong Kong wuxia films from the Shaw Brothers.

33) Hero (2002, China/Hong Kong, Zhang Yimou): Is it irony that the former art-house director Zhang Yimou’s most widely seen and most successful film is a big budget wuxia that to some critics was the antithesis of his earlier harsh portraits of China’s past government? Of course not, but it is a brilliant, beautiful and bodacious rendering of a “Warring States” drama that is a satisfying synergy of Rashoman and Nationalism.  The cinematography from Christopher Doyle, one of the few cinematographers that have a decent amount of fanboys, is breathtaking in combination with the direction from Zhang.  The action choreography from Ching Siu-tung (A Chinese Ghost Story (1987)) is fabulous.  The cast is an awesome combination of Jet Li, Tony Leung, Maggie Cheung, Donnie Yen and Zhang Ziyi.  As of this writing, this is the third highest grossing foreign language film in the US.

For Further Study:
House of Flying Daggers (2004, China, Zhang Yimou): This is the second historical action drama of Zhang’s.  You may want to watch this after Hero.
Curse of the Golden Flower (2006, China/Hong Kong, Zhang Yimou): This is the third historical action drama that Zhang did in a row.  Beautiful looking and well acted, but not as famous as his first two or as well thought of as his first two.

34) Harakiri (1962, Japan, Masaki Kobayashi): aka Seppuku.  Read Hagakure (The Book of the Samurai) by Yamamoto Tsunetomo to get a good idea of what a samurai was supposed to be like.  Then watch Yojimbo and Harakiri to get an opposing view.  Masaki Kobayashi is not as well known as a director as he should be.  I do hope you spread the word about his movies if you are not doing so already and this is a great film to start with if you have not watched it or lend this if you already have.  Tatsuya Nakadai (how many times will he be mentioned on this list?) as Hanshiro Tsugumo is the stimulus in Kobayashi’s scathing denunciation against fanatical devotion to the Bushido Code.  Nobody expects that this ronin has ulterior motives that slowly unhinge as the film progresses.  Random thought: I never thought one could disembowel oneself whose chief weapon is a bamboo sword.

For Further Study:
The Sword of Doom (1966, Japan, Kihachi Okamoto): Any doubt that Tatsuya Nakadai is a convincing badass?  Rhetorical question of course.
Kiru (1968, Japan, Kihachi Okamoto): Another anti-Bushido Code film, though not as serious, also starring (you guessed it) Tatsuya Nakadai.  I love this film.  It is so fun.   Okamoto is an underrated director.

35) Shaolin Soccer (2001, Hong Kong, Stephen Chow Sing-chi): While Stephen Chow had already been a superstar in Hong Kong and Mainland China for over a decade this film was his first international hit.  His mo lei tau (無厘頭: nonsense) style of humor is not always appreciated by all and sometimes his Cantonese slang humor gets lost in translation (too many reviews overstate this though, his style is much more than just wordplay) but he is a unique singular talent with an eclectic style.  He incorporates his philosophy mixed with a reverence for kung fu especially Bruce Lee and uses a plethora of hodge-podge references from Warner Brothers’ cartoons to Mainland bumpkin stereotypes.  In Shaolin Soccer he uses his oft-used template of unrealized talent and redemption.  This former TVB actor can be considered an acquired taste like Jerry Lewis or W.C. Fields.  This was the highest grossing film in Hong Kong – until Chow’s next film.

For Further Study:
From Beijing with Love (1994, Hong Kong, Stephen Chow/Lee Lik-chi): Chow’s first co-directed film with Lee Lik-chi is a hilarious spy spoof.
The God of Cookery (1996, Hong Kong, Stephen Chow/Lee Lik-chi): Another one of my favorite comedies with Chow taking using his most famous Hong Kong character type: the arrogant jerk. Would you eat “pissing shrimp beef balls?”  You do not have to answer that.

36) Zatôichi monogatari (1962, Japan, Kenji Misumi):  Here is a cinema character you have to know and worldwide is one of the most identifiable roles of all-time akin to the Chaplin’s Tramp or Inspector Clouseau.  While the first film is not as good as many of the sequels, it is a landmark movie because it introduces us to the blind gambling masseuse of the underworld with a heart. The popularity of this character would skyrocket in Japan making Shintaro Katsu a star.  This film would have 25 sequels, be made into a TV series with at least 100 episodes, spawn several remakes including Blind Fury with Rutger Hauer, be spoofed by Jackie Chan in Half a Loaf of Kung Fu, and influence countless movies. For this list I will also accept any of the 1960s Zatoichi sequels where Shintaro Katsu is the lead.  Soon you will flutter your eyelids and try to slash people with an underhanded (reverse grip) sword technique using your umbrella or cane while muttering to yourself.  Always mutter to yourself.

For Further Study:
Zatôichi (2003, Japan, Takashi Kitano): Beat Takashi’s take on this character is a stunning film.  Now only if they did not use the CGI blood.
The Loyal 47 Ronin (1958, Japan, Kunio Watanabe): I feel this is the most underrated version of the famous story Chushingura I have seen.  Shintaro Katsu has a good role here.  This was a hit in Japan and the cinematography and costumes are excellent.

37) Kung Fu Hustle (2004, Hong Kong, Stephen Chow): This was the highest grossing domestic Hong Kong film (still is if you consider Cold War 2 a co-production).  It was an international hit both critically and financially and is Stephen Chow Sing-chi’s most successful movie.  Chow, like Jackie Chan, is one of those rare stars who can take almost as long as they want to make a film. But he did lose momentum with his next film CJ7 which he took too long to make and it underperformed to expectations (not counting the PRC market).  I expect with his next couple of films the world of cinema will be talking again about Stephen Chow.  It will be hard to make a film as unique as this one.  He was successful in blending his own style of comedy and martial arts with CGI and added homage to past Hong Kong stars and characters. Yuen Qiu (who grew up under the same Peking Opera School as Jackie Chan, Sammo Hung and costar Yuen Wah) almost steals the show as the Cantonese archetype “The Landlady.” 

For Further Study:
Deadful Melody (1994, Hong Kong, Ng Min-kan): Fun film with a deadful magical lyre just like in Kung Fu Hustle.  Always fun seeing the Brigitte Lin fantasy films.
Journey to the West (2013, Hong Kong/China Stephen Chow/Kwok Chi-kin): Chow has been involved with a couple adaptations of this important novel (a good and very long read with many movie adaptations) and this is quite a fun Mandarin release

38) Hard Boiled (1992, Hong Kong, John Woo): There are three John Woo films I think every budding action aficionado must watch because of their influence on action fans.  While The Killer is normally thought of as Woo’s best film, Hard Boiled is normally the first John Woo film I lend (the third comes later in this list).  It is basically a test to see if the recipient likes gunplay, lots of gunplay, a ridiculous correct amount of gunplay.  It is also a thrilling compendium for the director.  It has the homosocial male relationships, heroic bloodshed, Chow Yun-fat, two-handed pistol action with never-ending bullets, commentary on the upcoming handover to China, allusions to Chang Cheh and Jean-Pierre Melville and lots and lots of action.  Add in Hong Kong acting legends Anthony Wong, Phillip Kwok and Tony Leung Chiu-wai and you have a cinematic cocktail of cannonry that very few films outdo.  After watching this film I imitated Tequila’s use of the toothpick for months.

For Further Study:
Bullet in the Head (1990, Hong Kong, John Woo): You should want to watch the film from the title alone.  A serious and pessimistic film from Woo, but brilliantly done with no shades of subtlety.
Red Cliff (2008, China, John Woo): First part of the epic retelling of the literary classic Romance of the Three Kingdoms. It proved that Woo still has massive directorial ability.  You also need to see the second part.

39) Ringu (1998, Japan, Hideo Nakata): This is the film that started the J-horror craze in the late 90s and early 2000s.  Like many popular Asian films it was remade in the US.  The remake is named The Ring (2002) and analogous to The Departed and Infernal Affairs, it seems that many prefer whichever version they saw first.  It was also responsible (which can be considered good or bad) for several sequels, countless imitations and spoof references like in the Scary Movie series.  Ringu is a very effective horror movie which focuses more on the psychological over bloodshed much to the chagrin of gore-hounds at the time. It is not as scary to me as Ju-on: The Grudge but it has a more cohesive and understandable plot.  This film may make you think twice about playing that unmarked VHS tape that you are not quite sure what is on it but you have heard it was responsible for several people’s death.  Hmmm, maybe another remake should be made using a DVD, TiVo or Blu-ray.  Is my cellphone ringing?

For Further Study:
Dark Water (2002, Japan, Hideo Nakata): another Japanese film that would become a United States remake.  I love the ending for this one.  Be careful of wet and empty apartments.
Ringu 2 (1999, Japan, Hideo Nakata): Not a great film, but a decent sequel that was hastily made because thes second Koji Suzuki novel film Rasen (1998, Japan, Jôji Iida) flopped (I am not a fan of it).

40) Audition (1999, Japan, Takashi Miike): There are not many directors that are as divisive as Takashi Miike.  But there are not many directors who dabble in as many genres and are as prolific as Takashi.  When he is at his most misanthropic and misogynistic like in Full Metal Yakuza I find him difficult to take.  With Audition he is brilliant in pacing, use of flashback, character development, male and female relationships and that oh-so-infamous ending.  I do not feel that the horror scene is as scary as some have portrayed it and if you have seen other of his films like Ichi the Killer (or other Japanese horror films like Evil Dead Trap) you are easily ready for it.  This is Miike’s most popular movie with both the audience and critics and an easy pick for this list.  It will have you saying kiri kiri kiri kiri kiri kiri whenever you play with piano wire.  Don’t you normally carry it around?

For Further Study:
Ichi The Killer (2001, Japan, Takashi Miike): A cult favorite that is quite violent, misogynistic and quite unique.  It almost made the top 100, but even if you hate it you will not forget it.
One Missed Call (2003, Japan, Takashi Miike):  Another Japanese film remade into an American one in 2008.  Also, another influential “tech horror” films which makes one think of Ringu.

41) Branded to Kill (1967, Japan, Seijun Suzuki): Whether you end up loving, loathing, or place yourself somewhere in the middle (Tarantino), it behooves you to know Suzuki and to study the Suzuki method of mayhem, madness and modernisms.  Suzuki regular and cheek-enhanced stalwart Jô Shishido stars as the number #3 killer who wants to be number #1 and not number #2 (sounds like a jianghu plot) in the yakuza world.  Wildly fun and highly influential to such diverse directors as David Lynch, Jim Jarmusch (who literally takes does a homage of a scene of this in Ghost Dog) and Quentin Tarantino.  Branded to Kill resulted in Suzuki's termination from Nikkatsu for his improvisational filmmaking and helped prevent him from directing a mainstream movie for several years.  Anyone who destroys his career for art should definitely be give a chance.  Now I’m going to sniff some boiled rice -- ahhhh.

For Further Study:
Youth of the Beast (1963, Japan, Seijun Suzuki):  My favorite Suzuki so I want you to watch it.  Since it has Jô Shishido it is a must watch.
Tokyo Drifter (1966, Japan, Seijun Suzuki): Beautiful visuals, another fun yakuza film and also released by Criterion.

42) Come Drink With Me (1966, Hong Kong, King Hu): King Hu’s first wuxia pian film was a success and along with the phenomenal box office of The One-Armed Swordsman a year later helped the martial arts film dominate Southeast Asia for years to come.  This Peking Opera influenced film was fastidiously directed and the costumes and set design are exquisite -- all characteristics which would remain in his later films.  I have seen no earlier Hong Kong film that infused these facets so flawlessly though sometimes this film is erroneously stated as a first with such uses a trampoline and using reverse footage.  Cheng Pei Pei as Golden Swallow is one of the stronger female characters in cinema and her performance is one of the reasons this film has remained a classic.  This would be the last film Hu would do with the Shaw Brothers as he did not like their interference and would next work in Taiwan on Dragon Gate Inn.  Good luck finding an uncredited young Jackie Chan in this film, though his young friend Mars is much easier to spot.

For Further Study:
Golden Swallow (1968, Hong Kong, Chang Cheh): While Chang Cheh helms this semi-sequel and continues the Cheng Pei Pei character in this film, Wang Yu stars as the intrepid Silver Roc.  This is one of Hong Kong film critic Stephen Teo’s favorite HK movies.
The Shadow Whip (1971, Hong Kong, Lo Wei): A fun top 10 (#8) Hong Kong box office hit of Shaw Brothers that year with Cheng Pei Pei with Yueh Hua (both earlier in Come Drink With Me).  And it has a young Sammo Hung in it.

43) Drunken Master 2 (1994, Hong Kong, Liu Chia-liang/Jackie Chan):  aka: The Legend of Drunken Master.  Liu was fired early on because of a conflict of ideas leading JC to explain in his autobiography I Am Jackie Chan: “His ideas are very traditional, almost like classical music; mine are more like jazz.” One might expect this to interfere with the cohesion of the film, but it does not though there is a difference between the earlier fight scenes and the later ones done by Jackie.  Anita Mui steals quite a bit of the film with her comedic performance as Wong Fei-hung’s step-mother and Ti Lung as his dad, barely older than Jackie in real life, both always fun to watch.  But the end action sequence with his former real-life bodyguard Ken Lo in the steel mill, where Jackie does get burnt, is mind-blowing and is one of my top ten unarmed fight scenes.  There is an alternate ending that can be found, though in my opinion the movie is better off without it though the audio/soundtrack in the R1 Miramax/Dimension edition is not as good as the original release.  In 2005, Time choose this as one of their 100 Best Movies of ALL TIME.

For Further Study:
Drunken Master III (1994, Hong Kong, Liu Chia-liang): This is strictly for extra credit. This was the Wong Fei-hong film Liu Chia-liang made after leaving Drunken Master II.
Martial Club (1981, Hong Kong, Liu Chia-liang): The second Wong Fei-hung Shaw Brothers film (Challenge of the Masters was the first) that Liu did with Gordon Lau Kar-fei.  Both are worth watching, but I slightly prefer this one.

44) Akira (1988, Japan, Katsuhiro Ôtomo): It is hard for me to rate this dystopian cyperpunk film which I know is immensely popular, is constantly put on top animated lists and to this day is influential.  For example, in the recent Chronicle the decent of madness of one character is most likely taken from Akira.  But I have seen this a few times and it has never been among my top anime films.  It is a film I have liked more for individual scenes and what it was trying to accomplish more than its cohesion of elements.  But I cannot deny its importance as a catalyst in pushing anime in North America in the late 80s and early 90s where it was many of Generation X’s first “non-children’s” animated film.  Regardless of whether you love it or are puzzled by the plot or by the large baby blob it is a film that should be seen.

For Further Study:
Paprika (2006, Japan, Satoshi Kon): One of my favorite of Kon’s films.  Trippy, but beautiful and brilliant.  Do you not like movies?
Steamboy (2004, Japan, Katsuhiro Ôtomo): Such a beautiful film from Ôtomo.  While it lacks in the ending, it has such an extravagant Victorian steampunk world.

45) Kagemusha (1980, Japan, Akira Kurosawa): There is no getting around more Akira Kurosawa is there?  Originally this movie was to star the comedic legend Shintaro Katsu of Zatoichi fame, but a collision between the two stalwarts caused Katsu to leave and/or be fired (the story differs upon which source you read).  The venerable Tatsuya Nakadai took the role and with his dual performance as the warlord and the doppelganger he helped helm one of Kurosawa’s most doleful films. Akira spent years trying to fund this (he even did commercials) and he eventually got help from several sources including George Lucas and Francis Ford Coppola.  While at the time it was the most expensive film made in Japan, it was also quite successful.  Watch the 180-minute Japanese release as opposed to the 162-minute international cut – just buy the Criterion BD or DVD.

For Further Study:
The Men Who Tread on the Tiger’s Tail (1945, Japan, Akira Kurosawa): This filmed version of a Noh play Ataka and Kabuki play Kanjincho made in 1945 but shown in Japan in 1952. It has several similarities with Kagemusha: thematic elements like identity, historical context, use of Noh, and even Takeshi Shimura.  If you are going to see most Kurosawa films, watch this before Kagemusha.
Shadow (2018, China/HK, Zhang Yimou): An absolutely brilliant and beautiful looking film with a very similar subject of the Doppleganger (since Kagemusha means Shadow Warrior in Japanese), identity and remaining in the shadows.  Also, the umbrella weapon is magnificent.

46) The 36th Chamber of Shaolin (1978, Hong Kong, Liu Chia-liang): This Shaw Brothers production is the most well known Shaolin film whose popularity has only increased over the years.  It kept its star Gordon Liu bald for many years as he would work on the sequels, similar movies and/or roles where he just had to be a monk.  This is the quintessential training film with the legendary 18^th Century monk San Te (Gordon) at its center.  It is one of the best examples of how vast and expansive you can make this sub-genre with its sundry sadomasochistic schooling where each chamber is a place to perfect one particular skill. The auteur Liu Chia-liang (Gordon took his stage name from the director Chia-liang’s family name, but they are not related nor is he adopted as many publications state) has one of the most consistent oeuvre in quality, themes and sublime cinema.

For Further Study:
Return to the 36^th Chamber (1980, Hong Kong, Liu Chia-liang): One of my favorite sequels of all-time where Gordon Liu does not reprise his San Te role, but plays an impersonator.
Shaolin Intruders (1983, Hong Kong, Tang Chia): Chia had worked quite often with Liu Chia-liang as a choreographer, but he only got to direct three movies.  This is my favorite of the three.

47) Days of Being Wild (1990, Hong Kong, Wong Kar-wai): One of the most critically popular films in Hong Kong which won five HK Film awards and its reputation has only grown since.  Days of Being Wild deals with the ah fei (rebellious youth) culture during 1960 and stars Leslie Cheung (in one of his best and most remembered roles), Andy Lau and Maggie Cheung.  This would the first collaboration with cinematographer Christopher Doyle and is much more accomplished than Wong’s first film As Tears Go By.  Many of the motifs and possibly characters from this film would be continued in In the Mood for Love and 2046 making it a thematic trilogy. A good resource on that controversial topic, this film and on many other Wong related discussions is Stephen Teo’s monograph Wong Kar-wai: Auteur of Time.

For Further Study:
As Tears Go By (1988, Hong Kong, Wong Kar-wai): Wong’s first time as a director and one of his most commercial successful movies is a decent triad film that is quite reminiscent of Mean Streets.
Inner Senses (2002, Hong Kong, Law Chi-leung): Leslie Cheung’s last performance before his suicide in this psychological horror movie that seems to parallel some of the Cheung’s own life.

48) To Live (1994, China, Zhang Yimou): Another superb actor director pairing of Gong Li and Zhang Yimou.  This epic film based on the Yu Hua novel was banned in China (though the bootlegs of this were prolific in China) and earned Yimou restrictions from the government.  It also marks a change in his filmmaking to more of a commercial appeal for films after this (read this essay).  It is a powerful critical expose on Chinese communism covering several decades from the 1940s to the 1970s going over The Great Leap Forward and the Cultural Revolution using a motif of Shadow Puppet Theater.  But is also a moving drama about a family which is swept along trying to adapt to the changing capricious tides of history. One of the most impressive scenes is one where a herd of soldiers running over a hill causes a commotion that is heard before it is seen.

For Further Study:
Ju Dou (1990, China, Zhang Yimou): This easily deserves a proper R1 release.  Gong Li is exquisite in this film that was previously banned in China.
Red Sorghum (1987, China, Zhang Yimou): Zhang Yimou’s first film and Gong Li’s first film is a beautiful (like all of Zhang’s films) film of arranged marriage and the invading Japanese in the 1930s.

Lesson Plan on To Live

49) Battle Royale (2000, Japan, Kinji Fukasaku): My feelings on this waver quite a bit from reluctant admiration to peccant shame on this infamous dystopian tale of misanthropic satire which sometimes seems like a less intelligent and much more violent Lord of the Flies.  But it would be dishonest to not put on a list like this.  This movie is quite popular and very influential.  This along with Oldboy is a film many newbie cinematic fans will ask you if you have seen it.  You just hate to reply “I have not” and let them think your movie acumen is blunted (analogous to not seeing Citizen Kane) even though they cannot name an Akira Kurosawa film.  Is there much doubt that Hunger Games took some (or many) ideas from either this or the manga?  Quentin Tarantino has said on this movie: "If there’s any movie that’s been made since I’ve been making movies that I wish I had made, it’s that one."  Will you agree?

For Further Study:
Fall Guy (1982, Japan, Kinji Fukasaku): Sometimes overly melodramatic, but often times fun, this film in the mode of Show People and Hail, Caesar! where it shows and parodies the Japanese movies.
Battle Royale II (2003, Japan, Kinji Fukasaku and Kenta Fukasaku): this is more important to know about than actually see.  Kinji’s last film as a director and he died during the production and it was finished by his son.  Not a good movie.

50) Lone Wolf and Cub Series (1972-1974, Japan, Kenji Misumi, Buichi Saito, Yoshiyuki Kuroda): This six film series has influenced countless chambara fans.  In America the first two films were released as Shogun Assassin, which is how I first saw it and many others including Quentin Tarantino.  He even put a direct reference to that version in Kill Bill Part II.  The series would also inspire the making of Road to Perdition.  Tomisaburô Wakayama (he is a brother of Shintaro Katsu) as Ogami Itto, in his most iconic role, is superb as the disgraced samurai who becomes an assassin, lives by a strict code of honor, wheels around his kid in a baby cart (you will sometimes read this as the “baby cart” series) and is unmatched as a swordsman.  Originally based on a manga series by writer Kazuo Koike and artist Goseki Kojima, the series of six films is quite over-the-top and sometimes too misogynistic, though typical for the chambara films of that era, but incredibly influential on Japanese cinema as well with at least two TV series based on this. 

For Further Study:
Shogun Assassin (1980, US, Robert Houston): The first two films of the “baby cart” series edited together (Houston did not do any real directing) with an English dub and a new voiceover from the kid which is strangely effective.
The Tale of Zatoichi Continues (1962, Japan, Kazu Mori): The second Zatoichi film, a worthy sequel which broadens the character, and the first film in which the two real-life brothers Shintarô Katsu and Tomisaburô Wakayama would work together.  

Edited March 3, 2022 by masterofoneinchpunch

[DrNgor]

On 3/3/2022 at 4:58 PM, masterofoneinchpunch said:

26) Ran (1985, Japan, Akira Kurosawa): While you might think there is a bit too much Kurosawa on here, I just cannot leave off these films and ultimately one director per pick defeats the purpose of this list... It would be the last masterpiece he would direct though I consider his remaining films to be good.  Random information you do not need to know: this was the first Kurosawa directed film I had seen.

This was also my first Kurosawa film. I was doing the Academic Pentathlon in Middle School and the Social Studies theme was Medieval Japan. We watched this on a special holiday study session. Crazy violence during the battle sequences. I need to watch it again with a more "mature" mentality.

On 3/3/2022 at 4:58 PM, masterofoneinchpunch said:

Lone Wolf and Cub Series (1972-1974, Japan, Kenji Misumi, Buichi Saito, Yoshiyuki Kuroda): This six film series has influenced countless chambara fans.

Yeah, I really loved this films. I had the entire series on DVD, but had to sell it. I need to get it again.

On 3/3/2022 at 4:58 PM, masterofoneinchpunch said:

46) The 36th Chamber of Shaolin (1978, Hong Kong, Liu Chia-liang): This Shaw Brothers production is the most well known Shaolin film whose popularity has only increased over the years.  It kept its star Gordon Liu bald for many years as he would work on the sequels, similar movies and/or roles where he just had to be a monk.  This is the quintessential training film with the legendary 18^th Century monk San Te (Gordon) at its center.

I was sorta "meh" when I first saw this in my high school days. Revisiting it again not too long ago, I was able to appreciate it a lot more. And yes, it is a quintessential training movie.

 

On 3/3/2022 at 4:58 PM, masterofoneinchpunch said:

44) Akira (1988, Japan, Katsuhiro Ôtomo): It is hard for me to rate this dystopian cyperpunk film which I know is immensely popular, is constantly put on top animated lists and to this day is influential.

This is on Netflix. I need to watch it.

 

On 3/3/2022 at 4:58 PM, masterofoneinchpunch said:

42) Come Drink With Me (1966, Hong Kong, King Hu): King Hu’s first wuxia pian film was a success and along with the phenomenal box office of The One-Armed Swordsman a year later helped the martial arts film dominate Southeast Asia for years to come.  This Peking Opera influenced film was fastidiously directed and the costumes and set design are exquisite -- all characteristics which would remain in his later films. 

Very good movie. And yes, very historically important. I don't have access to the sequel here. I need to watch that.

 

On 3/3/2022 at 4:58 PM, masterofoneinchpunch said:

Ringu 2 (1999, Japan, Hideo Nakata): Not a great film, but a decent sequel that was hastily made because thes second Koji Suzuki novel film Rasen (1998, Japan, Jôji Iida) flopped (I am not a fan of it).

Is there anyone who likes Rasen?

 

On 3/3/2022 at 4:58 PM, masterofoneinchpunch said:

38) Hard Boiled (1992, Hong Kong, John Woo): There are three John Woo films I think every budding action aficionado must watch because of their influence on action fans.  While The Killer is normally thought of as Woo’s best film, Hard Boiled is normally the first John Woo film I lend (the third comes later in this list)

I used to rent this movie non-stop from Blockbuster Video. One of the great action movies of all time.

 

On 3/3/2022 at 4:58 PM, masterofoneinchpunch said:

35) Shaolin Soccer (2001, Hong Kong, Stephen Chow Sing-chi): While Stephen Chow had already been a superstar in Hong Kong and Mainland China for over a decade this film was his first international hit. 

I need to revisit this one. It did not wow me the first time I saw it.

 

On 3/3/2022 at 4:58 PM, masterofoneinchpunch said:

27) Princess Mononoke (1997, Japan, Hayao Miyazaki): Miyazaki is similar to Kurosawa in a few ways. They are both detailed directors who have an abundance of most excellent cinema.  They are also known as “gateway” directors.

I remember watching this for the first time with one group of friends. I then showed it to another friend and he loved it so much we were always re-visiting it.

 

On 3/3/2022 at 4:58 PM, masterofoneinchpunch said:

28) A Better Tomorrow (1986, Hong Kong, John Woo): Like Drunken Master this is a watershed film of Titanic importance in Hong Kong.  I am suspecting you have heard of John Woo and Chow Yun-fat.  Before this Woo was known for his comedies and had even been told by some he should consider retirement. 

After watching Face/Off in the theater, I went to the video store and looked for a Chinese John Woo film. I found this one. It has had a special place in my heart since then.

[masterofoneinchpunch]

On 7/20/2022 at 6:32 AM, DrNgor said:

Crazy violence during the battle sequences. I need to watch it again with a more "mature" mentality.

Also fun to compare King Lear with it as well.  For me this was I think the second Akira Kurosawa film I watched (either this of Kagemusha, both VHS rentals around the same time).  Roger Ebert first alerted me of Kurosawa so I had to watch.  Then I was hooked (and now I've seen everything extent).

I would be curious on your opinion of Akira.  It's influence is undeniable.  It is a good film, but I'm not sure about greatness -- and I've seen it several times.

I would also be curious on your reaction to the sequel to Come Drink with Me.  Stephen Teo is a big fan. I like it.

Shaolin Soccer was my first Stephen Chow.  But it was also a gateway Chow for so many -- then more with Kung Fu Hustle and well not as many with CJ7.  Chow goes overboard on endings, but I still love the journey

On 7/20/2022 at 6:32 AM, DrNgor said:

Is there anyone who likes Rasen?

No.

[DrNgor]

23 hours ago, masterofoneinchpunch said:

Shaolin Soccer was my first Stephen Chow.

It was mine, too. I was hesitant to watch any of his films because I was a teenager when I started collecting HK films and my impressionable self was very much influenced by Thomas Weisser's book.

 

23 hours ago, masterofoneinchpunch said:

would also be curious on your reaction to the sequel to Come Drink with Me.  Stephen Teo is a big fan. I like it.

Yeah, that's one I just need to buy, bootleg or not. The Dragon Dynasty edition is probably an arm and a leg now.

[DrNgor]

On 3/3/2022 at 4:58 PM, masterofoneinchpunch said:

The Cat Returns (2002, Japan, Hiroyuki Morita): I just love this film so much. While Muta is also in Whisper of the Heart, you do not necessarily have to see that one first (though you should). Yes another Studio Ghibli pick.

My daughter and I watched this tonight. It was cute and there's no denying the unending charm of the Baron; even Susan had a crush on him by the end.

[masterofoneinchpunch]

On 8/13/2022 at 6:42 PM, DrNgor said:

My daughter and I watched this tonight. It was cute and there's no denying the unending charm of the Baron; even Susan had a crush on him by the end.

The Studio Ghibli films are just solid.  I've recommended and bought so many for gifts including The Cat Returns which I must have bought at least three times (the amount of times I bought Spirited Away is a lot higher).  For some reasons I just gravitated toward that film.  I just really like it.