The End of Summer

Directed by Yasujiro Ozu and written by Ozu and Kogo Noda, Kohayagawa-ke no aki (The End of Summer) is the story of a sake brewery family whose lives are shattered by discoveries relating to their patriarch and his secret life with a mistress. The film is a comedy-drama that relates to a family where a group of women deal with the news about their father while they try to adjust to the changes relating to their sake brewery. Starring Ganjiro Nakamura, Setsuko Hara, Yoko Tsukasa, Michiyo Aratama, Keiju Kobayashi, Masahiko Shimazu, Daisuke Kato, Haruko Sugimura, Hisaya Morishige, Chieko Naniwa, Reiko Dan, and Chishu Ryu. Kohayagawa-ke no aki is an evocative and somber film from Yasujiro Ozu.

The film follows a family who run a small sake brewery that is dealing with bigger companies as two women both deal with potential suitors recommended by their family patriarch who has just renewed his relationship with his old mistress. It’s a film that play into a family dealing with changes during a summer as a family patriarch is trying to ensure that his two daughters be wed to men while his widowed daughter-in-law Akiko (Setsuko Hara) is raising her child alone as she has little interest in getting remarried. With his son-in-law Hisao (Keiju Kobayashi) trying to run the brewery that is competing with a bigger sake competitor, the patriarch Kohayagawa Manbei (Ganjiro Nakamura) spends much of his time at home and would sneak out to visit his old mistress Sasaki Tsune (Chieko Naniwa) whom he’s rekindled a relationship with since the passing of his wife.

The film’s script by Yasujiro Ozu and Kogo Noda play into these family relationships where Akiko is being pursued as is the youngest daughter Noriko (Yoko Tsukasa) as the latter is concerned about her own suitor just as she is interested in a lecturer. It play into the different directions of the family as Noriko’s older sister Fumiko (Michiyo Aratama) learns about her father renewing his relationship with Sasaki as it is believed that he also fathered Sasaki’s daughter Yuriko (Reiko Dan) whom his family hadn’t met. The script also play into this idea of death as it relates to Manbei as he is aware that his brewery might go out of his business as he also thinks about what will happen to his daughters and daughter-in-law.

Ozu’s direction is understated in terms of the simplicity that he maintains throughout the course of the film. Shot largely in Kyoto, the film does play into this world that shows Japan becoming modernized and more vibrant but also retaining elements of the past including some of its traditions. While there aren’t many close-ups in the film, Ozu’s direction is ravishing in his approach to simple compositions whether it’s in a wide or in a medium shot as he captures so much attention to detail on a location, a room, an office, or at a bar. The fact that he doesn’t move the camera at all as well as positioning it one or two feet off the ground which is a visual style that Ozu is known for adds to the simplicity of the film. Even in a wide shot where the camera would look down from a house where Noriko and Akiko are having a conversation at the beachside area of a river as it would then cut to a medium shot of the two on the beachside with Noriko watching her son play in the river.

Ozu would also play up the drama in a low-key approach where he doesn’t aim for melodrama but something that is straightforward but also filled with sadness as it relates to the news about Manbei and his ailing health. The film’s third act doesn’t just explore the idea of mortality but also the decisions a family would have to make as it relates to their business and future. Even as Noriko and Akiko have to find husbands so they won’t be alone and play up to the ideas of tradition though the suitors they’re set-up with don’t really have much to offer to them emotionally. Though the film’s ending is about the end of something, it is also the start of something new where Ozu’s precise framing and gorgeous compositions play into this idea of life and death. Overall, Ozu crafts a rapturous and heartfelt film about a family dealing with changes and their patriarch’s decision to rekindle his relationship with his mistress.

Cinematographer Asakazu Nakai does brilliant work with the film’s colorful cinematography with its gorgeous approach to natural lighting for the scenes set at the day as well as the usage of low-key lighting for some of the scenes set at night. Editor Koichi Iwashita does excellent work with the editing as it is largely straightforward with a few rhythmic cuts to play into some of the conversations between characters. Art director Tomoo Shimogawara does amazing work with the look of the home that Manbei lives in with Fumiko and Hisao as well as the home of Sasaki and the office that Hisao works at. Sound mixer Hisashi Shimonga does nice work with the sound as it is largely straightforward as it includes music that is being played from a certain location as well as sparse and natural sounds of a location. The film’s music by Toshiro Mayuzumi is fantastic for its usage of traditional woodwinds and flutes with some lush string arrangements in some parts of the film as it add to the film’s somber tone.

The film’s superb cast feature some notable small roles from Chishu Ryu and Yuko Mochizuki as a farming couple appearing towards the end of the film commenting on a building, Kyu Sazanka as a clerk working with Hisao, Hisaya Morishige as Akiko’s suitor Isomura, Akira Takadara as the lecturer Teramoto Tadashi whom Noriko is interested in, Haruko Sugimura as a sister-in-law of Manbei in Kato Shige, Daisuke Kato and Haruko Togo in their respective roles as Manbei’s brother-in-law and sister in Kitagawa Yanosuke and Kitagawa Teruko who try to help Akiko find a suitor, Masahiko Shimazu as Hisao and Fumiko’s son Masao, and Reiko Dan as Sasaki’s daughter Yuriko who is more interested in Western culture while wondering if Manbei is really her father. Keiju Kobayashi is terrific as Manbei’s son-in-law Hisao as a man who is trying to keep the family sake brewery afloat knowing that it is futile where he tries to find ways to save it but also face the reality of what he must do. Michiyo Aratama is fantastic as Fumiko as Manbei’s eldest daughter and Hisao’s wife who spends time taking care of her father while being disapproving over his relationship with Sasaki.

Chieko Naniwa is excellent as Sasaki as an old flame of Manbei who is happy about spending time with him while knowing that his family doesn’t know about this new relationship as she agrees to keep it private until the rest of his family is ready to accept her. Yoko Tsukasa is brilliant as Noriko as Manbei’s youngest daughter who deals with the prospect of having to marry someone just as she is falling for a lecturer she’s known for years as she also deals with the idea of being alone. Setsuko Hara is amazing as Akiko as Manbei’s widowed daughter-in-law as a woman that is trying to raise her son but also help Noriko with dealing with the idea of marriage as well as pondering about getting married again. Finally, there’s Ganjiro Nakamura in a remarkable performance as Kohayagawa Manbei as a sake brewery owner who is trying to help figure out what to do for Noriko and Akiko while trying to renew a relationship with a former flame in the hope he can bring the people he love together.

Kohayagawa-ke no aki is a phenomenal film from Yasujiro Ozu. Featuring a great cast, gorgeous visuals, an understated approach to narrative, and themes on life and death. It’s a film that explores a family dealing with secrets but also uncertainty as it relates to the future and their family business as well as themselves. In the end, Kohayagawa-ke no aki is a sensational film from Yasujiro Ozu.

Yasujiro Ozu Films: (Sword of Penitence) – (Days of Youth) – Tokyo Chorus - I Was Born, But... - (Dragnet Girl) – Passing Fancy - (A Mother Should Be Loved) – A Story of Floating Weeds - (An Inn in Tokyo) – (The Only Son) – (What Did the Lady Forget?) – (Brothers and Sisters of the Toda Family) – (There Was a Father) – Record of a Tenement Gentleman - (A Hen in the Wind) – Late Spring - Early Summer - (The Flavor of Green Tea Over Rice) – Tokyo Story - Early Spring - Tokyo Twilight - (Equinox Flower) – Good Morning - Floating Weeds - Late Autumn - An Autumn Afternoon

© thevoid99 2019

The 47 Ronin (1941 film)

Based on the play by Seika Mayama, The 47 Ronin is a two-part film about a samurai faction who go on a quest for vengeance for their slain master during the 18th Century. Directed by Kenji Mizoguchi and screenplay by Kenichiro Hara and Yoshikata Yoda, the film is an exploration of honor and devotion where 47 men cope with the loss of their leader and the need to avenge his death. Starring Daisuke Kato, Chojuro Kawarasaki, Kanemon Nakamura, Isamu Kosugi, Masao Shimizu, Utaemon Ichikawa, and Kunitaro Kawarasaki. The 47 Ronin is an engaging yet flawed film from Kenji Mizoguchi.

The film revolves a samurai clan who decided to go rogue after their master is forced to kill himself following an assassination attempt against another clan lord. It is based on a real-life incident where a group of men decide to avenge their master against the man he tried to kill as well as those who supported that lord. Told in two parts, the film follows the incident in which Asano Naganori (Yoshizaburo Arashi) tried to assassinate Lord Kira (Mantoyo Mimasu) over a grudge as Asano would receive punishment but Kira would receive no punishment. For the people working for Asano, they see this as unfair as Asano is forced to commit hara-kiri with his land and homes confiscated by other lords. The film’s script is divided in two parts with the first half focusing on the assassination and the planning to avenge Asano led by his retainer Oishi Kuranosuke (Chojuro Kawarasaki) while the second part is about an attempt on Lord Kira and the actual attack on Lord Kira and its aftermath. All of which takes place in a year yet it emphasizes more on drama rather than action.

Kejji Mizoguchi’s direction is entrancing at times as much of the film consists of some long takes where it has this theatrical tone to the drama. Much of the film features scenes with a lot of dialogue as well as scenes that feature no dialogue at all as some of these moments would drag the film immensely. The lack of action with the exception of a lone scene where one of Asano’s men tries to kill someone in a costume for a performance for Lord Kira is the only moment where there is any kind of action. Much of it is all about setting up the revenge but also discussions from all sorts from the men who served under Asano to even the women who were part of the house or wives of some of Asano’s men. Many of these scenes go for on for a long time as there’s moments where the scenes tend to overwhelm itself and be overdrawn including its ending. The sluggish is what hinders the film as Mizoguchi could’ve trimmed things down despite some of the beautiful compositions and camera movements he creates in the film. Overall, Mizoguchi creates a compelling but sluggish film about a group of men trying to avenge their master’s death.

Cinematographer Kohei Sugiyama does brilliant work with the film’s black-and-white photography to the natural look of the exteriors as well as some unique lighting and shades for some of the interior scenes. Editor Takako Kuji does some fine work with the editing as it is straightforward despite some of the film’s very long scenes. Production designer Hiroshi Mizutani, with set decorators Dai Arakama, Atsuo Matsuoka, and Hisako Oozawa, does amazing work with the set design from the interiors of some of the homes of the clan lords as well as some of the exteriors of the castles and homes.

Costume designers Ryuzo Kawada and Yoshisaburo Okumara do excellent work with the design of the robes that the men and women wear including the costumes for the Noh theater scene. Sound mixer Seiichi Harada does terrific work with the sound to play into the quiet and calm atmosphere of some of the drama including the opening sequence where Asano tries to kill Lord Kira. The film’s music by Shiro Fukai is wonderful as it’s mainly a low-key orchestral score that play into the drama.

The film’s marvelous cast include some notable small roles and appearances from Mantoyo Mimasu as Lord Kira, Meiko Takamine as the fiancée of one of the ronin warriors, Mitsuko Miura as Lord Asano’s wife, Yoshizaburo Arashi as Lord Asano, Masao Shimizu as a member of Lord Asano’s clan, Daisuke Kato as a lieutenant of Asano, Kunitaro Kawarazaki as a young ronin warrior, and Kanemon Nakamura as a senior advisor of the Asano clan. Finally, there’s Chojuro Kawarazaki in a brilliant performance as Lord Asano’s retainer Oishi Kuranosuke as the man leading the plan for revenge as he is meticulously trying to see how can make sure nothing can go wrong.

The 47 Ronin is a stellar but immensely flawed film from Kenji Mizoguchi. It’s a film that explores a legendary story of revenge though it is hampered by its sluggish pacing where for a two-part film running at nearly four hours. It is a film that isn’t very easy to watch. In the end, The 47 Ronin is a good but challenging film.

Kenji Mizoguchi Films: (Tokyo March) - (The Water Magician) - (Aizo Toge) - (The Downfall of Ozen) - Osaka Elegy - (Sisters of the Gion) - (The Story of the Last Chrysanthemums) - (Utamaro and his Five Women) - (The Love of the Actress Sumako) - (Portrait of Madame Yuki) - (Miss Oyu) - (The Lady of Musashino) - The Life of Oharu - Ugetsu - (A Geisha) - Sansho the Bailiff - (The Woman in the Rumor) - The Crucified Lovers - (Princess Yang Kwei-Fei) - (Tales of Taira Clan) - (Street of Shame)

© thevoid99 2017

The Life of Oharu

Based on the stories of Saikaku Ihara, The Life of Oharu is the story of a woman’s struggle to find herself after being a concubine for a territorial lord during the Edo in Japan. Directed by Kenji Mizoguichi and screenplay by Mizoguchi and Yoshikata Yoda. The film explores a woman’s life as she is sold into prostitution by her father as she tries to overcome many obstacles into being defiant against many issues set during a crucial period in Japan’s history. Starring Kinuyo Tanaka, Tsukie Matsuura, Ichiro Sugai, Toshiro Mifune, and Takashi Shimura. The Life of Oharu is an entrancing yet harrowing film from Kenji Mizoguchi.

Told in the span of in the span of many years, the film explores a woman’s tumultuous life as she started off as a woman whose father lived as a samurai working for a respected lord only for her and her parents to be banished. Though things seem to look up as she becomes a lord’s concubine and give birth to his child, the fortunes of Oharu (Kinuyo Tanaka) and her family only go downwards as her father sells her to prostitution to cover his debts. Working at a brothel and then working for a rich couple as a courtesan, Oharu’s life is still troubled despite a few moments in her life that would find her happiness. Yet, she is shamed into a life of cruelty by social classes and the rules of men as she eventually hits bottom. The film is told largely from the perspective of Oharu as it opens with Oharu as an aging prostitute working with a group of aging prostitutes as she’s at a temple reflecting on her life.

The screenplay by Kenji Mizoguchi and Yoshikata Yoda explores the lifestyle of a woman set in 17th Century Japan during its Edo period where women have to play a certain role for men. Yet, it’s a role that is filled with a lot of strict rules and guidelines where falling in love is something a woman who is working under the home of a lord is forbidden to do. It would play to Oharu’s torment as she loses men who want to give her a happy life while she is later banished by a lord’s council for falling for that lord as she and her family receives little compensation.

The cruelty that Oharu would face from her father and other men as well as a rich wife would play to Oharu’s sense of hopelessness. While she would have a few moments of defiance, it would often lead to all sorts of trouble where she endures all these tribulations that lead to her becoming poor and helpless. The third act in the script plays to Oharu finally reaching her bottom as she has endured so much where there would be a glimmer of hope that might actually help her.

Mizoguchi’s direction is very engaging for the way he explores the life of a woman as it is told largely from her perspective as it does sort of begin near the end of the story. Through some interesting compositions filled with some medium shots and a few wide shots, Mizoguchi explores a world where it is dominated by men while women are treated as second-class. While some of the presentation is in the form of a melodrama, there are bits of humor that do play out in the film such as a scene where Oharu exposes a rich wife’s secret after she accused her of having an affair with her husband. Yet, Mizoguchi is more interested in not just exploring the life of this woman and all that she endures but also the system that is preventing her to find happiness. Mizoguchi does play out moments where things seem to go upbeat but always remind the audience that it will only be brief.

By the time the film returns to the temple where Oharu is gazing at statues, it reveals how far this woman has come in all of that cruelty where she gets a chance to find a bit of hope. Yet, there’s compromises that occur for Oharu in the film’s climax where it’s clear that she’s changed a bit in everything she’s been through but the rules haven’t changed. It is in this moment where Mizoguchi employs an act of feminism in the climax though the outcome ends up being far more bleaker than what is expected. Overall, Mizoguchi creates a very fascinating yet haunting film about a woman’s tumultuous life and the cruelty she endures through the unjust system of the times.

Cinematographers Yoshimi Harano and Yoshimi Kono do brilliant work with the film‘s black-and-white photography to capture some of the beauty of the Japanese locations in its exteriors while creating some lighting schemes in the interiors to play out some of the film‘s bleak mood. Editor Toshio Goto does excellent work with the editing by using a few stylish dissolves and fade-outs as transitions along with some rhythmic cuts to play out some of the melodrama. Production designer Hiroshi Mizutani does wonderful work with the set pieces from the look of the home of the lords Oharu serves to the brothel she has to work at in the film‘s second act. The film’s music by Ichiro Saito is fantastic as it is filled with some somber yet intricate music to play out Oharu’s journey of despair as the music largely consists of folk instruments and some intense orchestral cuts to create an air of bombast in the drama.

The film’s cast is incredible as it features an amazing collection of actors for the film. In small roles, there’s Takashi Shimura as an old man who helps out the aging prostitutes, Daisuke Kato as a con man at the brothel, Benkei Shiganoya as a brothel owner, Hiroshi Oizumi as a kind brothel manager, Chieko Higashiyama as an old nun, and Jukichi Uno as the fan maker Yakichi who gives Oharu a sense of hope for a brief period. Other notable small roles include Toshiro Mifune as a retainer who courts Oharu early in the film that led to her banishment, Toshiaki Konoe as Lord Matsudaira who falls for Oharu after giving birth to his son, and Hisako Yamane as the lord’s wife who gets rid of Oharu after the birth. Tsukie Matsuura and Ichiro Sugai are excellent as Oharu’s parents with the former as Oharu’s sympathetic mother and the latter as Oharu’s cruel father.

Finally, there’s Kinuyo Tanaka in a riveting performance as Oharu. Tanaka displays a great sense of humility and anguish to a role of a woman who endures all sorts of horrific treatment in the hands of the system towards women as she tries to live her life. Even as she tries to rebel through small means, she is still ridiculed where Tanaka allows her character to unveil as much pain that she endures in the course of her life as it’s a really unforgettable performance.

The Life of Oharu is a tough yet mesmerizing film from Kenji Mizoguchi that features a brilliant Kinuyo Tanaka. The film is definitely a strong piece of feminism that explores a woman trying to deal with the restrictions of her life during a tense period in Japan. It’s also a film that allows audiences to see how much this woman tries to find happiness in her life while dealing with all of the tribulation she faces. In the end, The Life of Oharu is a captivatingly rich film from Kenji Mizoguchi.

Kenji Mizoguchi Films: (Tokyo March) - (The Water Magician) - (Aizo Toge) - (The Downfall of Osen) - Osaka Elegy - (Sisters of the Gion) - (The Story of the Last Chrysanthemums) - The 47 Ronin - (Utamaro and his Five Women) - (The Love of the Actress Sumako) - (Portrait of Madame Yuki) - (Miss Oyu) - (The Lady of Musashino) - Ugetsu - (A Geisha) - Sansho the Bailiff - (The Woman in the Rumor) - The Crucified Lovers - (Princess Yang Kwei-Fei) - (Tales of Taira Clan) - (Street of Shame)

© thevoid99 2013

Samurai II: Duel at Ichijoji Temple

Based on the novel Musashi by Eiji Yoshikawa, Samurai II: Duel at Ichijoji Temple is the story of Musashi Miyamoto’s journey into finding himself and enlightenment as he later deals with warriors trying to take him down as well as the women in his life. Directed by Hiroshi Inagaki and screenplay by Inagaki and Tokuhei Wakao, the film is the second part of a trilogy that explore Miyamoto’s evolution as a samurai warrior as he’s played once again by Toshiro Mifune. Also starring Koji Tsuruta, Mariko Okada, and Kaoru Yachigusa. Samurai II: Duel at Ichijoji Temple is an incredible film from Hiroshi Inagaki.

In the second part of a trilogy that explores the life and evolution of Musashi Miyamoto, the film takes place three years later after the events of the first film where Miyamoto is a man seeking guidance in his training to become a samurai. While he has won many duels in his journey, he is still unfulfilled in his search for enlightenment as he meets an old priest in his journey who tells him exactly what he needs to do. Upon his arrival at Kyoto, Miyamoto asks to challenge a master at a school only to find himself in trouble with that master‘s many disciples. Adding to the chaos is the fact that Miyamoto is still drawn to Otsu (Kaoru Yachigusa) who is nearby while another young woman in Akemi (Mariko Okada) is also pursuing him. Meanwhile, another samurai warrior in Kojiro Sasaki (Koji Tsuruta) is watching from afar as he realizes that Miyamoto might be his greatest opponent.

The screenplay explores Miyamoto’s search for meaning in his life as he is still craving knowledge as well as someone who he feels can be a worthy opponent. Yet, he is also troubled by elements of his past as he does meet Otsu for a brief moment as he is unsure if he can be there for her. Even as Otsu starts to struggle with her own feelings as she would also meet Akemi for the first time who knows a lot about Otsu as she tries to manipulate her in order to win Miyamoto. Still, Akemi is going through her own troubles as she is in an uneasy relationship with a young samurai master in Seijuro Yoshioka (Akihiko Hirata) who is the master of a nearby samurai school whom Miyamoto wants to challenge. Once Akemi hears about Miyamoto’s challenge, she hopes to that Miyamoto will kill so she can get a chance to win Miyamoto.

Still, Miyamoto finds himself troubled by the chaos he caused at the Yoshioka house as he reluctantly hides in various places including a geisha house as a courtesan (Michiyo Kogure) falls for him. The presence of Kojiro Sasaki, whom Miyamoto has heard of, adds a unique element to the story since he is someone who is younger but more experienced in the art of the samurai as he too is still in the learning stages. He tries to intervene in order to make sure that the conflict is dealt with fairly and with honor as he sees Miyamoto and Seijuro Yoshioka as men who want to maintain that. Unfortunately, there’s people in Yoshioka’s camp who don’t believe these rules as the results not only disappoints Miyamoto but also makes him realize what he has to do to be a true samurai.

Hiroshi Inagaki’s direction is far more stylish than in the previous film as a lot of it is set in soundstages where it’s filled with forest and rivers that is part of Miyamoto’s journey as he often feels lost in his search for enlightenment. While the framing is still intimate at times including in some of the dramatic moments. There is also a lot of tension that includes a meeting between Akemi and Otsu that is about a battle of passion between the two women over Miyamoto. Inagaki does use a lot of wide shots to establish this tension even though it’s presented in its full-frame format. Notably as there are moments where it is about characters trying to figure themselves out while some like Sasaki is watching from afar though there are moments where he interacts with some of the people present in the conflict. The action is far more gripping but also psychological such as the first duel that Miyamoto has where it is about how someone can attack without getting hit as well as not making the wrong move.

Once Miyamoto starts to be ambushed by a large group of unruly men, the camera is presented with wide shots and cranes to establish the sense of chaos that Miyamoto is in. Notably as it reveals the lack of honor these men have when confronting Miyamoto as they’ve become more concerned with getting rid of him only to disgrace the name of the house they worked for. There also some bits of back stories that are involved that relates to the first film as it concerns Matahachi (Sachio Sakai) who has become a cowardly opportunist where he and his mother try to get rid of Miyamoto only for their plans to fail. The film’s climax does finally involve the duel that Miyamoto is set to take part in but the aftermath is a big step into his evolution but also a step where he once again has to walk into a path of the unknown. Overall, Inagaki creates a film that is compelling but also engaging in a man’s journey into becoming a samurai.

Cinematographer Jun Yasumoto does amazing work with the film‘s cinematography filled with colorful imagery in some of the forest scenes with some gorgeous backdrops along with some lighting schemes by Shigeru Mori in some of the film’s nighttime sequences to establish the chaos of the battle Miyamoto is in. Editor Hideshi Ohi does great work in the editing to use dissolves and other stylish cuts to play out some of the drama while using rhythmic cuts for some of the film‘s intense action scenes. Art directors Makoto Sono and Kisaku Ito do brilliant work with the set pieces from the look of the geisha house that Miyamoto hides in to some of the forest exteriors created to establish the murkiness that Miyamoto encounters

The sound work by Choshichiro Mikami is wonderful for the atmosphere created in some of the film‘s action scenes as well as some of the quieter moments involving nature. The film’s music by Ikuma Dan is superb for the calm yet evocative string-orchestral score to play up the sense of drama and action that occurs along with some quieter use of the folk-based music to express some of the emotional aspects of the film.

The film’s cast is excellent as it features some remarkable small roles from Kenjin Iida as a boy Miyamoto meets early in the film who later is taken to Priest Takuan, Yu Fujiki as Seijuro’s older brother who tries to defend the family honor against Miyamoto, Daisuke Kato as a family friend of Oko who organizes the attack on Miyamoto, Mitsuko Mito as Akemi’s mother Oko who tries to get Akemi to marry Seijuro, Eiko Miyoshi as Matahachi’s mother who plots to kill both Miyamoto and Otsu, and Sachio Sakai as the disgraced Matahachi who has become a cowardly bum filled with regret. Kuroemon Onoe is wonderful as Priest Takuan who tries to help Otsu find a path in life after being anguished over Miyamoto. Akihiko Harata is terrific as the young samurai master Seijuro Yoshioka who is eager to defend his family honor despite the actions of his disciples.

Michiyo Kogure is superb as the courtesan Lady Yoshino who is intrigued by Miyamoto as she falls for him as her words would provide some guidance for Miyamoto. Mariko Okada is great as the conniving Akemi who tries to manipulate Otsu into believing that Miyamoto doesn’t love Otsu while dealing with her own issues with Seijuro. Kaoru Yachigusa is amazing as Otsu as a woman eager to see Miyamoto again while dealing with her feelings as well as being confused about what path in life she should take. Koji Tsuruta is brilliant as the young samurai warrior Sasaki Kojiro as a man who is a skilled and experience warrior who believes that Miyamoto would be his greatest opponent while dealing with outside forces trying to stop Miyamoto. Finally, there’s Toshiro Mifune is an awesome performance as Musashi Miyamoto as a man who is eager to find peace but is becoming more troubled by his lack of direction and holding on to the past as it’s a more compassionate yet chilling performance from Mifune.

Samurai II: Duel at Ichijoji Temple is a fantastic film from Hiroshi Inagaki that features a thrilling performance from Toshiro Mifune. The film is definitely a much more exciting film than its predecessor while being balanced by its drama to establish a man trying to find himself. It’s also a film that explores the code of the samurai and how some lose sight into these rules for selfish reasons as there’s those that are trying to hold on to that ideal. Overall, Samurai II: Duel at Ichijoji Temple is a tremendous film from Hiroshi Inagaki.

Hiroshi Inagaki Films: (Sword for Hire) - Samurai I: Musashi Miyamoto - (The Lone Journey) - Samurai III: Duel at Ganryu Island - (Arashi) - (Yagyu Secret Scrolls) - (Yagyu Secret Scrolls Pt. 2) - (Rickshaw Man) - (The Birth of Japan) - (Life of an Expert Swordsman) - (Chushingura: Hana no Maki, Yuki no Maki) - (Samurai Banners)

© thevoid99 2013

The Seven Samurai

Originally Written and Posted at Epinions.com on 11/18/07 w/ Additional Edits & Revisions.

Directed by Akira Kurosawa with a script he co-wrote with Hideo Oguni & Shinobu Hasmimoto. The Seven Samurai tells the story of poor 16th Century farmers whose village is often attacked and ransacked by bandits. To combat the bandits for the upcoming harvest, one of the farmers finds help in seven samurai swordsmen. While the plot is simple, Kurosawa's tale is very complex in unveiling how seven man, who are flawed but are willing to help out the helpless despite their lack of mastery in the art of samurai. With an all-star cast that includes Kurosawa regulars Takashi Shimura and Toshiro Mifune along with Daisuke Kato, Yoshio Inaba, Minoru Chiaki, Isao Kimura, and Seiji Miyaguchi as the title characters. The Seven Samurai is an enduring and epic film from Akira Kurosawa.

With a civil war brewing as a group of village farmers are living in fear due to bandits who threaten their lives and steal their food. A young farmer named Rikichi (Yoshio Tsuchiya) wants to fight back but many fear about dying as they turn to the oldest villager in Gisaku (Kuninori Takado) who agree that they should fight back with some help from samurai warriors. Rikichi and a few farmers go to the city to find samurai warriors where at first, they're unsuccessful until they see a man named Kambei Shimada (Takashi Shimura) saving a child from a thief by posing as a priest. Also watching is a hot-headed samurai named Kikuchiyo (Toshiro Mifune) and a younger samurai named Katsushiro Okamoto (Isao Kimura) who yearns to be Kambei's disciple. Kambei takes in Katsushiro as the villagers ask for Kambei's help who takes the job for three square meals a day as he and Katsushiro recruit various samurai warriors including Kambei's old friend Shichiroji (Daisuke Kato) while Gorobei Katayama (Yoshio Inaba) wants to help out. Gorobei brings in a woodcutter named Heihachi Hayashida (Minoru Chiaki) to the team as a stone-faced yet skilled swordsman named Kyuzo (Seiji Miyaguchi) also joins while Kikuchiyo wants to be part of the gang despite his crazed personality and claims to come from a long line of samurai families.

When Kikuchiyo follows them as Kambei reluctantly lets him be part of the team as they arrive to the village where a farmer named Manzo (Kamatari Fujiwara) decides to turn his daughter Shino (Keiko Tsushima) into a boy to hide from the samurai. Upon their arrival, Kikuchiyo bangs the alarm wood to get the villagers' attention where Kambei meets Gisaku to discuss the defensive plans with Gorobei and Katsushiro helping out while the rest of the samurai warriors train the villagers. After learning about a samurai who had fled the village to leave the villagers in fear, Kikuchiyo reveals to the team about being a farmer's son as the samurai learn about their plight. Katsushiro meanwhile, has caught the attention of Shino as he learns about her identity while the samurai warriors learn about about some flaws in the defense as Kambei makes some decision as he decides to ease the tension by having the villagers and farmers working together for the next harvest. Things start to go well as the farmers become more confident in defending themselves as a wall is built along with new water gaps. After finding three horses outside of the village, Katsushiro and the samurai attack the three bandits while learning where they're hiding.

A plan to attack their home base with Rikichi leads to a great discovery where the attack was a success but at great cost. With the bandits coming, Kambei and the samurai warriors get ready for battle with the villages helping out as the three-day battle leads to dire consequences forcing the samurai warriors to ponder what got gained and lost.

For a film as epic and grand as this film, Kurosawa definitely raised the bar high on what he wanted to achieve. While the film is about farmers hiring samurai warriors to protect their village from bandits. The plot maybe simple but the story and complexity of it is far more ambitious. Really, it's a study of both the farmers and samurai warriors where they each have some kind of tension whether its class ruling or their perception of each other that at first, becomes stereotypical. Once the story develops, Kurosawa and his writers find depth in both the farmers and samurai warriors. They're flawed yet human for the audience to relate to their struggles and such. The samurai warriors each have a different personality trait that distinguishes them from another. You have a leader, a planner, a morale booster, a skilled warrior, a teacher, a hot-headed comic relief, and a young apprentice.

The complexity of Kurosawa's script shows that despite their skills and personalities, the samurai warriors are there for a reason. They're not fighting for some reward, some gold, or anything that they could really gain from. Instead, they fight for doing the right thing, even if it's tough on them. Then there's the farmers, they start out as people who fear for their lives but know they couldn't do something. Once they develop, they become more confident yet have individual problems to deal with. Manzo is fearing that his daughter would fall for a samurai while Rikichi is avoiding any issue that dealt with his wife. There's these rich characters in the film and through the script, it slowly develops the characters and the momentum of what's to come. Yet, its deliberate pacing pays off right in the third act for the battle scenes.

Kurosawa's direction is superb in every way. From the theatricality he stages for some of the film's interior sequences to the more epic, Western-like scale for the battle scenes. The interiors at the place where the farmers stayed in the city to find samurai that shows both their sad nature and the comical taunts of its residents. A lot of the acting, though stylized, has a theatrical sense as if they're doing something like Shakespear where they observe both the drama and tension that goes on. Kurosawa's use of compositions are very hypnotic to the way he presents scenes, notably a funeral scene that is then followed by Kikuchiyo to raise the banner. That scene presents a shift in emotions from something sad to something inspirational despite the tragedy while it was a way for the hot-headed Kikuchiyo to display his own emotions privately.

Then comes this big battle scene where Kurosawa is at the height of his presentation. With help from his longtime cinematographer Asakazu Nakai, the tension and look of the battle scenes are wonderfully presented while the coverage of the attacks are bigger than anything captured on screen. With Kurosawa, serving as editor, the cuts aren't quick but captures the intensity and manic tone of the battle. The best sequence of those battles is the final day with rain drenched and everything is black, white, and gray as the drama and chaos that ensued is wonderfully presented. With Kurosawa also using his side-wipe trademark cuts to shift scene to scene, the result is extremely solid in every way.

For the film's ending, Kurosawa and his writers definitely bring ambiguity to the film. Instead of who won the battle, it becomes about the gain and loss. Therefore, a few survivors is forced to ponder what was gained and lost. So in many respects, someone did won but someone else also lost and it therefore presents this moral ambiguity in the end. Overall, credit goes to Kurosawa for not just his presentation but also challenging his audience into bringing more depth into a film that just could've been another typical samurai picture.

Cinematographer Asakazu Nakai does some amazing work that just doesn't capture some of Japan's beauty in the forest and village but also the contrasting world of the city that's very industrialized and modern. Nakai's interior work is brilliant for its shadow-like tone to bring the tension and intimacy surround the samurai warriors and villagers while a lot of the exteriors in the day time is very spacious and peaceful with a dreamy look for the sequences involving Katsushiro and Shino. The black-and-white photography of Nakai is exquisite while adding style to the action that included slow motion camera shots to convey the drama of the action. The battle sequence feature some of Nakai's finest work including the final day in the rain as the bleak tone captures the fervent chaos and troubling aftermath of the battle. The result is just some of the best cinematography captured on film.

Production designer So Matsuyama does great work in creating 16th century Japanese housing and villages that are in line with traditional Japan that also includes some great costumes of samurai uniforms and robes by costume designers Kohei Ezaki and Mieko Yamaguchi. Sound recordist Fumio Yanoguchi and effects editor Ichiro Minawa do excellent work in creating the atmosphere and intensity of the film’s battle sequence. Music composer Fumio Hayasaka creates an amazing film score that mixes a wide variety of tones to accompany the film's mix of emotions and themes. From traditional, orchestral, dream-like score to accompany the romance of Katsushiro and Shino to the intense, Japanese-percussion music for some of the film's tense moments and battle sequence. Overall, the score is truly one of the best.

The film's cast is definitely unique that includes several small performances from Shinpei Takagi and Shin Otomo as the leading bandits who appear briefly in the opening but they return near the end as they reveal more about their motivation. In the role of the villagers, Kuninori Takado is great as the village's patriarch while Bokuzen Hidari is great as Yohei, one of the film's comic reliefs who has a lot of fear while having funny scenes with Toshiro Mifune. Kamatari Fujiwara is excellent as the fearful Manzo whose belief that his daughter being in love with a samurai will spell dishonor for him and his daughter. Yukiko Shimazaki appears briefly as Rikichi's wife while Keiko Tsushima is good as Shino, Manzo's daughter who falls for Katsushiro while in conflict over her role and honor to her father. Yoshio Tsuchiya is great as the young farmer Rikichi who hides a painful secret about his wife while hoping to fight back against the bandits.

In the roles of the seven samurai warriors, the performances Daisuke Kato as Shichiroji, Minoru Chiaki as Heihachi, and Yoshio Inaba as Gorobei are very memorable with each actor having individual moments. Kato as Kambei's old associate who, despite his paunch feature, is a skilled warrior and teacher while Chiaki is the film's good-hearted soul who brings hope in dark moments, and Inaba as an experienced organizer at battle-planning. Seiji Miyaguchi gives a powerful, stoic performance as the emotionless, skilled Kyuzo, a warrior who amazes his fellow warriors, notably Katsushiro who is impressed by his bravery. Isao Kimura is great as the young samurai Katsushiro who is trying to learn the ways of being a samurai while falling for Shino, as he tries to figure out the role of being a samurai.

The film's two best performances come from Kurosawa regulars Takashi Shimura and Toshiro Mifune. Shimura is extremely brilliant as the brave, wise Kambei, a warrior who knows what to do while is the voice of reason for everyone including the village. Shimura, who previously played the dying Watanabe in Ikiru, displays a sense of humor and command that is really unforgettable while his performance is also inspirational in how he views things and the ways of the world. Toshiro Mifune is brilliant as the hot-headed, comical Kikuchiyo who is hoping for some excitement and proving himself to be a samurai. Mifune's performance is mostly used for humor yet he manages to show his range in scenes involving death and the hardships of the farmer as Mifune's performance is truly memorable in every frame he's in.

While it's no doubt that The Seven Samurai isn't just one of the greatest films ever made or one of the best movies made by Akira Kurosawa. The Seven Samurai is a must-see for anyone who loves movies. While it is a long film, it is also a worthwhile for how people get ready for battle with a team to help lead the way where it would have characters audiences can root for. With fantastic performances from Takashi Shimura and Toshiro Mifune, it's a film that is no doubt inspiring and fun to watch. In the end, for a movie that has excitement, humor, drama, and great battle scenes, The Seven Samurai is the film to go see.

Akira Kurosawa Films: (Sanshiro Sugata) - (The Most Beautiful) - (Sanshiro Sugata Part II) - (The Men Who Tread on the Tiger's Tail) - No Regrets on Our Youth - (One Wonderful Sunday) - Drunken Angel - (The Quiet Duel) - Stray Dog - Scandal (1950 film) - Rashomon - The Idiot (1951 film) - Ikiru - (I Live in Fear) - Throne of Blood - (The Lower Depths (1957 film)) - The Hidden Fortress - The Bad Sleep Well - Yojimbo - Sanjuro - High and Low - Red Beard - Dodesukaden - Dersu Uzala - Kagemusha - Ran - Dreams (1990 film) - (Rhapsody in August) - (Madadayo)

Related: The Magnificent Seven - A Bug's Life

© thevoid99 2012

Rashomon

 

Originally Written and Posted at Epinions.com on 11/5/07/ Additional Edits & Revisions.

Directed by Akira Kurosawa with a script he co-wrote with Shinobu Hashimoto based on the short stories of Ryunosuke Akutagawa. Rashomon tells the story of a rape and murder from four different perspectives including the victims, a woodcutter, a priest, and a bandit. A drama that reveals the source of truth and many versions of it, the film is set in old Japan in the country. Starring Kurosawa regular Toshiro Mifune along with Fumiko Honma, Machiko Kyo, Mayasuki Mori, Takashi Shimura, Kichijiro Ueda, and Daisuke Kato. Rashomon is an eerie, mind-bending film from Akira Kurosawa and company.

At the old abandoned temple gate known as Rashomon, a woodcutter (Takashi Shimura) and a priest (Minoru Chiaki) have a discussion over the trial about a murdered man named Takehiro (Mayasuki Mori) and the rape of his wife Masago (Machiko Kyo). A ragged commoner (Kichijiro Ueda) joins in to hear what happened where the woodcutter reveals what happened since he was the one who found Takehiro's body and told the police. The murder revolves around a crazed bandit named Tajomaru (Toshiro Mifune) who is accused of the murder after being caught by a policeman (Daisuke Kato) who found him wounded with arrows near a river bank where Tajomaru confesses to killing Takehiro. There, Takehiro's story has him revealing that he was just wanting to look at Masago where he later meets Takehiro to discuss their swords before tying him up in a grove and raping Masago that led to a duel between him and Tajomaru.

The woodcutter then tell Masago's side of the story in the trial where she revealed about the shame of being rape that led to lots of confusion about what happened. Notably as she claimed to have Tajomaru to kill Takehiro to end the shame as she makes another claim that Takehor killed himself. The woodcutter than reveals Takehiro's story that was told by a spiritual medium (Fumiko Honma) who claimed that his wife's guilt forced her to be with Tajomaru as she wanted him to kill Takehiro. What happens would lead to a lot confusing issues as it also involved a dagger owned by Masago. With a lot of mysteries surrounding the story as the commoner believes the woodcutter had more to say. What happened lead to lots of revelations forcing the commoner to piece everything together leaving the woodcutter and priest more confused about everything that happened.

Since the film takes place in only three locations and has a theatrical tone that isn't seen much with most films about crime or that's in a mystery genre. The film is really about a rape and murder and how each different story questions not just what happened but the actions of everything that's gone on in the aftermath. The themes of the film that Kurosawa talks about are very dead-on. The film is really a morality tale about rape, murder, and lies. Each story does have a bit of truth but it raises more questions rather than answers. Plus, there's still a lot of gaping holes in the mystery that has to do with each of the stories forcing the commoner to piece everything together yet he doesn't have all the answers.

The theatricality of the film is really amazing since it's all done as if Kurosawa is doing a play. The dramatic aspect of the film is a surprise as each story unfolds with suspense and momentum. Yet, by the film's end, the commoner acts as the mouthpiece for the audience. He is confused and is forced to piece everything together but afterwards, there's the question of morality that is forced to shake the faith of the priest. It's not about whose story to believe but why are there different versions of the story and why all of these stories end up raising question about humanity and morals. When the commoner pieces everything and an abandoned baby is found, the commoner suddenly becomes a mouthpiece for cynicism. What he reveals isn't just shocking but really puts into perspective of how cruel the world is.

A lot of credit must go to Kurosawa for not just setting the film in old Japan but bringing a modern perspective to all of these questions. Through his staged yet engrossing direction, he definitely makes the film feel like a play with its three locations. The scenery of the forest that includes shots of the sun has an enchanting quality where it's beautiful. Yet, beauty isn't everything as it seems. Then there's the trial sequence where the camera barely moves throughout its entire sequences. What is more shocking is how still everything is forcing the audience to hear every thing each character is saying. Then there's the scenes at Rashomon gate where everything is dark and decaying and the rain forces the commoner, the priest, and woodcutter to be stuck as the story is told. The close-ups that Kurosawa shoots on the characters definitely reveals not just the emotions but also tension.

Even some of the duel sequences reveal that the fight isn't just physical but emotional, mental, and psychological. The complexity of the action and drama is Kurosawa definitely being an observer where he doesn't even bring any kind of answers and like the audience, has more questions to offer rather than answers. Through his camera and eerie presentation, it's a film that is hypnotic where Kurosawa takes the audience on a journey through four different tales. In the end, he like the audience, tries to figure out everything while wondering if there's some hope for humanity. Overall, Kurosawa takes the mystery and crime genres and adds layers into a film that is strong and provocative.

Cinematographer Kazuo Miyagawa brings some amazing cinematography where the film was shot in black-and-white with a look that is amazing. The black-and-white look works to convey the different look and feel of each location. From the dream-like beauty of the forest, the big white of the trial scene, and to the oppressive, very black look of the Rashomon gate. Miyagawa, who is one of Kurosawa's regular collaborators, also uses some early use of tracking shots to convey some of the action along with close-ups that brings suspense to the film as it's some of the best cinematography done on film. With Kurosawa serving as editor, the film has a great feel that isn't too slow but rather rhythmic to convey the film’s suspense and tension with very few cuts. A lot of long shots that work to help with its suspense while a few sequences have transition wipes that would be a trademark of Kurosawa's work.

Production designer So Matsuyama and set decorator H. Motsumoto do excellent work in creating the ruins of the Rashomon gates with its broken, abandoned look while the trial temple is more spacious with sandstones used on the floor. The music of Fumio Hayasaka is a wide variety of styles ranging from traditional Japanese music to modern music that creates not just suspense but also drama. The music ranges from dream-like to accompany Masago or use orchestral music with Japanese bass drums to create the tension in the first duel scene. Overall, the music adds terror and drama to the film.

The film's cast is definitely brilliant in its small but memorable ensemble with Daisuke Kato as the policeman who finds Tajomaru while Fumiko Honma is equally as haunting as the medium speaking through the mind of Takehiro. Minoru Chiaki is great as a priest in conflict over his faith as he learns of man's flaws while trying to question his own faith and role as a servant of God. Kichijiro Ueda is great as the commoner who tries to piece everything that is heard throughout the film while reminding the woodcutter and priest of man's flaws in which, he cynically hurts the priest's views of humanity that already starts to fail. Takashi Shimura is great as the woodcutter who tells the story about what had happened while forced to reveal his own role in the crime that had happened while still trying to believe that there's good. Shimura's performance is a man of conscience of sorts who tries not to get involved but realizes that he has his own faults as well.

Mayasuki Mori is excellent as the murdered man Takehiro who is viewed in different lights. Either as a man who is fooled by everything, trying to defend him and his wife honor, or a man driven to shame. Mori's performance is brilliant to convey the complexity of his character who is either trying to find good or realizes the failures of humanity. Machiko Kyo is amazing as Masago, a guilt-ridden wife who is convinced her honor in playing is so shamed by being the victim of rape. She isn't sure what to play as she spends half of the film crying in shame. Then she has another part that is very dark and jaw-dropping as she seems to have enjoyed it a bit and realized she can't be with two men. In the fourth story, her performance and character is so shocking, it is a moment that is unforgettable. It's clearly one of the film's best performance.

Kurosawa regular Toshiro Mifune is in classic form as the complex, comical Tajomaru. A bandit who seems crazed and comical in hoping to win the heart of Masago while proving to be a skillful samurai. Then when he's seen in different stories, there's more qualities in the character that could be redeeming while realizing that he's not as brave or as aggressive as he seems. Mifune's performance is almost Shakespeare to convey the sense of failure in who this man is. He seems to be this great man but once the story of the woodcutter is told, it's realized that he may not be the man who was seen in the previous stories. Mifune is brilliant as he proves his range as one of Japan's most revered icons.

Rashomon is a powerful and provocative film from Akira Kurosawa and company. With a great cast led by Toshiro Mifune, Michiko Kyo, Mayasuki Mori, and Takashi Shimura, it's a film that is no doubt one of the greatest films ever made with solid performances through and through. While this film is no doubt one of Kurosawa's most quintessential films, it also serves as a fine introduction to the director proving that there's more to him than samurai pictures. In the end, Rashomon is a compelling drama that is a must-see for anyone who loves films, even that has theatricality and suspense.

Akira Kurosawa Films: (Sanshiro Sugata) - (The Most Beautiful) - (Sanshiro Sugata Part II) - (The Men Who Tread on the Tiger's Tail) - No Regrets on Our Youth - (One Wonderful Sunday) - Drunken Angel - (The Quiet Duel) - Stray Dog - Scandal (1950 film) - The Idiot (1951 film) - Ikiru - The Seven Samurai - (I Live in Fear) - Throne of Blood - (The Lower Depths (1957 film)) - The Hidden Fortress - The Bad Sleep Well - Yojimbo - Sanjuro - High and Low - Red Beard - Dodesukaden - Dersu Uzala - Kagemusha - Ran - Dreams (1990 film) - (Rhapsody in August) - (Madadayo)

© thevoid99 2012