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Dramatically compelling and emotionally intense, Harakiri is acertified classic of Japanese film, and a riveting study of samurai codes ofhonor. Unlike Kurosawa's rousing samurai epics, this is an uncompromisinglytragic tale, exposing the hypocrisy of 17th-century Japanese society with itsstory of a family destroyed by the cruelty of feudalism toward warriors inpeacetime. The film is truly Shakespearean in its emotional scope, embodied bythe unforgettable performance of Tatsuya Nakadai (star of Kurosawa's Ran)as an elder warrior seeking revenge for the unnecessary seppuku (ritualsuicide) of his beloved son-in-law. Director Masaki Kobayashi begins at story'send, then recounts the narrative (adapted from a novel by Yasuhiko Takiguchi) astold by Nakadai's character. The effect is almost unbearably suspenseful,leading to an explosive climax of supreme defiance and samurai swordplay,erupting from a battle of wills, called bluffs, and hotly defended honor. Forconnoisseurs of samurai action, Harakiri is not to be missed. --JeffShannon ... Read more

Reviews (19)

A powerful film giving deep insights into samurai heritage.
My first viewing of this film was in a Japanese history course at the University of Maryland Baltimore County. This isn't just another sword-fight movie; this is a deep moral reflection on the choices that all soldiers must make in fulfilling their duties. The beautiful imagery, acting, and ironic twists are high art. The influences this film must have had on Anime are unmistakable. But this is not a young person's movie; this movie is about death.

The Sword is the Soul
While Kurosawa was settling back into commercial comfort, making samurai comedies, Masaki Kobayashi was approaching the genre with more serious intentions. A "glorification" of feudal values was defintitely not Kobayashi's concern, having been a survivor of Imperial Japan's violent and, luckily, abortive bid to dominate Asia. Kurosawa was too sickly to serve in the Imperial Army, or so the legend goes. Kobayashi focuses directly on feudalism precisely because he realized that it had never been completely eradicated. The same values that had driven Japanese soldiers to commit atrocities throughout Asia were still principally intact in postwar Japanese society. Feudalism was tacitly alive and kicking, and Kobayashi knew just how to expose it. 'Seppuku' (the original title) is a frontal attack on Japanese institutionalized feudalism, as expressed in its inherent cronyism, its stupid adherence to the samurai ethic. Although the last fifteen minutes of this film are electrifying, wherein a lone, masterless samurai is set against a mob of lesser swordsmen (by now a familiar scenography in Japanese film), it is his selfless revenge on the clan that forced his impoverished son-in-law to commit seppuku with a bamboo short-sword that lays waste to the very root of Japanese feudalism.

This is my all time favorite Samurai movie, where is the DVD
Please, oh, please ... someone mentioned that this movie is
out somewhere on DVD, even though it is on widescreen edition.
That is too bad, but I would gladly settle for it. I really
liked this movie ... for many years after I saw this
masterwork, I assumed it had been directed and produced
by Akira Kurosawa ... but it is not, and it is the best
one I have seen ... though Kurosawa is great and I have
lots of his movies.

Please anyone, point me to where I can get a DVD version
of this movie ... it needs to go in my collection to educate
people about Japanese movies!

DVD where are you?!
I finally found a DVD version of this masterpiece, it was a 2003 release filled with all sorts of extra. One big problem, FULL SCREEN! Who in their right mind would put this movie on DVD and put it on FULL SCREEN! Somebody is tauting us fans big time!

It's a great movie, but one that demands to be viewed, if not on the big screen, then at least letterboxed DVD format!

Arguably the finest film ever made in Japan
I had never seen this film until I found a copy at a local Hollywood outlet in Albuquarque, New Mexcio, a few years ago. I took it home, saw it, and was absolutely bowled over by it. Kobayashi's view of Harakiri bespeaks the age when the film was made as it is quite a materialistic interpretation of Harakiri but nonetheless truthful for that. (Forget the cheap eulogy of samurai-death in the recent Last Samurai.)
This is a film-making elevated to the realm of art. The serenity of a Noh play and the theatrical panache of Kabuki are combined to create this absolutely engrossing masterpiece. This is arguably the finest Japanese film ever made. It is perverse that this work, perhaps outshodowed by numerous Kurosawa films, is almost never talked about in Japan.
This is one of those films that cry out for a release in a DVD format ( It is already available in Japan). ... Read more

Amazon.com essential video

As critic Roger Ebert observed in his original review of Ran, this epic tragedy might have been attempted by a younger director, but only the Japanese master Akira Kurosawa, who made the film at age 75, could bring the requisite experience and maturity to this stunning interpretation of Shakespeare's King Lear. It's a film for the ages--one of the few genuine screen masterpieces--and arguably serves as an artistic summation of the great director's career. In this version of the Shakespeare tragedy, the king is a 16th-century warlord (Tatsuya Nakadai as Lord Hidetora) who decides to retire and divide his kingdom evenly among his three sons. When one son defiantly objects out of loyalty to his father and warns of inevitable sibling rivalry, he is banished and the kingdom is awarded to his compliant siblings. The loyal son's fears are valid: a duplicitous power struggle ensues and the aging warlord witnesses a maelstrom of horrifying death and destruction. Although the film is slow to establish its story, it's clear that Kurosawa, who planned and painstakingly designed the production for 10 years before filming began, was charting a meticulous and tightly formalized dramatic strategy. As familial tensions rise and betrayal sends Lord Hidetora into the throes of escalating madness, Ran (the title is the Japanese character for "chaos" or "rebellion") reaches a fever pitch through epic battles and a fortress assault that is simply one of the most amazing sequences on film. --Jeff Shannon ... Read more

Reviews (135)

A rich experience worth viewing over and over again
This is a magnificent movie. It is visually beautiful - the colors and the way the shots are framed are stunning. The visuals are controlled in ways that add to the poetic power of the story. I do not speak Japanese, but the sound of the language combined with the musical score also adds to the intensity of this movie. The subtitles are good, but I am sure that those who understand Japanese get even more from this story.

This is not a film of Shakespeare's "King Lear". Rather, it is an adaptation and is based on the underlying themes of the play. It is not important for me to list the differences between the play and the movie, it is just important that a first time viewer not expect the Shakespearian story. If you know the play you will recognize aspects of the movie and enjoy the ways in which Kurosawa adapted the story to his own and Japanese sensibilities. It may nod to Shakespeare, but Kurosawa makes this his story.

The costumes, music, and acting are superlative. For me, the trademark Kurosawa battle scenes are more wonderful here than usual. This is a masterpiece by a filmmaking virtuoso who is also a sensitive enough artist to make a spectacular movie that is also poetic, humorous and heart breaking, tender and brutal as well images that are beautiful and others that are hideous.

This isn't light viewing or mind candy, but it has so much to offer that it is worth watching and learning from over and over again.

The Greatest Adaptation of Shakespeare to Film
"Ran" (Chaos) is the greatest cinematic adaptation of Shakespeare and a masterpiece in its own right. In adapting the broad scenario of "King Lear" to a setting in Sixteenth Century Japan, Akira Kurosawa felt free to manipulate it to his own purposes, leading to a film that is perhaps even more bleak than the play.

First and foremost "Ran" is a visually stunning film, unencumbered by the received tradition of Shakespearean language, which never translates well onto the cinema screen, he has allowed the scenario to develop into images that are beautiful and horrific. Filmed on the slopes of Mount Fuji there is a sense of unreality, or nightmare about the whole epic, as though it is taking place in a mythic space, at once recognisable and alien. For a director best known for his black and white movies ("Seven Samurai", "Rashomon"), Kurosawa surprisingly uses color to breathtaking virtuoso effect. The scenes of soldiers flooding in waves across the volcanic wasteland of Mount Fuji carrying vivid blue, red or yellow flags are amongst the most extraordinary ever filmed. The battle scenes shock and astonish, not least because Kurosawa's use of sound is so exquisite and original; many of the most horrendous images of battle are shown without sound effects with only an elegiac musical accompaniment. Far from sanitising them, the effect is to shock you out of the viewing habits formed watching so many other "war" movies.

Yet "Ran" is so much more than a broad epic, or war movie. The more intimate scenes are carried off with understated conviction, the sly hypocrisy hidden behind formality and convention is conveyed in highly poised and stylised interior shots. This film can be both visceral (prepare yourself for the beheading of Lady Kaede: as visually explosive as anything by Tarantino, and set within a film that is more than mere surface) and restrained, depending on the nature of the scene. There are moments of quiet and tenderness that resonate long after the film had ended.

It is odd that so few successful films have been made from Shakespeare. The pre-eminent playwright of the western canon has translated beautifully into opera and stage directors can continually find fresh things to say about the plays themselves, yet in general film had been hopelessly incapable of doing anything of note with Shakespeare. Think of the ghastly declamatory rhetoric of Laurence Olivier in "Henry V", or the inane pop video that Baz Lurmann made from "Romeo and Juliet", not to mention Kenneth Brannagh's tediously self-important "Hamlet". Somehow Kurosawa succeeds where all these others fail. His earlier "Throne of Blood" was a beautifully realised adaptation of "Macbeth" to the Samurai period in Japan: "Ran" builds on that achievement and surpasses it. Perhaps the fact that Kurosawa was Japanese allowed him more creative license to work with Shakespeare, able to approach it simply as valid material for film making, and not as the shibboleth that it is to western artists.

In Ran we have the late masterpiece of one of the greatest and most important film makers. It is a distilled and precise work, powerful, visceral, contemplative, epic and intimate. In short this is film making on a par with the greatest art. Ran shows us what mainstream film making can achieve, but so rarely does.

WHO WILL ENJOY THIS SENSATIONAL MASTERPIECE:
People who care about grandiloquent visuals yet a controlled palette accentuated by the immemorable use of sound -- or, in one major battle scene, the absence of the sounds of the battle, the horrors of war somehow magnified by the silent screams and the unheard bullets, only the quietly mournful dissonance of the haunting background score to be heard.

Castle gates close with resounding, hollow booms, shutting people out, shutting people in. A crescendo of cicadas. And the final anguished shriek of a flute lending a much more effective voice to the great tragedy that has been played out than closing words might have done.

If you're expecting flaming Gladiator-type fight scenes or Samurai action, you may be disappointed. That said, the battle scenes are magnum opus if you know how to appreciate visual splendor. The screenplay may be relaxed overall, sure, it takes a while to unfold a tale of filial destruction ("King Lear" adaptation) but when the forts crumble and arrows fly asunder, the pace of the film is unbridled.

Whether you're a film philistine or a major Kurosawa buff or simply someone who relishes tastefully done cinema, this is absolutely worth the ride. I highly recommend this as a rental, but the discerning types may also want to add it to their collections. It's among Kurosawa's best.

Not as good as all you people are making it out to be
This movie is terrible. I bought it expecting a good action epic with lots of battles and sword fights. There are no battles there are 2 massacres where all that happens is "samurai" with guns? shoot each other and women. samurai dont have guns. The story was good but they ruined it with 2 hours and 30 mins of talking on and on about the same topic over and over, yak yak yak. There is no drama the characters dont develope except for the old guy who just walks around starring and goes crazy. The perfomances are the same in everyone, yelling even when there happy, and they all sound the same even the women. No action, no drama, nothing except talk and fake blood from the stupid shooting, not swords, guns, What? Very bad movie, I was dissapointed, greatly. I would give 0 stars but they dont let me.

William Akira Shakespeare Kurosawa
This film is undeniable the most notable adaptation of any work of William Shakespeare to the movie. The insights in every detail, the superb cast, the overwheelming photography, the camera's handle makes us inevitably to remind that happy sentence of Orson Welles who said once:
"One film is really extraordinary , when the camera is an eye in the mind of a poet".
Casually this film is made in 1985, the same year of Welles'death.
Kurosawa was a truly master. Once upon a time a critical compared to Kenji Mizoguchi with Bach. If this methaphor is assumed valid, then Kurosawa would have his musical image in Ludwig van Beethoven.
The amazing scene of the castle in flames, with a remarkable red that invites us to reflect about the human condition, his hunger for power, the horror generated by that unthirsty ambition. The multiple readings that concern with the violence and the passion carrying the devasting facts that appear all along this film.
The opening sequences in which the three brothers are together with their father is filmed with such kind of perfection that I wouldn't wonder to know that this an obligated reference for all those students of direction. In this sense, this multiple exchange of points of view reveal us without affections of any kind,the essencial nature of the human being inmersed in the purest spirit shakesperian.
Kurosawa, like the great giants of th cinema handles the camera like Gods, includes the color and the nature's elements like adittional actors (Dreams). Just remember that Akira was the first filma maker who dared film against the sun in that glorius film Rashoman from 1950. His achievements all along his brilliant career are too many and certainly, would be beyond the reach of this shorts analysis.
This is one of these gems that you must see over and over, just when you admire this eternal masterpiece.
To be true the others Shakespeare's versions that deseve to be carried to the desert island would be in my opinion Titus 2000 (Julie Taymor), Othelo 1953 (Welles) , Richard III 1955 (Olivier), and Throne of blood 1957(Kurosawa).
But this movie is just several steps ahead all the titles above mentioned. ... Read more

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This semi-comic 1961 film by legendary director Akira Kurosawa (Rashomon, Ran) was inspired by the American Western genre. Kurosawa mainstay Toshirô Mifune (The Seven Samurai) plays a drifting samurai for hire who plays both ends against the middle with two warring factions, surviving on his wits and his ability to outrun his own bad luck. Eventually the samurai seeks to eliminate both sides for his own gain and to define his own sense of honor. Yojimbo is striking for its unorthodox treatment of violence and morality, reserving judgment on the actions of its main character and instead presenting an entertaining tale with humor and much visual excitement. One of the inspirations for the "spaghetti Westerns" of director Sergio Leone and later surfacing as a remake as Last Man Standing with Bruce Willis, this film offers insight into a director who influenced American films even as he was influenced by them. --Robert Lane ... Read more

Reviews (90)

Immaculate, Quiet Comedy.
Although it's not a popular opinion I actually prefer Yojimbo to Kurosawa's epic Seven Samurai. It is funnier, it is smaller scale, and the music is some of the best you will hear - one part John Barry James Bond, to one part Japanese. The plot is so good, they remade it twice. Once as Fistful of Dollars, and once as Last Man Standing, but neither of those later films capture the story as well as Kurosawa.

With gentle humour and a gradual building of tension, Kurosawa really gets you into the movie. Mifune (a regular in Kurosawa films) is wonderful, very understated, very comical and quietly moving.

Although not as widely known as Seven Samurai, or Rashomon, this represents some of Kurosawa's greatest work. The attention to detail is incredible.

It is entirely accessible to Western audiences. Kurosawa's films travel extremely well. The picture on the DVD could be better, but that's a minor quibble. This film is immaculate. You need this.

Stunning
Oh, in the first 3 minutes I knew this was going to be great. From the gloomy intro with the wonderful music playing, to the suspenseful finale, this film never lets up. Masterful directing and a clever plot is what this piece of cinema offers you. This type of film is known as a Jidaigeki western. Oh, and the swordfights don't happen until the last 45 minutes of the movie, just so you know. I recommend watching this before watching Seven Samurai. This film is known as "The Bodyguard" in Japan.

The movie Fistful of Dollars was a good remake of this film, so you might want to check that out after you've watched Yojimbo. But be warned - Last Man Standing was a very bad remake of Yojimbo so stay away from it. Unosuke has got to be one of the coolest villains ever. This was much better than Crouching Tiger, Hidden Dragon. Toshiro Mifune and Tatsuya Nakadai's performances are unforgettable. And in case you're wondering, Ryo means "Gold coin" in Japanese. And so, with a mix of action, suspense and dark comedy, Yojimbo is hands down, the best film of the '60's.

save for a few scratches in the print, this is a great DVD
I myself am one with those who wonder how on earth this Criterion version of Yojimbo ended up having that huge, ugly scratch mark on the print. It just stops me from giving it a full 5-star mark.

But that aside, this DVD is still a great DVD. It's actually my favorite among the Kurosawa-Mifune movies, simply because it is so much fun. the Mifune swagger, perfectly timed with the catchy beat of the soundtrack, is unforgettable. his huge confidence, his arms still drawn in, his shirt sleeves hanging limp and empty while his enemies menacingly surround him, is almost too funny. The lines I like the most come from the "coffins" chapter, where Mifune tells the wannabes "you have such cute faces", then proceeds to tear through them with ease, then with typical panache, tells the cooper (coffin maker) to make two coffins, no, make that three. I don't think I have seen any Hollywood actor, except perhaps the young Paul Newman, act so cool under stress. Even Clint Eastwood's turn in "A Fistful of Dollars" pales in comparison.

Then of course, the twists and turns as he manipulates both gangs. Even the way he mocks the boss' wife by calling himself a "nobody", taking the name of some vegetable he saw in the garden through the window.

Then his low moments. The way he recovers his strength, the way he prepares to neutralize the enemy's pistol by mastering knife-throwing. You'd think he doesn't stand a chance, until it happens. Those harrowing death scenes. And finally, the sight of Yojimbo leaving town, arms drawn in, sleeves empty and limp on his sides, swaggering to the beat of the soundtrack as the movie ends.

It's worth it. And you can always trade-in that crappy "Last Man Standing" to pay off some of the cost of "Yojimbo". It's a trade I would make anytime.

Criterion does it again!
This edition of Yojimbo is the best out there. Just as they do with all digital transfers, Criterion takes only the best transfers from the original films and polishes them to make them look much much better. For a single layered DVD, though, this disc should've been a little cheaper. Great disk!

Do You Feel Lucky Kurosawa?
Toshiro Mifune's silk clothes must stink, but don't mess with this guy. He's a killer with a bad hair-do. I loved the hired killers of the village with their brag and weird swordplay stances. There's a 19th Century Japan feel to a village that might as well have been Dodge City in the American West. Kurosawa is a funny guy. How he adapted Dashel Hammet's California gangster story of waring gangs is Asian alchemy. ... Read more

Description

Kwaidan is an engrossing masterpiece of four nightmarish tales in which terror thrives and demons lurk.Throughout each tale, director Masaki Kobayashi's handsomely conceived imagery conveys a sensual quality that immerses the viewer deep in the spiritual world.Combining visually stunning effects with beautiful use of color, Kobayashi has created a supernatural experience beyond the imagination. ... Read more

Reviews (38)

One of the greatest fims of all time.
This film is so utterly magnificent, it's on eof the greatest films of all time. It has the most gorgeous art work, dream-like visuals, color photography I've ever seen in film. This is based on tales by Lafcadio Hearn. A bizzare, eerie and horrifying musical score by Toru Takemitsu works exellently with the beautiful visuals. This video also has a gorgeous color Cinemascope widescreen presentation. The first tale Black Hair, is a bit slow, but's it's so worth it in the unbelievable horror climax. The second tale, Woman in the Snow, is one of the best and most beautiful in the whole film. Masaki Kobayashi uses just all white during the blizzard sequinces with some blood reds, lush greens, dream like blues, and odd purples. The third story, Hoichi, the Earless, begins with one of the most beautiful scenes in the film. An epic sea battle between the Heikie and Genji clans. This scene feautures all kinds of bizzare and beautiful colors including a firey red sky. The rest of the film concerns a young blind man's horrifying ordeal with ghosts. I can see some references to this segment in Akira Kurosawa's Ran. The final segment is called In a Cup of Tea and is the weakest. It's too short, and too fast moving. It does feature lots of gorgeous visuals to make up for it. I recommend this film to anyone, if you haven't seen this film. CLICK BUY RIGHT NOW!

The Greatest "Art House" Horror Film
"Kwaidan" is a cinematic masterpiece of the horror genre which, unfortunately, is not nearly as well known to genre fans as it should be. In my view it ranks with Werner Herzog's 1979 re-make of "Nosferatu" as the finest horror film ever made in color. Part of the reason for "Kwaidan"'s obscurity is its national origin (though, strangely enough, the Japanese folktales which form its basis were written by an American expatriate, Lafcadio Hearn). Yet even in Japan, the film was a commercial flop, despite superlatives from critics. More likely, the obscurity of "Kwaidan" derives from its artistry; viewers who come to it for the first time will probably be only marginally aware that they're seeing horror at all. Search in vain for gore and special effects; the film almost recalls Val Lewton's old classics in its reliance on suggestion. As an anthology, moreover, "Kwaidan" is in the same league as the 1946 British film, "Dead of Night," except that it has no over-arching "frame" device to tie the stories together. All four films which make it up are essentially revenge plots: simple and straightforward, like most folktales, though I would like to mention a personal favorite: "Yuki-Onna," whose surrealist account of a female vampire awed me with its weird snow-scapes and eerie soundtrack. By all means, see "Kwaidan" if you have any curiosity at all about horror as viewed through the lens of an artistic master; I only wish American directors had a comparable interest in quality.

Masterful work!
Anthology of ghost stories adapted from Lafcadio Hearn , American writer who lived in Japan .
Visually stunning.
The third chapter is the best. It turns around a poet who must create a epic poem about an ancient battle dictated for the leader of this dead regiment, killed in action, who emerges from the ashes to find out someone who reminds always the echoes of that bloody combat.
Extraordinary!

Ok, I always get sucked into these ghost stories
Lesson 1, always look at the date of the movie and then read the premise. I always read the premise, get the movie and then once it's in, realize that it's more of a Sinbad Saturday Afternoon movie then the Sixth Sense. The last story was cool about the boy who is on the cover but the rest are boring.
Rent-Maybe
Buy-No

Four Japanese Ghost Stories
Kwaidan, though it has some flaws in regard to pacing (it moves just too slowly sometimes) is a visually striking, very colorful film that is a pleasure to look at. This print is crystal clear and very sharp; Criterion usually does a good job in that sense.
Surprisingly, these traditional Japanese ghost tales very much resemble the classic English ghost stories of writers like J.S. Le Fanu or M.R. James--more subtlety, less bombast, working by suggestion and atmosphere. Don't expect a whiz-bang, fast-paced film with a lot of shocks. It's a slow, quiet film.
In my opinion, the two best stories are the first two, "The Black Hair" (reminiscent of Faulkner's "A Rose for Emily") and "The Woman in the Snow" (something like Algernon Blackwood's "The Wendigo"). ... Read more

Reviews (31)

Excellent Film and Action!
SWORD OF DOOM is one of the masterpieces of samurai, and action, cinema but certain aspects of it are difficult for non-Japanese audiences or viewers not familiar with the historical background of the subject.

Toshiro Mifune, who gives a fine performance as fencing master Toranosuke Shimada, once said in an interview, "We [the Japanese producers and filmmakers] know that many samurai films are shown outside of Japan, but we make no attempt to cater to that market." SWORD OF DOOM is a perfect example. It was made for Japanese audiences who are familiar with the original story which had been filmed and staged many times and was well-known. The Japanese audience is expected to be as familiar with the plot and historical details as an American audience watching a film about the Civil War or the Old West is expected to be.

Here are some plot points that may make the film a bit easier to understand for new viewers or for other viewers who previously watched it and got tripped up on some details. I know I did the first time I saw it theatrically. If you found the film difficult on the first viewing, give it another chance. And maybe these notes will help!

* In one scene, the main character Ryunosuke Tsukue changes his name to Yoshida after killing an opponent during a duel. The name change isn't explained in any detail. A subtitle simply identifies a sign outside his house as "Yoshida." Some characters now refer to him as Yoshida and others as Tsukue. Again, remember that Japanese audiences are probably familiar with the change.

* Tsukue first meets Shimada at his fencing school. Tsukue wants to challenge the student who won his match with "a splendid Do attack." This referrers to Kendo, the Japanese martial art of fencing. In Kendo, participants wear headgear and leather armor and fence with bamboo swords. Only certain areas on the body are legitimate striking points: the top of the head, the forearms, and the sides. When Tsukue defeats his opponent, Shimada says, "Men. He won." He's referring to a point scored, not addressing his students!

* In one scene, a title informs the viewer, "The Shinsen Group is formed!" The Shinsen Group (Shinsengumi) were a para-military group of swordsmen who vowed to protect the Tokugawa Shogunate which was losing its once vast power. Shinsengumi fought against anything that might weaken the Shogunate; including foreign influences and internal factions. The Shinsengumi have been portrayed many times in movies and TV shows. In some cases, they are portrayed as self-sacrificing patriots loyal to their country. In others, they are portrayed as a fascist military group killing anyone who opposes them or the Shogunate. Toshiro Mifune starred in and produced an excellent film about them called BAND OF ASSASSINS (SHINSENGUMI). Hopefully, AnimEigo will eventually release this.

* The final scene. What exactly happens? Does Tsukue kill dozens of men and then die? Does he survive to face the brother of the man he killed? Or is the entire battle only in his deranged mind? It's the last scenario. When Tsukue ran out of men to kill, his warped mind invented more. Of the three versions I've seen, (this version, a trilogy of films made in the 1950s by Tomu Uchida and another trilogy made in the 1960s by Kenji Misumi) this is the only version that doesn't explicitly show that Tsukue is imagining the final battle.

* What does happen to Tsukue? If you'd rather not find out, skip to the next paragraph. Tsukue is blinded during an explosion and becomes more of a sympatric figure. The avenging brother finally has a chance to settle with him during a violent storm. He hesitates to kill the nearly defenseless Tsukue. A flood washes Tsukue away to his death.

SWORD OF DOOM is a fantastic film to watch. The director, Kihachi Okamoto, was one of the most impressive visual stylists working in film. The final scene holds up beautifully today. The acting is excellent all around. Nakadai as Tsukue gives one of the screens best performances. Few actors could create such disturbingly nihilistic characters as Nakadai does in this performance. The character is a perfect contrast to Mifune's Shimada. Both are highly skilled swordsmen but Mifune knows that "an evil soul is an evil sword."

Now this is what a film should be...
This is perhaps the greatest non-Kurosawa (Director of: Seven Samurai, Yojimbo, etc..) Samurai film ever! (a) It has some of the greatest looking swordplay I've ever seen. (b) The protagonist is a bad guy (read: anti-hero) who looks and acts pure evil. (c) Toshiro Mifune is in it (though his part is short, he still takes out about 20+ guys in less than ten minutes). (d) Finally, it has what I would call the greatest samurai movie ending ever (what can I say, I like not knowing what exactly befalls the villain)! If just one of these does not make you want to buy this film, you're insane! My only complaint is that there is no DVD version!

Great movie, but abrupt ending!
I really enjoyed the heavy atmosphere and fight scenes in this movie, but was disappointed with the abrupt ending. I would have also liked to see more character development, particularly concerning Ryunosuke. It would have been interesting to see what the cause of his "evil" tendencies was. Overall, it was a very interesting, enjoyable movie and exposes the audience to other Japanese samurai films not directed by Kurosawa.

2 good fights, no story
First of all, I have to say that it was a very strange film. It was so poorly edited that transitions between scenes taking place in different times and places were unclear. You are watching one scene and then suddenly it's a year later, suddenly it's winter or suddenly you are with some group of people who just showed up in the film out of the blue. The film had a very strange pace -- slow moving scenes cut together like some sort of montage, some sort of loose collection of subplots that never meet.

I wouldn't have been so disappointed with the way the movie played if it wasn't for the compelling performances in it. The screen presence of Tatsuya Nakadai (Kagemushu, Ran) made it hard to look away. Though he was reserved there was an underlying madness that screamed out at every moment. His slow gait brought a horror element to every scene. It was a splendid performance wasted on a choppy film with no real story to tell other than, "This guy is evil."

[warning: spoilers]

I mentioned that the subplots never meet, that isn't entirely true but it seems so, especially at the end. There is no revenge, there is no answer - you are just left with a man gone mad. It's like they ran out of film. The final fight is brilliantly laid out, the villain lashes out like a drunk surgeon and it is a bloodbath. Then suddenly, the movie ends right in the middle of all this chaos. The character is forever trapped in a burning nest of vipers. He will forever be tormented there in my mind. Interesting but not satisfying.

The best moment in the film is the sword fight between Toshiro Mifune's character and forty assassins. Toshiro Mifune (The Seven Samurai, Yojimbo, Sanjuro, Rashomon) plays the head of a martial arts school who is training the brother of a man that the main character killed. When attacked by assassins, Toshiro slices them to pieces Yojimbo style and berates their leader. Then, he walks away unharmed.

There is never a duel between the main character and the brother of the man he killed. There is never a duel between him and Toshiro Mifune. The girl at the end isn't rescued. It isn't clear if the villain dies or not. We don't know what happened to his baby. Virtually all the subplots are left wide open. The film seems unfinished. It's crazy. I don't care what kind of statement we are supposed to get from that, there is no excuse. It's lazy. I didn't like it. I liked the two major swordfights. The rest of the movie looked cool but had nothing to offer. Watch Sanjuro again and don't bother with this film unless you really want to see the two sword fights. Toshiro's fight with the assassins was quite spellbinding.

film noir meets chambara
this film is a classic. the entire aesthetic of the film reminds me of the classic brooding dark film noirs of the forties and fifties. the antagonist of the film is doomed from the start, his evil ways eventually end up being his undoing, but not before tallying up a huge body count. sword of doom is definately a must see for samurai and film noir fans alike. ... Read more

Reviews (4)

Great 1968 Spaghetti written by Dario Argento
This title was originally released in 1968 as "Oggi a me... domani a te!" in Italy, or "Today is Me... Tomorrow You" in the US. Directed by relatively unknown Tonino Cervi (at least this seems to be his only western) it seems that the storylines of Dario Argento can never fail. Most interesting is how this movie has borrowed ideas from "The Magnificent Seven" yet still succeeds very well. There is one scene in a gunshop where Brett Halsey purchases a revolver and it is so uncannily similar to "The Good Bad and the Ugly" the viewer is left wondering who is borrowing from whom in these 60's spaghetti's! The film moves fairly well but is a bit slow in places, it is a fairly typical story of revenge where Nakadai's character borrows heavily from the character played by Gian Maria Volonte in 'For a Few Dollars More'. Nakadai plays a thoroughly weird character without the brilliance of Volonte but still a great character and to some extent makes this film. Bud Spencer fans will probably be disappointed with a rather shallow role and traditional 'John Wayne' western fans will probably dislike this rather bizaree European creation. But for Spaghetti fans highly recommended.

Tatsuya Nakadai in a Dario Argento scripted western
I saw a Variety ad for an Italian western with the ad copy is the Samurai sword faster than the six gun. Have never seen that one. This has him as a Mexican Comanchero who mostly uses a pistol but has a few scenes where he uses a machete as a Samurai sword. For Nakadai fans this is a must though he has a supporting part as the bad guy. It is no Illusion of Blood or Sword of Doom but worth a look. Montgomery Ford is really Brett Halsey who is also in the Mario Bava Roy Colt and Winchester Jack. As entertainment I enjoyed the overall story, the action was well done, ditto the direction. Give it a try. When I saw it in a cheapo theatre the print had a greenish hue. This was a clean print for the most part.

One good western!
I bought this movie because Bud Spencer was in it, and I was pleased! Its about Bill Kiowa was framed for killing his wife and sent to prison for 5 years. When hes released from jail he goes to his fathers house to see how his dad was doing and to get all of his money. After this he rounds up a few people (including Bud Spencer) and he wants to kill the buddy who killed his wife. One bad thing about this movie is Bud Spencers voice! Its very high, usually its dubbed low, and this is annoying. The best scene is where Bud is tied to the chair and he tears the arms of the chair right off! Its a good film....3 stars.

Decent Spaghetti Western
If you are buying this as a Bud Spencer fan skip it. Bud's voice is dubbed in a voice higher than his which might bother you. The story is about a man kiowa(Ford) who's framed for robbery and his wife killed. After 5 years in jail he's released he than hires Bud and some others to help him catch and kill the guy. A decent western but thats it. ... Read more

Amazon.com

Boasting some of the most impressive swordplay in the history of samuraiepics, Sword of Doom is a visceral masterpiece of violent style andpowerful substance. Illustrating the timeless adage that "an evil soul wields anevil sword," this highly stylized classic is driven by the fierce and fearsomeperformance of Tatsuya Nakadai as Ryunosuke, a sociopathic samurai whosesoul--and sword--are vicious instruments of evil. Having mastered a highlyunconventional style of fencing, Ryunosuke welcomes an exhibition match at afencing school run by master swordsman Shimada (Toshirô Mifune, in a small butpivotal role), where he kills his opponent after promising not to. Flagrantlyviolating all codes of honor, Ryunosuke eventually finds himself challenged fromall sides; even his own henchmen rally against him, and director Kihachi Okamotostages confrontations that are as beautiful as they are graphically violent. AsRyunosuke descends into pure, bloodthirsty insanity, Sword of Doom endswith a freeze-frame that's unforgettably intense. --Jeff Shannon ... Read more

Reviews (31)

Excellent Film and Action!
SWORD OF DOOM is one of the masterpieces of samurai, and action, cinema but certain aspects of it are difficult for non-Japanese audiences or viewers not familiar with the historical background of the subject.

Toshiro Mifune, who gives a fine performance as fencing master Toranosuke Shimada, once said in an interview, "We [the Japanese producers and filmmakers] know that many samurai films are shown outside of Japan, but we make no attempt to cater to that market." SWORD OF DOOM is a perfect example. It was made for Japanese audiences who are familiar with the original story which had been filmed and staged many times and was well-known. The Japanese audience is expected to be as familiar with the plot and historical details as an American audience watching a film about the Civil War or the Old West is expected to be.

Here are some plot points that may make the film a bit easier to understand for new viewers or for other viewers who previously watched it and got tripped up on some details. I know I did the first time I saw it theatrically. If you found the film difficult on the first viewing, give it another chance. And maybe these notes will help!

* In one scene, the main character Ryunosuke Tsukue changes his name to Yoshida after killing an opponent during a duel. The name change isn't explained in any detail. A subtitle simply identifies a sign outside his house as "Yoshida." Some characters now refer to him as Yoshida and others as Tsukue. Again, remember that Japanese audiences are probably familiar with the change.

* Tsukue first meets Shimada at his fencing school. Tsukue wants to challenge the student who won his match with "a splendid Do attack." This referrers to Kendo, the Japanese martial art of fencing. In Kendo, participants wear headgear and leather armor and fence with bamboo swords. Only certain areas on the body are legitimate striking points: the top of the head, the forearms, and the sides. When Tsukue defeats his opponent, Shimada says, "Men. He won." He's referring to a point scored, not addressing his students!

* In one scene, a title informs the viewer, "The Shinsen Group is formed!" The Shinsen Group (Shinsengumi) were a para-military group of swordsmen who vowed to protect the Tokugawa Shogunate which was losing its once vast power. Shinsengumi fought against anything that might weaken the Shogunate; including foreign influences and internal factions. The Shinsengumi have been portrayed many times in movies and TV shows. In some cases, they are portrayed as self-sacrificing patriots loyal to their country. In others, they are portrayed as a fascist military group killing anyone who opposes them or the Shogunate. Toshiro Mifune starred in and produced an excellent film about them called BAND OF ASSASSINS (SHINSENGUMI). Hopefully, AnimEigo will eventually release this.

* The final scene. What exactly happens? Does Tsukue kill dozens of men and then die? Does he survive to face the brother of the man he killed? Or is the entire battle only in his deranged mind? It's the last scenario. When Tsukue ran out of men to kill, his warped mind invented more. Of the three versions I've seen, (this version, a trilogy of films made in the 1950s by Tomu Uchida and another trilogy made in the 1960s by Kenji Misumi) this is the only version that doesn't explicitly show that Tsukue is imagining the final battle.

* What does happen to Tsukue? If you'd rather not find out, skip to the next paragraph. Tsukue is blinded during an explosion and becomes more of a sympatric figure. The avenging brother finally has a chance to settle with him during a violent storm. He hesitates to kill the nearly defenseless Tsukue. A flood washes Tsukue away to his death.

SWORD OF DOOM is a fantastic film to watch. The director, Kihachi Okamoto, was one of the most impressive visual stylists working in film. The final scene holds up beautifully today. The acting is excellent all around. Nakadai as Tsukue gives one of the screens best performances. Few actors could create such disturbingly nihilistic characters as Nakadai does in this performance. The character is a perfect contrast to Mifune's Shimada. Both are highly skilled swordsmen but Mifune knows that "an evil soul is an evil sword."

Now this is what a film should be...
This is perhaps the greatest non-Kurosawa (Director of: Seven Samurai, Yojimbo, etc..) Samurai film ever! (a) It has some of the greatest looking swordplay I've ever seen. (b) The protagonist is a bad guy (read: anti-hero) who looks and acts pure evil. (c) Toshiro Mifune is in it (though his part is short, he still takes out about 20+ guys in less than ten minutes). (d) Finally, it has what I would call the greatest samurai movie ending ever (what can I say, I like not knowing what exactly befalls the villain)! If just one of these does not make you want to buy this film, you're insane! My only complaint is that there is no DVD version!

Great movie, but abrupt ending!
I really enjoyed the heavy atmosphere and fight scenes in this movie, but was disappointed with the abrupt ending. I would have also liked to see more character development, particularly concerning Ryunosuke. It would have been interesting to see what the cause of his "evil" tendencies was. Overall, it was a very interesting, enjoyable movie and exposes the audience to other Japanese samurai films not directed by Kurosawa.

2 good fights, no story
First of all, I have to say that it was a very strange film. It was so poorly edited that transitions between scenes taking place in different times and places were unclear. You are watching one scene and then suddenly it's a year later, suddenly it's winter or suddenly you are with some group of people who just showed up in the film out of the blue. The film had a very strange pace -- slow moving scenes cut together like some sort of montage, some sort of loose collection of subplots that never meet.

I wouldn't have been so disappointed with the way the movie played if it wasn't for the compelling performances in it. The screen presence of Tatsuya Nakadai (Kagemushu, Ran) made it hard to look away. Though he was reserved there was an underlying madness that screamed out at every moment. His slow gait brought a horror element to every scene. It was a splendid performance wasted on a choppy film with no real story to tell other than, "This guy is evil."

[warning: spoilers]

I mentioned that the subplots never meet, that isn't entirely true but it seems so, especially at the end. There is no revenge, there is no answer - you are just left with a man gone mad. It's like they ran out of film. The final fight is brilliantly laid out, the villain lashes out like a drunk surgeon and it is a bloodbath. Then suddenly, the movie ends right in the middle of all this chaos. The character is forever trapped in a burning nest of vipers. He will forever be tormented there in my mind. Interesting but not satisfying.

The best moment in the film is the sword fight between Toshiro Mifune's character and forty assassins. Toshiro Mifune (The Seven Samurai, Yojimbo, Sanjuro, Rashomon) plays the head of a martial arts school who is training the brother of a man that the main character killed. When attacked by assassins, Toshiro slices them to pieces Yojimbo style and berates their leader. Then, he walks away unharmed.

There is never a duel between the main character and the brother of the man he killed. There is never a duel between him and Toshiro Mifune. The girl at the end isn't rescued. It isn't clear if the villain dies or not. We don't know what happened to his baby. Virtually all the subplots are left wide open. The film seems unfinished. It's crazy. I don't care what kind of statement we are supposed to get from that, there is no excuse. It's lazy. I didn't like it. I liked the two major swordfights. The rest of the movie looked cool but had nothing to offer. Watch Sanjuro again and don't bother with this film unless you really want to see the two sword fights. Toshiro's fight with the assassins was quite spellbinding.

film noir meets chambara
this film is a classic. the entire aesthetic of the film reminds me of the classic brooding dark film noirs of the forties and fifties. the antagonist of the film is doomed from the start, his evil ways eventually end up being his undoing, but not before tallying up a huge body count. sword of doom is definately a must see for samurai and film noir fans alike. ... Read more

Amazon.com essential video

The 1970s were difficult years for the great Japanese director Akira Kurosawa. Following the box-office failure of his 1970 film Dodes'ka-den and an unsuccessful suicide attempt, Kurosawa was unable to find financial backing in Japan, and he made his acclaimed 1975 film Dersu Uzala in Siberia with Russian financing. With only partial Japanese backing for his epic project Kagemusha, the 70-year-old master then found American support from George Lucas and Francis Ford Coppola, who served as coexecutive producers (through 20th Century Fox) for this magnificent 1980 production--to that date the most expensive film in Japanese history. Set in the late 16th century, Kagemusha centers on the Takeda clan, one of three warlord clans battling for control of Japan at the end of the feudal period. When Lord Shingen (Tatsuya Nakadai), head of the Takeda clan, is mortally wounded in battle and near death, he orders that his death be kept secret and that his "kagemusha"--or "shadow warrior"--take his place for a period of three years to prevent clan disruption and enemy takeover. The identical double is a petty thief (also played by Nakadai) spared from execution due to his uncanny resemblance to Lord Shingen--but his true identity cannot prevent the tides of fate from rising over the Takeda clan in a climactic scene of battlefield devastation. Through stunning visuals and meticulous attention to every physical and stylistic detail, Kurosawa made a film that restored his status as Japan's greatest filmmaker, and the success of Kagemusha enabled the director to make his 1985 masterpiece, Ran. --Jeff Shannon ... Read more

Reviews (33)

Fine precursor to the classic "Ran"
Just before "Ran," Kurosawa got American funding for this movie about a "shadow warrior" who was assigned to impersonate Takeda Shingen should he die. This was to keep the Takeda clan's border secure and prevent enemies (of which Takeda had many) from invading. It is a wonderful film, and has two very strong points: the visuals, and the characters.

The strong visuals should be obvious - an Akira Kurosawa film with no strong visuals is like a Monet painting with poor use of color. The battle scenes are stunning and seem to come out of a nightmare, with rifleman shooting down on soldiers with a bright light flashing behind them. The colored armor of Takeda's men were also nicely picked and, as Kurosawa would later do with "Ran", give their presense a hauntingly beautiful yet horrifying tone. The final scene at the Battle of Nagashino (which was wrongfully nitpicked in Stephen Turnbull's Osprey book of the battle) chooses to show us only the aftermath of the battle, with shots of cavalry charging to the gunners and then cutting to the horrified expressions of those who watch the unfolding massacre of Japan's greatest army. The shot of the fields of dead is some thing that could only have come out of the nightmare of war.

I think the strongest part of the film, though, were the characters. The film has a slew of fascinating characters, from Takeda's generals (each with their own personality) right down to the rifleman who shot Takeda. Even the spies from Oda and Tokugawa interact and talk like real people, and I can't think of any one in this film I easily forget. I especially liked Oda Nobunaga, and I think this film has the best portrayal I've ever seen of him. He can be seen walking out with his army and stopping briefly to listen to a Christian priest give a prayer. There is another part where he rides around on an Arab horse, followed by a scene where he offers Tokugawa Ieyasu a glass of Western wine (poor Tokugawa chokes on it!).

The best character is, of course, the shadow warrior himself. The actor did a wonderful job of playing Takeda and the imposter, and even though being a common thief that nearly quits his job in the beginning, you find yourself growing to like him. The scene where he confesses to the concubines he is an imposter, knowing they'll take it as a joke, and then winks at a general was hilarious! Also, notice in the scene where a retainer describes to Takeda's nephew what the meaning of the clan flag is...the imposter is listening just as intently as the boy is! He also comes out strong in the second-to-last battle sequence, where he watches as men fight and die for a man they strongly admire. The final Kurosawa metaphor at the end (which I won't describe because its a serious spoiler) also gives the whole point of the story. The man tried to undertake a role that was perhaps too big for him, a role only one man could really play.

Overall, I was very impressed with this movie, and I would definately recommend it as viewing for those fans of the master of film himself. I hope soon a DVD will be released of it and I will be able to add it to my growing Akira Kurosawa DVD set. In the meantime, I happily own a video copy for viewing.

The shadow warrior
Kagemusha is another entry in Kurosawa's decades-long string of Samurai movies and is replet with rank-n-file anti-war themes: empires are fleeting, stubborn pride proves costly, and human life is cheap. Although not without its problems in pacing and stiffness, it is better than some of his more famous films, though no where near as good as Ran. The plot: The warlord Shingen is mortally wounded whilst besieging a fortress. His dying wish is that his dynasty continue. This is accomplished by using an impersonator, Kagemusha (Tatsuya Nakadai), who is a thief with humble ancestry. Kagemusha serves as Shingen's stand-in for three years, improving morale and even helping to win battles. The most impressive feature in Kagemush is the photography along with the splendid costumes. Indeed, outstanding cinematography and convincing sets are a familiar hallmark for Kurosawa. While one can hardly fault the films character development, for a war film, the pace is slow -- very slooow. Kagemusha was an expensive film by Japanese standards, and Kurosawa had alienated himself from Japanese studios with his cutting comments about their uncompromising attitude towards fimmaking. So unfortunatley (and ironically), he turned to the crass commerical master himself, George Lucas (as well as Francis Ford Coppola). Both are credited as executive producers for the "international" version of Kagemusha. Kagemusha was nominated for two Academy Awards, Best Foreign Language Film and Best Art Direction.

Better than Ran
Comparing Kagemusha with Ran is a thread that runs through many of the reviews. Both are dramas centered around warlords during Japan's feudal era, and were directed by Kurosawa late in his career. Both films are visually stunning, but there are differences in how the stories are presented. Ran seems affected by its self-conscious adaptation of King Lear, and has a more theatrical (and less cinematic) feel about it. The acting is very stylized, as if in adapting Shakespeare's play Kurosawa also wanted to reaffirm the Japanese qualities through similarities to traditional ritualistic Noh dramas.

The story of Kagemusha seems more of a natural portrayal in comparison. The loyalty of the thief to the warlord is perhaps a quintessentially Japanese story, and is beautifully evoked in many small scenes throughout the film. It is the battle scenes which are highly stylized in this film, as they serve to illustrate the changing fortunes of the clans, and are not centerpieces. They are a part of the amazing beauty of the film's images. One of my favorite images of all the films I have seen is that of the warlord's unhappy son plotting in a traditional room, while in the background we can see the blue of a lake being whipped up by a storm.

Some people will prefer Ran, and others will like best Kurosawa's earlier and more earthy films, such as Yojimbo. They are all wonderful, but for myself Kagemusha is his crowning achievement.

Great movie
I actually prefer Kagemusha to Ran. My Japanese language University teacher used to gripe that Kurosawa represented a "western" style of cinema, as opposed to Ozu, for instance. Ran is basically King Lear set in medieval Japan, whereas Kagemusha is more original in many ways, and less anachronistic. The themes of the Kagemusha's futile fight aganst destiny and his doppelganger-like identification with Shingen are also magnificently played. Finally, the very Japanese emphasis on passive control (Shingen's strategy is always to act as an umovable mountain on which to shatter his enemies) resonates in interesting ways.

I Want My DVD!!!!!!!
Why, oh why, is Kagemusha not available on DVD? I have seen probably a dozen of Kurosawa's movies, and Kagemusha is my favorite of them all. For the wonderful cinematography and score alone, it is deserving of a better format than VHS. ... Read more

Reviews (15)

Thinking man's samurai movie
This movie asks several basic questions. Just how far should a samurai's loyalty to his master go? When does the master's demands become unreasonable? And what should a samurai do, when faced with a master's injustice? To modern-day Westerners, the answers may seem obvious. But in 18th century Japan, personal feelings took a backseat to duty.

In Samurai Rebellion, the main character Isaburo (played by Toshiro Mifune) must decide whether to challenge his overlord's decision to take back a former mistress who had become Isaburo's daughter-in-law. The title of the movie should give you a clue to Isaburo's decision. The big sword fight in this film is worth watching, simply because of the rage boiling inside Isaburo. This is swordplay that actually has passion, as opposed to the run-of-the-mill fighting you often see in lesser movies.

The film's director Masaki Kobayashi always made thoughtful dramas that often examined injustice in society. Those who like this movie should also check out two of his other masterpieces, Harakiri and The Human Condition (a nine-hour trilogy).

Moving drama, only one duel and one sword battle
The story was cool but it was mostly drama. The intensity is built up over time and you grow to like the main characters. The only sword battle is at the end of the movie. There is also one duel. This movie was cool but it did not impress like an Akira Kurosawa film. People who say Kobayashi is a better director are just trying to sound like samurai movie connoisseurs. It's simply not true. Kurosawa is head and shoulders above Kobayashi. It was an interesting tale about loyalty and love and I liked it. It was a very moving and cool looking drama.

[warning: spoilers]

Toshiro Mifune's character lays waste to a number of armed retainers in the climactic battle scene. The duel is well done, very theatrical. The image of the two men standingwith their swords crossed is one I will not forget.

Great Samurai Movie
One of the best samurai movies ever made. This film shows a darker side of the Japanese films. Tells of a time when a warrior is asked if he should follow the orders of his master or follow what he thinks is right.

A Man, a Woman, a Sword, and Family Honor
To be a samurai meant owing nearly absolute allegiance to the leader of one's clan, the daimyo. One often filmed story is about 47 loyal samurai committing harakiri en masse when their clan is disbanded. But what happens when the daimyo is unjust and plays with the lives of his loyal samurai?

In SAMURAI REBELLION, a young samurai is forced by his daimyo to marry a difficult mistress who had dared to manhandle him. Lady Ichi surprisingly turns out to be a jewel, and Yogoro, her new husband, grows to love her. When the daimyo changes his mind and has her kidnapped after several unsuccessful attempts to bully the family, Yogoro and his father Itaburo (Toshiro Mifune) singlehandedly take on the whole clan.

Before you know it, the blades are out of their sheathes, and bodies are falling all over the place. Particularly spectacular is a duel between Itaburo and his friend Tatewaki (played by the great Tatsuya Nakadai) in a windswept field of grass. Director Masaki Kobayashi (KWAIDAN, HARAKIRI) is at his best here; and numerous scenes are icily controlled and eerily beautiful as he guides his camera, breaking down sequences into abstract geometrical patterns.

I can't help remembering the song in the musical BANDWAGON which summarizes HAMLET as "The king and the prince meet / And everyone ends up mincemeat." As in HARAKIRI, there is a point to the mayhem here: The honor of a single family CAN outweigh the honor of the clan.

Good chambara
Although this does not have the same intensity as Hara Kiri, this film is definitely worth seeing. Like all good Japanese sword fight movies it has a very deep message. The message is about honor and upholding principles even if it involves giving up one's life.
Toshiro Mifune plays a retainer, Sasahara, to a certain lord who divorces his very headstrong wife, Ichi. This wife, Ichi, eventually is given to Sasahara's son resulting in a happy marriage. However the lord asks, no demands, that Ichi be returned to him despite the fact that she is happily married. Sasahara and his son become enraged and refuse to comply with the order given by their lord. The consequences are dreadfully intense!
The sword fights at the end are awesome especially the duel between Sasahara and Tatewaki, Tatsuya Nakadai. Again, although not as moving as Hara Kiri, this is definitely worth seeing. ... Read more

Reviews (4)

Gosha Hideo's best work in the 1970's
I like many of Gosha Hideo's work in the 1960's, such as Three Samurai(Sanbiki no Samurai), Goyokin, and the one-eyed swordsman Tange Sazen. In the 70's he produced a few ambitious works and the results varied, I found "Hunter in the Dark" to be the most successful among them. It tells a story of love and betrayal, friendships and ambitions. The characters are satisfactorily developed; they are varied, interesting and well presented - Sonny Chiba's overwhelming ambitions, Nakadai Tatsuya's commitment to the clan code of honor and friendship, Harada Yoshio's tragic past and confusions, and Kishi Keiko's helplessness and loneliness. Gosha did an excellent job in casting the movie, and all were excellent in their roles. At the end men died for their ambitions and their believes, while women gave up their lifes for love. It echoes the very primitive curses in our genetic code.

I saw the Far East DVD release in 2002, the transfer of video and audio were not very good. I look forward to a better transfer work in the U.S. DVD release.

One of the most beautiful, intense films ever made
I have seen many Japanese films but this one really stands out along with Gosha's own classic, Goyokin (1969) and Tenchu (1969). If you think samurai movies deal with nothing but sword playing, you'd better try Hunter in the Dark. The plot and main characters are as rich and complex as Godfather, and its beautiful, haunting images will grab your attention like no other films until the last scene where two opponents (played by Tatuya Nakadai & Sony Chiba) take their one final moment in a great fight. All the action sequences are extremely well done and the story plumbs into the mythic legends of the dark side of Samurai era. The acting, screenplay, cinematography, and lighting all go hand in hand to create one of the most beautiful yet intense films ever made. This is Hideo Gosha at his best. It is urgent to issue other Gosha masterpieces as well, preferably on DVD.

Film by an unjustly neglected great director
I saw that the review already posted here was wrongly attributed to this movie.This is actually a Yakuza/Samurai film set in mid 18th century Japan and is a beautifully filmed and powerful film on corruption and double dealing in a world where the underworld simply mirrors the manipulative ways of the ruling class. A samurai carrying a traumatic secret becomes the yojimbo of a gang boss (played by Tetsuya Nakadai) involved in a power struggle with a rival gang boss. The new yojimbo is enticed with offers to betray his new patron but chooses to remain loyal, thus setting into motion a tragic chain of events. Hideo Gosha is one of the world's great directors and it is unfortunate his films Tenchu and Goyokin are not more readily available, as well as his early classics such as Three Outlaw Samurai and Sword of the Beast.

Great
One of Michelle Yeoh's early efforts finds her as a bush pilot flying a bi-plane in 1930's China, running guns to the villages opposing Japanese occupation. Yeoh's character is brave and resourceful... and can she ever kick butt!Very well directed, with awesome martial arts fights. ... Read more

Reviews (1)

Watch at least twice
This is a very good film Kon Ichikawa based on the famous novel in Japan. ("Kagi" by Jun-ichiro Tanizaki.) The story is about odd relationships with old connoisseur of classic arts, his faithful and attractive wife, his daughter and daughter's fiancé. Basically, Ichikawa's films are visually very artistic and enjoyable. (Another examples, Actor's revenge, Tokyo Olympiad) Combinations of beautiful cinema photography with very weird characters are so impressive. Since this film is so visually artistic, if you have to depend on subtitles you will miss a lot of great artistic atmosphere. (Probably, that's why critics did not give great reviews for Ichikawa's films.) To enjoy the film you have watch it at least twice. Don't try to understand at once. First time, read subtitles to understand the concept of the story. Second time, ignore subtitles as much as possible and enjoy the beautiful cinema photography and story. If you watch it more, it will be better. One critical point of this VIDEO (not film), subtitles are missing in very very important scene of the movie. But still enjoyable. ... Read more

Description

Akira Kurosawa's (Rashomon, Stray Dog) exquisitely crafted adaptation of an Ed McBain mystery is one of the greatest suspense films ever made.Featuring two of Japan's greatest stars, Toshiro Mifune (Seven Samurai) and Tatsuya Nakada ... Read more

Reviews (40)

Decisions, decisions.
Does a wealthy Japanese industrialist care enough about his chauffer's son to pay the kidnapper's ransom? Could he live with himself if he didn't? I found this to be a rather interesting film. I first saw it in a philosophy class I was taking at my local community college a couple of years ago. It captured my interest. Toshiro Mifune hardly smiles throughout the whole film but can you blame him? If he pays, he's out of a large sum of cash. If he doesn't pay, the kidnappers will kill the boy hostage and Mifune will be the scourge of society. Everyone will detest him for his selfish act. And what would his son think? It's been awhile since I saw the movie but if my memory serves me correctly, were not Mifune's boy and the chauffer's son friends? That's another dilemma. It was a nice experience seeing something like this come out of Japan. It's clear that the Japanese film industry is more than competent enough to go beyond Godzilla movies and anime. Akira Kurosawa has proven that for years.

GRAND-DADDY OF THE COP MOVIE GENRE
And I thought Kurosawa was big on Samurai movies. This is a stunning cop thriller grounded in real-life Japan of the 60s.

Toshiro Mifune is an honest and hugely successful businessman who loves his job as a shoe factory exec and is in a battle for corporate control against a pack of hyenas. He has mortgaged and borrowed and scraped to raise the money for a surprise coup to takeover the firm. Until his son is kidnapped.

But then there is a major plot twist: it is not his own son who was taken but his son's friend, the chauffeur's kid, and the ransom demanded is atrocious. If he forks the dough, he stands to lose everything he has worked so hard for, but can he simply sacrifice the chauffeur's child because it is not his? From here on High and Low (perhaps better translated as Heaven and Hell) is a riveting "police procedural."

Watching Kurosawa's maestro camerawork is a rare, almost unique experience, he is a man in complete control of his visuals and his subject matter. The DVD is letterboxed and the print B&W. This not only lends beautifully to a cinematically compelling human drama, but it also draws you into the theme emotionally.

A superb film, captivating from start to finish. Highly recommended!

This Is An Extraordinarily Good Film
Watched this a few days ago for about the fifth time and have been thinking about it ever since. I think it probably is my favorite Kurosawa film.

Toshiro Mifune plays a top executive in a shoe company who is secretly planning to take over the company. He wants to keep making quality shoes and gradually expand the market. The other executives want to make cheaper shoes and take advantage of the company's reputation. Mifune has raised every yen he can, including using his house, for the buyout, but his son is kidnapped. For the ransome he'll need all the money he's raised. He's prepared to do this for the sake of his son.

Then he finds out that the kidnappers made a mistake. They kidnapped his driver's son, who is the same age as his own. What a terrible moral dilemma. Would you or I give up every dime we had to save a neighbor's or an employee's son? Mifune does, and this act has a great effect on the police and the public.

The first half of the movie takes place in his house on a hill while all this unfolds. The second half is the chase to find the boy before he's killed and to capture the kidnapper. We move from the intensity of the dilemma unfolding in Mifune's home to the gritty business of the search which takes us into some of the lowest parts of the Japanese underworld.

Mifune is powerful in the role of the father, at first torn by the decision he has to make, then commited to finding his driver's son. Tatsuya Nakadai plays the detective, handsome, smooth, professional, and ultimately deeply touched by Mifune's integrity. Years later Nakadai played the leads in Kurosawa's Kagemusha and Ran. And it was good to see Mifune out of samurai costume.

High and Low is the work of a master. The DVD has the quality and extras one has come to expect from Criterion

Delivers the excellence we expect from Kurasawa
Those from high and low positions in modern industrial Japanese society clash in this drama. While I don't easily commit to watch a long subtitled movie, this one kept my eyes glued to the screen through an effective suspense that grabs early and never lets go. The main story line comprises related subplots that are realistic and gripping without overwhelming. The acting is consistently excellent in portraying a full gamut of human emotions and difficult situations. Select this when you're ready for real entertainment from masters of their craft.

a great movie and one of Kurosawa's best.
This review is for the Criterion Collection DVD version of the film.

This film is well written and based on the Novel "King's Ransom" by Ed McBain. Having not read the novel, I cannot determine how faithful the film is to the book.

In the film a wealthy man's son is the target of a kidnapping and ransom. The ransom is ¥30 million (Yen) which in those days was a lot of money, but today is little over a quarter million US dollars.

The movie itself has some cinematography that has been imitated or is an imitation of. Most of the first 30 minutes of the film take place exclusively in a single house, similar to the film "12 angry men" and it having taken place almost exclusively inside a jury room.

The film is in black and white with a single scene in where part of the film is hand colored. I would go into further details, but it might be considered a spoiler. This scene immediately reminded me of the scenes in Schindler's list involving the girl in the red coat.

The film has some well photographed scenes and is impressive.

The Criterion DVD has no special features which is a bit dissappointing. ... Read more

Description

The gruff and arrogant hero of Yojimbo returns to the screen in another offbeat action film from Akira Kurosawa, the playful master of the samurai genre.This time, the slovenly but highly skilled warrior (played by the wonderfully deadpan Toshiro Mifune) helps a group of earnest, young samurai rid their clan of corruption.Amid the comic-book style combat, Sanjuro displays a delightfully cynical disregard for notions of good and evil and a mischievous sense of humor. ... Read more

Reviews (40)

Sanguine samurai.
Companion piece to 1961's nihilist comedy *Yojimbo*. Not so much a sequel or prequel but rather a redux sort of thing. *Yojimbo* was a boffo hit in Japan (and drew raves from all over the world), and Kurosawa, whose quest for cinematic art never precluded showmanship, gave the audience more of what it wanted: even more action, more comedy, more Toshiro Mifune than in the previous movie. A legitimate criticism of *Sanjuro* is that it somewhat lacks the originality of *Yojimbo*, in particular the End-Of-The-World rancidity in tone, atmosphere, and characters. The liner notes in Criterion's DVD even go so far as to call this movie "sunny" (what an insult! Mifune's samurai would cut your head off if he heard you call him that). "Sunny" is not the apt adjective to describe the sudden, explosive violence in the film; the body-count is too appallingly high to laugh off. The violence here still hurts, and there's a lot more of it here than in *Yojimbo*. Kurosawa may have become weary of the whole samurai genre: a very nice patrician lady admonishes Sanjuro with "good swords stay in their sheaths"; he remembers this advice following the satirically bloody, over-the-top climax. The slice-and-dice duel between Sanjuro and his enemy is, I think, Kurosawa's way of saying, "You want violent action? I'LL give you violent action!!" Thou