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A young man heeds the call of adventure in Yoshinari Nishikori's Tatara Samurai, leaving his idyllic village to become a soldier. He soon has second thoughts — but violence is coming his way, like it or not, in a movie that sometimes echoes its hero's ambivalence by toying with viewers' expectations of swordslinger cinema. Genre fans should respect the picture if not embrace it wholeheartedly, but history buffs will find something to appreciate as well in this 16th-century tale. Gosuke (Sho Aoyagi) comes from a family of men who make steel. Their village, Tatara, is renowned for the quality of that steel, whose strength is prized for swordmaking; its resistance to rust will make the commodity even more valuable as guns become a central part of warfare. With that transition beginning and clans battling each other nearby, Gosuke realizes that peasants are less bound than usual to their roles in feudal society. "Now is a time when anyone can move up," as one man puts it. And joining the ranks of Lord Oda's army is one path to a samurai's wealth and status. He says goodbye to his fiancee, breaks his father's heart and leaves. Dazed by his first serious encounter with carnage, Gosuke is told that he should return home and "embrace your destiny" as a metalworker. The readiness with which he agrees is a little puzzling given how eager he was to become a samurai, but this is a film that often leaves characters' motivations obscure, at least to a Western viewer's eyes. That can be frustrating on occasion, but it works well in the case of Yohei (Masahiko Tsugawa), an aging merchant who wants to convince Tatara's mayor to sell him steel for gunmaking. Soon after Gosuke's return, Yohei arrives with the news that Lord Oda intends to attack the town and take what he needs. He offers the town guns, mercenaries and training to defend themselves; though villagers argue about taking this sort of help, the die is cast as soon as one of them has his first experience firing a musket. If the film's first half didn't hew to the hero's-journey template we expected, neither does this section turn out to be a Seven Samurai-like tale of outsiders helping peasants defend themselves. Sinister things are afoot, and one happy consequence is that the dramatic burden ceases to fall exclusively on Aoyagi, who performs creditably but has a hard time expressing the character's interior conflicts. One of Gosuke's friends, Shinpei (Naoki Kobayashi), has a spark he lacks, but the film doesn't make the best use of the actor when Shinpei gets involved in third-act intrigue. Akira Sako's photography makes good use of very beautiful landscapes, lending weight to the script's talk of tradition and pride in craftsmanship. Though hardly a heart-thumping action pic, a few scenes of swordplay make the most of that precious Tatara steel.
In feudal Japan, during a bloody war between clans, two cowardly and greedy peasants, soldiers of a defeated army, stumble upon a mysterious man who guides them to a fortress hidden in the mountains.
Forced on the road by yakuza obligations, a man sets out on a reckless journey to Tsumagoi. Movie posters for local cinemas were often displayed at sento (public baths) too. The handwritten text on the bottom here announces the film will play at Hassen for 3 days.
In a maelstrom of evil, can a new magistrate, samurai Mochizuki Koheita, with a reputation like an alley cat, bring order to the town of Horisoto, or is he, too a corrupt villain looking to gain wealth from the oppressed people? From the pen of famed samurai author Yamamoto Shugoro, this exciting tale turns the tables on the standard samurai story with a unique lead character previously portrayed in Ichikawa Kon’s “Dora Heita.”
A historical drama that depicts the touching beauty of world obsession and human love in the style of light comedy, in the center of which is a young man who has a master license menkyo kaiden in the art of swordsmanship, but weak against lies and women. A remake of Bungaku no Issue, shot by Sadao Yamanaka in 1933.
Returning to their lord's castle, samurai warriors Washizu and Miki are waylaid by a spirit who predicts their futures. When the first part of the spirit's prophecy comes true, Washizu's scheming wife, Asaji, presses him to speed up the rest of the spirit's prophecy by murdering his lord and usurping his place. Director Akira Kurosawa's resetting of William Shakespeare's "Macbeth" in feudal Japan is one of his most acclaimed films.
Aspiring to an easy job as personal physician to a wealthy family, Noboru Yasumoto is disappointed when his first post after medical school takes him to a small country clinic under the gruff doctor Red Beard. Yasumoto rebels in numerous ways, but Red Beard proves a wise and patient teacher. He gradually introduces his student to the unglamorous side of the profession, ultimately assigning him to care for a prostitute rescued from a local brothel.
The critically acclaimed all-woman Japanese acting revue Takarazuka brings Rurouni Kenshin to life, creating a new twist on a globally loved story.
Manji, a highly skilled samurai, becomes cursed with immortality after a legendary battle. Haunted by the brutal murder of his sister, Manji knows that only fighting evil will regain his soul. He promises to help a young girl named Rin avenge her parents, who were killed by a group of master swordsmen led by ruthless warrior Anotsu. The mission will change Manji in ways he could never imagine.
GOZEN is a jidageki (period piece) dramas. The word “gozen” refers to a feudal game held in the presence of a Daimyo, described as a match “one must not lose”.
After six exiles return to Edo, four are mysteriously killed. Two survivors, Kosuke and Kingo, lead a search to uncover a hidden motive behind the murders.
A spree of murders in the city targets peddlers and komuso monks, all killed in the same method. Dobu investigates after a ronin's death with a unique clue.