Hiroshi Inagaki’s “Samurai I: Musashi Miyamoto” was a critical and box office success. It was time to continue the narrative in the second entry of “The Samurai Trilogy.” Inagaki would raise more stakes, and much of Musashi’s history would be covered, albeit in a more theatrically romanticized way. Also, a major player in the narrative would be introduced, one that would participate in a significant event in the life of Musashi Miyamoto. So much content would be covered in the entertaining follow-up “Samurai II: Duel at Ichijoji Temple.”
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A majority of the cast from the previous returned, but some were recast here. Rentaro Mikuni was replaced in the part of Matahachi Honiden by Sachio Sakai. This change was likely due to Mikuni’s demanding schedule as he became more and more of a popular star in Japan. The renowned talent would work with...
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A majority of the cast from the previous returned, but some were recast here. Rentaro Mikuni was replaced in the part of Matahachi Honiden by Sachio Sakai. This change was likely due to Mikuni’s demanding schedule as he became more and more of a popular star in Japan. The renowned talent would work with...
- 7/15/2022
- by Sean Barry
- AsianMoviePulse
The famous swordsman Musashi Miyamoto has been depicted in entertainment countless times with various interpretations. Some depictions of him are grounded and closer to his known history, while other versions are more romanticized in nature with elements of truth. Eiji Yoshikawa would detail the samurai’s life in his grand novel “Musashi,” which loosely details the life of the skilled warrior but with a fictional spin. Yoshikawa’s version of events would be the template for countless cinematic adaptations. One of the most popular adaptations is “The Samurai Trilogy,” directed by Hiroshi Inagaki, a three-part epic chronicle of the life of Musashi. The trilogy would be off to a terrific start in the first entry, “Samurai I: Musashi Miyamoto.”
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As typical with the work of Hiroshi Inagaki, high production values would be on full display and this time in luscious Eastmancolor. With Toho being the production company,...
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As typical with the work of Hiroshi Inagaki, high production values would be on full display and this time in luscious Eastmancolor. With Toho being the production company,...
- 7/11/2022
- by Sean Barry
- AsianMoviePulse
Stars: Masayuki Mori, Eitaro Ozawa, Kinuyo Tanaka, Mitsuko Mito, Machiko Kyō | Written by Matsutarō Kawaguchi, Yoshikata Yoda | Directed by Kenji Mizoguchi
Kenji Mizoguchi was one part of the Holy Trinity of directors – alongside Akira Kurosawa and Yasujirō Ozu – spearheading the Golden Age of Japanese cinema in the 1950s. Released in 1953, Ugetsu is based on the book by Ueda Akinari, written in the 18th century (one of two known works by the author). Mizoguchi states upfront that he’s “refreshing the fantasies” of Akinari, which is a nice way of putting it.
The story opens in the village of Nakanogō in Omi Province, sometime in the 16th century. Genjūrō (Masayuki Mori) and Tōbei (Eitaro Ozawa) are best pals. Genjūrō is a potter; Tōbei is a clutz who dreams of being a samurai. One day the village is attacked by soldiers. Genjūrō and Tōbei flee with their wives, Miyagi (Kinuyo Tanaka) and...
Kenji Mizoguchi was one part of the Holy Trinity of directors – alongside Akira Kurosawa and Yasujirō Ozu – spearheading the Golden Age of Japanese cinema in the 1950s. Released in 1953, Ugetsu is based on the book by Ueda Akinari, written in the 18th century (one of two known works by the author). Mizoguchi states upfront that he’s “refreshing the fantasies” of Akinari, which is a nice way of putting it.
The story opens in the village of Nakanogō in Omi Province, sometime in the 16th century. Genjūrō (Masayuki Mori) and Tōbei (Eitaro Ozawa) are best pals. Genjūrō is a potter; Tōbei is a clutz who dreams of being a samurai. One day the village is attacked by soldiers. Genjūrō and Tōbei flee with their wives, Miyagi (Kinuyo Tanaka) and...
- 3/5/2019
- by Rupert Harvey
- Nerdly
Ugetsu
Blu-ray
Criterion
1953 / B&W / 1:33 / Street Date June 6, 2017
Starring: Mitsuko Mito, Masayuki Mori, Kikue Mouri, Sakae Ozawa, Kinuyo Tanaka
Cinematography: Kazuo Miyagawa
Film Editor: Mitsuzô Miyata
Written by Matsutarô Kawaguchi, Yoshikata Yoda
Produced by Masaichi Nagata
Music: Fumio Hayasaka, Tamekichi Mochizuki, Ichirô Saitô
Directed by Kenji Mizoguchi
In 1941 Orson Welles was busy giving the film industry a hot foot with Citizen Kane, a bullet-train of a movie whose rhythms sprang from the ever accelerating hustle and bustle of contemporary American life. That same year one of Japan’s greatest filmmakers, Kenji Mizoguchi, was taking his sweet time with a four hour samurai epic set 240 years in the past, The 47 Ronin.
The story of a band of loyal soldiers seeking revenge on a corrupt landowner, The 47 Ronin plays out in a precisely measured, ceremonial style, its 241 minutes leading up to the moment when the fierce band of brothers...
Blu-ray
Criterion
1953 / B&W / 1:33 / Street Date June 6, 2017
Starring: Mitsuko Mito, Masayuki Mori, Kikue Mouri, Sakae Ozawa, Kinuyo Tanaka
Cinematography: Kazuo Miyagawa
Film Editor: Mitsuzô Miyata
Written by Matsutarô Kawaguchi, Yoshikata Yoda
Produced by Masaichi Nagata
Music: Fumio Hayasaka, Tamekichi Mochizuki, Ichirô Saitô
Directed by Kenji Mizoguchi
In 1941 Orson Welles was busy giving the film industry a hot foot with Citizen Kane, a bullet-train of a movie whose rhythms sprang from the ever accelerating hustle and bustle of contemporary American life. That same year one of Japan’s greatest filmmakers, Kenji Mizoguchi, was taking his sweet time with a four hour samurai epic set 240 years in the past, The 47 Ronin.
The story of a band of loyal soldiers seeking revenge on a corrupt landowner, The 47 Ronin plays out in a precisely measured, ceremonial style, its 241 minutes leading up to the moment when the fierce band of brothers...
- 7/1/2017
- by Charlie Largent
- Trailers from Hell
Anytime I watch Mizoguchi’s work…really any of it, but especially from this later period of his career – which includes The Crucified Lovers, Sansho the Bailiff, The Life of Oharu, and The Woman in the Rumor – I really am put face to face with how relatively little we gladly settle for in much of the rest of cinema. It’s not that there’s anything necessarily wrong with all those other movies. Many of them I value a good deal more than I do Mizoguchi. But in Mizoguchi, as one often does in Bergman, you’re granted a rare combination of imagination, audacity, and mastery that few films even attempt and very, very, very few manage to pull off. You can too often pick apart some tonal shift, some acting choice, some extraneous scene or shot or just something that doesn’t fit. In Mizoguchi’s best work, everything fits.
- 6/29/2017
- by Scott Nye
- CriterionCast
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