Following World War II, a retired professor, approaching his autumn years, finds his quality of life drastically reduced in war torn Tokyo. Denying despair, he pursues writing and celebrates his birthday with his adoring students.
When a powerful warlord in medieval Japan dies, a poor thief recruited to impersonate him finds difficulty living up to his role and clashes with the spirit of the warlord during turbulent times in the kingdom. Written by
Keith Loh <email@example.com>
Having assisted Akira Kurosawa by raising finance for the film, George Lucas and Francis Ford Coppola acted as executive producers on the picture and supervised the preparation of the English subtitled prints. Publicity for the picture maintained that the sub-titling on the movie was some of the clearest and easiest-to-read subtitling ever seen on a foreign language film. Moreover, the two also actively promoted the picture in the western world and English speaking territories. See more »
In the final battle there are at least 100 riflemen shown firing their matchlock rifles in volleys. The smoke generated by the matchlocks almost immediately dissipates. This indicates a more modern gunpowder was used in the matchlocks as the historically correct black powder load would blanket the battlefield with thick smoke after a handful of volleys. See more »
[Giving battle instructions to his messengers on horseback]
Tell the gunners to shoot the horses first. The Takeda cavalry cannot fight without horses.
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This film is one of Kurosawa's masterpieces and gives an profound insight in the pre-Tokugawa period of Japan. Especially remarkable is the very elaborated atmosphere of this film to which contribute the pure and simple dialogues and the use of very well-made sceneries. Kurosawa's favorite actor Tatsuya Nakadai is here at his best. Although the atmosphere is very elaborated and almost perfectly historic; tension of the viewer is heightened by the simplicity of the scenes. Kurosawa leaves certain parts to the viewer's imagination rather than showing it. The movie is highly philosophical as well as emotionally touching and presents the soul of the way of samurai and Japan's old samurai system much better and more serious than countless cheap- and bad-made martial arts movies about samurai. This is a warning to all who expect fast martial arts action and blood covered katana. This film is a Kurosawa-style mixture between opulent costume- drama, a philosophic and tragic story and the sensitivity only Kurosawa has displaying Japan's traditional way-of-life.
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