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 <firstname.lastname@example.org>
Actor Tatsuya Nakadai played two roles in this film: Kagemusha and Shingen Takeda. Nakadai actually played both the character and the character who impersonates his character. The warlord whom the Kagemusha impersonates was based on feudal Japan daimyo (territorial lord) Takeda Shingen. See more »
When Kagemusha is being ejected from the Takeda clan compound, he is seen with his left arm in a dark purple-colored cloth sling, which covers most of his hand and forearm. As the camera shot changes to a slightly longer shot, the sling is suddenly much narrower, exposing much more of his hand and forearm. 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.
See more »
Akira Kurosawa is certainly one of the most important directors who ever lived. Most of his most famous films were made in the 50s and 60s. Rashomon, Ikiru, Yojimbo, and The Seven Samurai may be the four most famous films he made, and they were all in black and white. That format was wonderful. His films had a definitive look in that era.
I would like to suggest, though, that he was the single best director of the color image who has existed thus far (whose work I am familiar with). I have only seen two of his color films (I don't even know how many he made), this film and Ran, but his sense of color in these two films is exquisite. I had to pause it several times during Kagemusha just to stare at the beautiful composition.
I personally think that Kurosawa's talents rested mainly in the technical aspects of his films rather than the content (and I'm sure many people would argue against me here). So as for the film itself, I'd give it a 9/10 for two reasons. I was only emotionally involved during small sections of the film (the end was particularly powerful), and the story was somewhat difficult to follow (I was confused during Yojimbo and The Seven Samurai, too). I prefer Ran to this film (and to all the other films of his I've seen, which include Rashomon, The Seven Samurai, and Yojimbo). Still, Kagemusha is very good.
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