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Kagemusha (1980)

PG  |   |  Drama, History, War  |  6 October 1980 (USA)
8.0
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Ratings: 8.0/10 from 21,041 users  
Reviews: 86 user | 65 critic

A petty thief with an utter resemblance to a samurai warlord is hired as the lord's double. When the warlord later dies the thief is forced to take up arms in his place.

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Title: Kagemusha (1980)

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Nominated for 2 Oscars. Another 20 wins & 3 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
Tsutomu Yamazaki ...
Ken'ichi Hagiwara ...
Jinpachi Nezu ...
Sohachiro Tsuchiya
Hideji Ôtaki ...
Daisuke Ryû ...
Masayuki Yui ...
...
Otsuyanokata
Mitsuko Baishô ...
Oyunokata
Hideo Murota ...
Nobufusa Baba
Takayuki Shiho ...
Masatoyo Naito
Kôji Shimizu ...
Katsusuke Atobe
Noboru Shimizu ...
Masatane Hara
Sen Yamamoto ...
Nobushige Oyamada
Shuhei Sugimori ...
Masanobu Kosaka
Edit

Storyline

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 <loh@sfu.ca>

Plot Summary | Add Synopsis

Genres:

Drama | History | War

Certificate:

PG | See all certifications »

Parents Guide:

 »
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Details

Country:

|

Language:

Release Date:

6 October 1980 (USA)  »

Also Known As:

Kagemusha (The Shadow Warrior)  »

Box Office

Budget:

$6,000,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Eastmancolor)

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Trivia

Real 16th Century costumes and armor were loaned from Japanese museums for actors to wear in the film. These were reportedly objects that were important national treasures of Japan. See more »

Goofs

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 »

Quotes

Takemaru: Why are you called a mountain, grandfather?
Kagemusha: [Unaware of the legend behind Shingen's nickname] "Mountain"?
Takemaru: Everybody calls you that. Where is the mountain? Is it because we have this mountain in our garden?
Sohachiro Tsuchiya: [Quickly intervening to cover for Kagemusha's ignorance] You know the master's banner. What is printed there?
Takemaru: [Reciting the slogan on the Takeda clan's banner] Swift as the wind... Quiet as a forest... Fierce as fire... Immovable as a mountain.
Sohachiro Tsuchiya: The lord is that mountain. Both in battle and at ...
See more »

Connections

Referenced in O Cinema Falado (1986) See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Better than Shakespeare
26 July 2002 | by (Paris, France) – See all my reviews

I saw the director's cut about twenty years after I first saw the film. Kagemusha is as magnificent now as before, but what has changed in the meantime is my appreciation of the meaning of Shakespeare's plays. The history plays and most of the tragedies were about the political dilemmas facing the new Tudor state. The Elizabethan audience sat on the edge of their seats waiting to see how political order might be restored once it had been set in disarray. The Wars of the Roses sequence culminates in the late political tragedies -- Julius Caesar, Macbeth, Hamlet and Lear. The question is always the same. How is an impersonal modern state possible when its leader is a person, the King? Or is rule by office compatible with the human flaws of the person occupying it? Shakespeare was the client of a conservative aristocratic faction, no rabble-rousing democrat he. But he went so deep into this political question in the course of writing all his plays that he dug deeper into this core issue of modern politics than anyone since.

Kurosawa approaches the same question through the notion of a double,"the shadow of a warrior", Kagemusha. Here the contrast between the office of the political leader and its personal incumbent is brought vividly to life in so many ways. The period is the Japanese equivalent of England's War of the Roses, the transition from feudalism to the beginnings of the modern state. The losing side in this case is the one that tries to resolve the contradiction of personality and office by a subterfuge, a thief masquerading as a lord. The winning side and founder of the Japanese state is the Tokugawa clan. The climactic battle symbolises the passage from traditional to modern warfare, as the horses of the losers are mown down by fusillades of gunfire. The credits run as the corpse of the double crosses a submerged flag whose abstract symbolism shows us which aspects of feudalism the modern state will borrow. Personality is vanquished.

The aesthetic vision animating this movie is incredible. There is so much to look at and admire, perhaps interpret. One striking feature for me was the persistent strong breeze ripping through the banners, a symbol of the winds of change running through 16th century Japan, contemporary to Shakespeare's period. Because this drama was made by and for the modern cinema, in many ways Kurosawa's masterpiece is better than Shakespeare.


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