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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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>
When Toho Studios couldn't fulfill the budget demands of the film, American film directors George Lucas and Francis Ford Coppola stepped in to help Akira Kurosawa. Kurosawa was visiting San Francisco in July 1978 and met Lucas and Coppola. The two convinced studio 20th Century-Fox, still riding high after the success of Lucas' Star Wars: Episode IV - A New Hope, to advance-finance the film and fund the remaining portion of the budget. This was done in exchange for the film's world-wide distribution rights to the picture outside of Japan. This was the first time that distribution rights to a Japanese film had been pre-sold to a major Hollywood studio. 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
Kagemusha:
A serious illness can change even a man's heart.
See more »
I am a fan of Kurosawa and have seen many of his films many times. There is a sweep and an ache to Kagemusha that is genuine and has remained in my heart's memory. Unlike Ran, it is not Shakespearean. Unlike Seven Samurai, my favorite all-time film and I believe the best film ever made, it is not a western.
Although epic, it is about a sweet and rueful soul swallowed by karma and history. It is redemptive without overt sentiment, and the lead performance by Tatsuya Nakadai is nuanced and unforgettable.
I will always remember this film, not for its complexity or savagery, but for the simplest moments between Lord and subject, between the highest self and the lowest self, and most particularly, the very real pain of a man caught in the vise of his own life and death.
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I am a fan of Kurosawa and have seen many of his films many times. There is a sweep and an ache to Kagemusha that is genuine and has remained in my heart's memory. Unlike Ran, it is not Shakespearean. Unlike Seven Samurai, my favorite all-time film and I believe the best film ever made, it is not a western.
Although epic, it is about a sweet and rueful soul swallowed by karma and history. It is redemptive without overt sentiment, and the lead performance by Tatsuya Nakadai is nuanced and unforgettable.
I will always remember this film, not for its complexity or savagery, but for the simplest moments between Lord and subject, between the highest self and the lowest self, and most particularly, the very real pain of a man caught in the vise of his own life and death.