Kagemusha (1980)

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.

Director:

Akira Kurosawa

Writers:

Masato Ide, Akira Kurosawa

Stars:

Tatsuya Nakadai, Tsutomu Yamazaki, Ken'ichi Hagiwara

Nominated for 2 Oscars. Another 20 wins & 3 nominations.

Cast

Cast overview, first billed only:
Tatsuya Nakadai	...	Shingen Takeda / Kagemusha
Tsutomu Yamazaki	...	Nobukado Takeda
Ken'ichi Hagiwara	...	Katsuyori Takeda
Jinpachi Nezu	...	Sohachiro Tsuchiya
Hideji Ôtaki	...	Masakage Yamagata
Daisuke Ryû	...	Nobunaga Oda
Masayuki Yui	...	Ieyasu Tokugawa
Kaori Momoi	...	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

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.

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Plot Keywords:

double | japan | warrior | samurai | one word title | 

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Genres:

Drama | History | War

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Certificate:

PG

Details

Country:

Japan USA

Language:

Japanese

Release Date:

10 October 1980 (USA)

Also Known As:

Kagemusha

Filming Locations:

Iga Ueno Castle - 106, Uenomarunouchi, Iga City, Mie Prefecture, Japan

Box Office

Budget:

$6,000,000 (estimated)

Company Credits

Production Co:

Kurosawa Production Co., Toho Company, Twentieth Century Fox

Technical Specs

Runtime:

180 min 160 min (International Cut)

Sound Mix:

Dolby 4-Track Stereo (Japan theatrical release)

Color:

Color (Eastmancolor)

Aspect Ratio:

1.85 : 1

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.

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Goofs

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.

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Quotes

Nobukado Takeda: The shadow of a man can never stand up and walk on its own.

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Connections

Referenced in Les Associés (2009)

User Reviews

Better than Shakespeare

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.