Beautiful

Crawford 2022-01-09 08:01:49

I really don’t know how to describe my first feeling! It's really a masterpiece that is hard to describe in words! The great work I am talking about at the moment is not only because of its full and progressive plot that perfectly fills the 180 minutes of time, but also because of the unparalleled visual impact and endless blank space it brings to me. The plot of the movie is actually easy to understand: a thief who looks very similar to Takeda Shingen was chosen to become a shadow samurai. In the three years after Takeda Shingen’s death, he perfectly deceived himself and everyone on the enemy, and finally followed When the incident was revealed, the Shadow Samurai himself and the Takeda family came to an end. The plot seems simple and reasonable, but under Kurosawa Akira, because of the intertwined "growth" and changes of the shadow samurai himself, it becomes beautiful. Kurosawa Akira had many famous supervisors of his time, but in my opinion, Kurosawa Akira is probably the Japanese supervisor who understands the spirit of Bushido best. The samurai in the film is for life and death, especially in the two battles in the film. The shadow samurai was originally just a thief. In the Japanese society at that time, the estrangement from the samurai family was a world. Shingen and Shinren at the beginning of the film were in an absolute high position, while the thief was full of ugliness in the corner. With Shingen's death, the Takeda family obeyed his orders and kept secret for the next three years. The burden of deceiving everyone will undoubtedly fall on the shadow samurai (referred to as shadow in the following). Shadow was unwilling at first, but as a series of things happened, Shadow changed for the first time and began to identify with his identity as a shadow warrior. And what was the general environment at this time? The coalition forces of the Oda family and the Tokugawa family were cautiously afraid of this strongest opponent when they were suspicious. It was in this situation that Shadow quickly accepted the baptism of the samurai family. First, internally, the shadow became more and more comfortable with the help of important ministers, so that he could deal with it calmly when facing Shingen's son Katsuyori in important meetings. There is one scene that I find very interesting. When the shadow first entered Xinxuan’s room, the four little servants could scold the shadow, but when the shadow showed the same expression as Xinxuan, the attitude of the little servant quickly changed, and only respect was in his eyes. And obedience, I think this is also an important part of what Kurosawa wants to express. In the final analysis, most of the obedience of the lower class to the upper class is based on the social class and the system. It is not how much shadow makes the young man succumb. It looks like a god, but the person represented by the shadow, that is, the right and status of Xinxuan. In my opinion, Kurosawa's films have always been based on perception. The biggest difference from the directors of the same period is that Kurosawa's films have always had a sense of "coolness", the lens of perfection. The plots of scheduling and very dramatic conflicts are all black The difference between Zeming and other contemporaries of Japanese supervision. However, the shadow is the shadow in the end. Such an approach undoubtedly angered Katsurai. Katsurai sent troops to attack the God City of Gaotian. Then the shadow and a group of loyal officials arrived. The film began to turn here, the rhythm began to accelerate, and the fate of the shadow and the Takeda family. At this moment, he reached the peak: the shadow seemed to be possessed by Shingen, and the Takeda family also succeeded in defeating the enemy. If, before this war, Kurosawa's shots were like a narrative scroll, delicate and smooth, then from this moment on, I can only express the visual impact Kurosawa brings with admiration and surprise: green The wind, the forest of the basket, the red fire and the mountain on which they are sitting, among the smoke and horseshoes, the formation of the generals of Kurosawa and the emotions of the people are perfectly intertwined, especially when the enemy's muskets carry out long-range sniping. The human wall, when a small man in the human wall was killed, and the reaction of the shadow after the killing, Kurosawa Akira’s shots can be interpreted a lot at this moment, you can say yes A trace of humanity in cruelty can also be said to be that life is like grass and mustard in war. This simple lens has an excellent blank meaning in my opinion. So far, the shadow has completed the biggest transformation: immovable like a mountain, which is what Shingen expected before his death. Only if the mountain does not move, the Takeda family can be stable. The shadow who lied inside and outside the house could not lie to a horse in the end, and as the shadow fell from the horse, his shadow career also heralded the end. The shadow who lost his status as a shadow warrior is back to the beginning of the film, down and down and humble, even the lowest Zuqing can humiliate him wantonly, because he has escaped from this class that did not belong to him, he has lost what he once was " The right and meaning of owning. The shadow game was exposed, Shenglai took the lead, and the "mountain" moved. The last battle of Nagashino is undoubtedly an important battle in Japanese history. This is the elegy of the Takeda family, and it is also the elegy of the old times. The Takeda family’s repeated assaults in Oda and Tokugawa Under the iron cannon of the coalition forces, it seemed so helpless. Under the lens of Akira Kurosawa, the battle was briefly and powerfully photographed. There is no picture of direct fighting, only the final farewells of the veterans, the repeated charges of the Takeda army, and the paleness and powerlessness of the shadows hidden in the battlefield. After the war, Kurosawa used a large lens to depict the remains of the battlefield, which reminds me of Picasso’s famous painting "Guernica": the broken flag and the red-stained corpse, the Takeda family came to an end Yan. In the last scene, Shadow picked up the spear next to him, rushed to the army of Oda and Tokugawa like a real samurai, and died in battle. The Fenglin Volcano flag drifts away slowly in the current, beautiful and beautiful. However, the shadow is the shadow in the end. Such an approach undoubtedly angered Katsurai. Katsurai sent troops to attack the God City of Gaotian. Then the shadow and a group of loyal officials arrived. The film began to turn here, the rhythm began to accelerate, and the fate of the shadow and the Takeda family. At this moment, he reached the peak: the shadow seemed to be possessed by Shingen, and the Takeda family also succeeded in defeating the enemy. If, before this war, Kurosawa's shots were like a narrative scroll, delicate and smooth, then from this moment on, I can only express the visual impact Kurosawa brings with admiration and surprise: green The wind, the forest of the basket, the red fire and the mountain on which they are sitting, among the smoke and horseshoes, the formation of the generals of Kurosawa and the emotions of the people are perfectly intertwined, especially when the enemy's muskets carry out long-range sniping. The human wall, when a small man in the human wall was killed, and the reaction of the shadow after the killing, Kurosawa Akira’s shots can be interpreted a lot at this moment, you can say yes A trace of humanity in cruelty can also be said to be that life is like grass and mustard in war. This simple lens has an excellent blank meaning in my opinion. So far, the shadow has completed the biggest transformation: immovable like a mountain, which is what Shingen expected before his death. Only if the mountain does not move, the Takeda family can be stable. The shadow who lied inside and outside the house could not lie to a horse in the end, and as the shadow fell from the horse, his shadow career also heralded the end. The shadow who lost his status as a shadow warrior is back to the beginning of the film, down and down and humble, even the lowest Zuqing can humiliate him wantonly, because he has escaped from this class that did not belong to him, he has lost what he once was " The right and meaning of owning. The shadow game was exposed, Shenglai took the lead, and the "mountain" moved. The last battle of Nagashino is undoubtedly an important battle in Japanese history. This is the elegy of the Takeda family, and it is also the elegy of the old times. The Takeda family’s repeated assaults in Oda and Tokugawa Under the iron cannon of the coalition forces, it seemed so helpless. Under the lens of Akira Kurosawa, the battle was briefly and powerfully photographed. There is no picture of direct fighting, only the final farewells of the veterans, the repeated charges of the Takeda army, and the paleness and powerlessness of the shadows hidden in the battlefield. After the war, Kurosawa used a large lens to depict the remains of the battlefield, which reminds me of Picasso’s famous painting "Guernica": the broken flag and the red-stained corpse, the Takeda family came to an end Yan. In the last scene, Shadow picked up the spear next to him, rushed to the army of Oda and Tokugawa like a real samurai, and died in battle. The Fenglin Volcano flag drifts away slowly in the current, beautiful and beautiful. However, the shadow is the shadow in the end. Such an approach undoubtedly angered Katsurai. Katsurai sent troops to attack the God City of Gaotian. Then the shadow and a group of loyal officials arrived. The film began to turn here, the rhythm began to accelerate, and the fate of the shadow and the Takeda family. At this moment, he reached the peak: the shadow seemed to be possessed by Shingen, and the Takeda family also succeeded in defeating the enemy. If, before this war, Kurosawa's shots were like a narrative scroll, delicate and smooth, then from this moment on, I can only express the visual impact Kurosawa brings with admiration and surprise: green The wind, the forest of the basket, the red fire and the mountain on which they are sitting, among the smoke and horseshoes, the formation of the generals of Kurosawa and the emotions of the people are perfectly intertwined, especially when the enemy's muskets carry out long-range sniping. The human wall, when a small man in the human wall was killed, and the reaction of the shadow after the killing, Kurosawa Akira’s shots can be interpreted a lot at this moment, you can say yes A trace of humanity in cruelty can also be said to be that life is like grass and mustard in war. This simple lens has an excellent blank meaning in my opinion. So far, the shadow has completed the biggest transformation: immovable like a mountain, which is what Shingen expected before his death. Only if the mountain does not move, the Takeda family can be stable. The shadow who lied inside and outside the house could not lie to a horse in the end, and as the shadow fell from the horse, his shadow career also heralded the end. The shadow who lost his status as a shadow warrior is back to the beginning of the film, down and down and humble, even the lowest Zuqing can humiliate him wantonly, because he has escaped from this class that did not belong to him, he has lost what he once was " The right and meaning of owning. The shadow game was exposed, Shenglai took the lead, and the "mountain" moved. The last battle of Nagashino is undoubtedly an important battle in Japanese history. This is the elegy of the Takeda family, and it is also the elegy of the old times. The Takeda family’s repeated assaults in Oda and Tokugawa Under the iron cannon of the coalition forces, it seemed so helpless. Under the lens of Akira Kurosawa, the battle was briefly and powerfully photographed. There is no picture of direct fighting, only the final farewells of the veterans, the repeated charges of the Takeda army, and the paleness and powerlessness of the shadows hidden in the battlefield. After the war, Kurosawa used a large lens to depict the remains of the battlefield, which reminds me of Picasso’s famous painting "Guernica": the broken flag and the red-stained corpse, the Takeda family came to an end Yan. In the last scene, Shadow picked up the spear next to him, rushed to the army of Oda and Tokugawa like a real samurai, and died in battle. The Fenglin Volcano flag drifts away slowly in the current, beautiful and beautiful. The loyal minister then arrived, the film began to turn here, the rhythm began to accelerate, the fate of the shadow and the Takeda family reached its peak at this moment: the shadow is like Shingen possessed by the Takeda family, and the Takeda family has successfully defeated the enemy. If, before this war, Kurosawa's shots were like a narrative scroll, delicate and smooth, then from this moment on, I can only express the visual impact Kurosawa brings with admiration and surprise: green The wind, the forest of the basket, the red fire and the mountain on which they are sitting, among the smoke and horseshoes, the formation of the generals of Kurosawa and the emotions of the people are perfectly intertwined, especially when the enemy's muskets carry out long-range sniping. The human wall, when a small man in the human wall was killed, and the reaction of the shadow after the killing, Kurosawa Akira’s shots can be interpreted a lot at this moment, you can say yes A trace of humanity in cruelty can also be said to be that life is like grass and mustard in war. This simple lens has an excellent blank meaning in my opinion. So far, the shadow has completed the biggest transformation: immovable like a mountain, which is what Shingen expected before his death. Only if the mountain does not move, the Takeda family can be stable. The shadow who lied inside and outside the house could not lie to a horse in the end, and as the shadow fell from the horse, his shadow career also heralded the end. The shadow who lost his status as a shadow warrior is back to the beginning of the film, down and down and humble, even the lowest Zuqing can humiliate him wantonly, because he has escaped from this class that did not belong to him, he has lost what he once was " The right and meaning of owning. The shadow game was exposed, Shenglai took the lead, and the "mountain" moved. The last battle of Nagashino is undoubtedly an important battle in Japanese history. This is the elegy of the Takeda family, and it is also the elegy of the old times. The Takeda family’s repeated assaults in Oda and Tokugawa Under the iron cannon of the coalition forces, it seemed so helpless. Under the lens of Akira Kurosawa, the battle was briefly and powerfully photographed. There is no picture of direct fighting, only the final farewells of the veterans, the repeated charges of the Takeda army, and the paleness and powerlessness of the shadows hidden in the battlefield. After the war, Kurosawa used a large lens to depict the remains of the battlefield, which reminds me of Picasso’s famous painting "Guernica": the broken flag and the red-stained corpse, the Takeda family came to an end Yan. In the last scene, Shadow picked up the spear next to him, rushed to the army of Oda and Tokugawa like a real samurai, and died in battle. The Fenglin Volcano flag drifts away slowly in the current, beautiful and beautiful. The loyal minister then arrived, the film began to turn here, the rhythm began to accelerate, the fate of the shadow and the Takeda family reached its peak at this moment: the shadow is like Shingen possessed by the Takeda family, and the Takeda family has successfully defeated the enemy. If, before this war, Kurosawa's shots were like a narrative scroll, delicate and smooth, then from this moment on, I can only express the visual impact Kurosawa brings with admiration and surprise: green The wind, the forest of the basket, the red fire and the mountain on which they are sitting, among the smoke and horseshoes, the formation of the generals of Kurosawa and the emotions of the people are perfectly intertwined, especially when the enemy's muskets carry out long-range sniping. The human wall, when a small man in the human wall was killed, and the reaction of the shadow after the killing, Kurosawa Akira’s shots can be interpreted a lot at this moment, you can say yes A trace of humanity in cruelty can also be said to be that life is like grass and mustard in war. This simple lens has an excellent blank meaning in my opinion. So far, the shadow has completed the biggest transformation: immovable like a mountain, which is what Shingen expected before his death. Only if the mountain does not move, the Takeda family can be stable. The shadow who lied inside and outside the house could not lie to a horse in the end, and as the shadow fell from the horse, his shadow career also heralded the end. The shadow who lost his status as a shadow warrior is back to the beginning of the film, down and down and humble, even the lowest Zuqing can humiliate him wantonly, because he has escaped from this class that did not belong to him, he has lost what he once was " The right and meaning of owning. The shadow game was exposed, Shenglai took the lead, and the "mountain" moved. The last battle of Nagashino is undoubtedly an important battle in Japanese history. This is the elegy of the Takeda family, and it is also the elegy of the old times. The Takeda family’s repeated assaults in Oda and Tokugawa Under the iron cannon of the coalition forces, it seemed so helpless. Under the lens of Akira Kurosawa, the battle was briefly and powerfully photographed. There is no picture of direct fighting, only the final farewells of the veterans, the repeated charges of the Takeda army, and the paleness and powerlessness of the shadows hidden in the battlefield. After the war, Kurosawa used a large lens to depict the remains of the battlefield, which reminds me of Picasso’s famous painting "Guernica": the broken flag and the red-stained corpse, the Takeda family came to an end Yan. In the last scene, Shadow picked up the spear next to him, rushed to the army of Oda and Tokugawa like a real samurai, and died in battle. The Fenglin Volcano flag drifts away slowly in the current, beautiful and beautiful. Like a long narrative scroll, delicate and smooth, from this moment on, I can only express the visual impact Kurosawa brings with admiration and surprise: the green wind, the basket of the forest, the red fire, and the sitting mountain, In the smoke and horseshoes, the formations of general Kurosawa and human emotions are perfectly intertwined, especially when the enemy's rifle is used for long-range sniping. At the time of the kill, and the reaction of the shadow after the kill, Kurosawa’s shots can be interpreted a lot at this moment. You can say that it is a trace of humanity in cruelty, or it can be said that life is in war. Like grass, this simple lens has excellent white space meaning in my opinion. So far, the shadow has completed the biggest transformation: immovable like a mountain, which is what Shingen expected before his death. Only if the mountain does not move, the Takeda family can be stable. The shadow who lied inside and outside the house could not lie to a horse in the end, and as the shadow fell from the horse, his shadow career also heralded the end. The shadow who lost his status as a shadow warrior is back to the beginning of the film, down and down and humble, even the lowest Zuqing can humiliate him wantonly, because he has escaped from this class that did not belong to him, he has lost what he once was " The right and meaning of owning. The shadow game was exposed, Shenglai took the lead, and the "mountain" moved. The last battle of Nagashino is undoubtedly an important battle in Japanese history. This is the elegy of the Takeda family, and it is also the elegy of the old times. The Takeda family’s repeated assaults in Oda and Tokugawa Under the iron cannon of the coalition forces, it seemed so helpless. Under the lens of Akira Kurosawa, the battle was briefly and powerfully photographed. There is no picture of direct fighting, only the final farewells of the veterans, the repeated charges of the Takeda army, and the paleness and powerlessness of the shadows hidden in the battlefield. After the war, Kurosawa used a large lens to depict the remains of the battlefield, which reminds me of Picasso’s famous painting "Guernica": the broken flag and the red-stained corpse, the Takeda family came to an end Yan. In the last scene, Shadow picked up the spear next to him, rushed to the army of Oda and Tokugawa like a real samurai, and died in battle. The Fenglin Volcano flag drifts away slowly in the current, beautiful and beautiful. Like a long narrative scroll, delicate and smooth, from this moment on, I can only express the visual impact Kurosawa brings with admiration and surprise: the green wind, the basket of the forest, the red fire, and the sitting mountain, In the smoke and horseshoes, the formations of general Kurosawa and human emotions are perfectly intertwined, especially when the enemy's rifle is used for long-range sniping. At the time of the kill, and the reaction of the shadow after the kill, Kurosawa’s shots can be interpreted a lot at this moment. You can say that it is a trace of humanity in cruelty, or it can be said that life is in war. Like grass, this simple lens has excellent white space meaning in my opinion. So far, the shadow has completed the biggest transformation: immovable like a mountain, which is what Shingen expected before his death. Only if the mountain does not move, the Takeda family can be stable. The shadow who lied inside and outside the house could not lie to a horse in the end, and as the shadow fell from the horse, his shadow career also heralded the end. The shadow who lost his status as a shadow warrior is back to the beginning of the film, down and down and humble, even the lowest Zuqing can humiliate him wantonly, because he has escaped from this class that did not belong to him, he has lost what he once was " The right and meaning of owning. The shadow game was exposed, Shenglai took the lead, and the "mountain" moved. The last battle of Nagashino is undoubtedly an important battle in Japanese history. This is the elegy of the Takeda family, and it is also the elegy of the old times. The Takeda family’s repeated assaults in Oda and Tokugawa Under the iron cannon of the coalition forces, it seemed so helpless. Under the lens of Akira Kurosawa, the battle was briefly and powerfully photographed. There is no picture of direct fighting, only the final farewells of the veterans, the repeated charges of the Takeda army, and the paleness and powerlessness of the shadows hidden in the battlefield. After the war, Kurosawa used a large lens to depict the remains of the battlefield, which reminds me of Picasso’s famous painting "Guernica": the broken flag and the red-stained corpse, the Takeda family came to an end Yan. In the last scene, Shadow picked up the spear next to him, rushed to the army of Oda and Tokugawa like a real samurai, and died in battle. The Fenglin Volcano flag drifts away slowly in the current, beautiful and beautiful. With a lot of interpretation, you can say that it is a trace of humanity in cruelty, or it can be said that life is like grass and mustard in war. This simple lens has an excellent blank meaning in my opinion. So far, the shadow has completed the biggest transformation: immovable like a mountain, which is what Shingen expected before his death. Only if the mountain does not move, the Takeda family can be stable. The shadow who lied inside and outside the house could not lie to a horse in the end, and as the shadow fell from the horse, his shadow career also heralded the end. The shadow who lost his status as a shadow warrior is back to the beginning of the film, down and down and humble, even the lowest Zuqing can humiliate him wantonly, because he has escaped from this class that did not belong to him, he has lost what he once was " The right and meaning of owning. The shadow game was exposed, Shenglai took the lead, and the "mountain" moved. The last battle of Nagashino is undoubtedly an important battle in Japanese history. This is the elegy of the Takeda family, and it is also the elegy of the old times. The Takeda family’s repeated assaults in Oda and Tokugawa Under the iron cannon of the coalition forces, it seemed so helpless. Under the lens of Akira Kurosawa, the battle was briefly and powerfully photographed. There is no picture of direct fighting, only the final farewells of the veterans, the repeated charges of the Takeda army, and the paleness and powerlessness of the shadows hidden in the battlefield. After the war, Kurosawa used a large lens to depict the remains of the battlefield, which reminds me of Picasso’s famous painting "Guernica": the broken flag and the red-stained corpse, the Takeda family came to an end Yan. In the last scene, Shadow picked up the spear next to him, rushed to the army of Oda and Tokugawa like a real samurai, and died in battle. The Fenglin Volcano flag drifts away slowly in the current, beautiful and beautiful. With a lot of interpretation, you can say that it is a trace of humanity in cruelty, or it can be said that life is like grass and mustard in war. This simple lens has an excellent blank meaning in my opinion. So far, the shadow has completed the biggest transformation: immovable like a mountain, which is what Shingen expected before his death. Only if the mountain does not move, the Takeda family can be stable. The shadow who lied inside and outside the house could not lie to a horse in the end, and as the shadow fell from the horse, his shadow career also heralded the end. The shadow who lost his status as a shadow warrior is back to the beginning of the film, down and down and humble, even the lowest Zuqing can humiliate him wantonly, because he has escaped from this class that did not belong to him, he has lost what he once was " The right and meaning of owning. The shadow game was exposed, Shenglai took the lead, and the "mountain" moved. The last battle of Nagashino is undoubtedly an important battle in Japanese history. This is the elegy of the Takeda family, and it is also the elegy of the old times. The Takeda family’s repeated assaults in Oda and Tokugawa Under the iron cannon of the coalition forces, it seemed so helpless. Under the lens of Akira Kurosawa, the battle was briefly and powerfully photographed. There is no picture of direct fighting, only the final farewells of the veterans, the repeated charges of the Takeda army, and the paleness and powerlessness of the shadows hidden in the battlefield. After the war, Kurosawa used a large lens to depict the remains of the battlefield, which reminds me of Picasso’s famous painting "Guernica": the broken flag and the red-stained corpse, the Takeda family came to an end Yan. In the last scene, Shadow picked up the spear next to him, rushed to the army of Oda and Tokugawa like a real samurai, and died in battle. The Fenglin Volcano flag drifts away slowly in the current, beautiful and beautiful. Oda and Tokugawa allied forces looked so helpless under the iron cannon. Under the lens of Akira Kurosawa, the battle was briefly and powerfully photographed. There is no picture of direct fighting, only the final farewells of the veterans, the repeated charges of the Takeda army, and the paleness and powerlessness of the shadows hidden in the battlefield. After the war, Kurosawa used a large lens to depict the remains of the battlefield, which reminds me of Picasso’s famous painting "Guernica": the broken flag and the red-stained corpse, the Takeda family came to an end Yan. In the last scene, Shadow picked up the spear next to him, rushed to the army of Oda and Tokugawa like a real samurai, and died in battle. The Fenglin Volcano flag drifts away slowly in the current, beautiful and beautiful. Oda and Tokugawa allied forces looked so helpless under the iron cannon. Under the lens of Akira Kurosawa, the battle was briefly and powerfully photographed. There is no picture of direct fighting, only the final farewells of the veterans, the repeated charges of the Takeda army, and the paleness and powerlessness of the shadows hidden in the battlefield. After the war, Kurosawa used a large lens to depict the remains of the battlefield, which reminds me of Picasso’s famous painting "Guernica": the broken flag and the red-stained corpse, the Takeda family came to an end Yan. In the last scene, Shadow picked up the spear next to him, rushed to the army of Oda and Tokugawa like a real samurai, and died in battle. The Fenglin Volcano flag drifts away slowly in the current, beautiful and beautiful.

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Extended Reading
  • Wendy 2022-03-28 09:01:07

    Read it again. If there is a samurai genre [I doubt it]. I think this film is most qualified to be called a samurai film among the four or five hundred period drama films I have seen. But she's also a very special samurai movie. It is the most profound and most objective and objective evaluation of the value of the samurai family, but it also dedicates all the director's personal feelings and all his knowledge of samurai to the work. It is no exaggeration to say that the shadow warrior is Akira Kurosawa himself.

  • Lysanne 2022-03-26 09:01:10

    Sure enough, the big screen is the right way to open this masterpiece. The sound of gunshots outside Noda Castle, the sound of water in the mist of Lake Suwa, the waves of the main formation, and the corpses after the charge of Changju are all oriental simplicity aesthetics. One fat and one thin sweep of the floor is reminiscent of the Legend of Heroes of the Warring States Period, as well as various small interests. From the Seven Samurai to the Shadow Warriors, the Bushido defined by Akira Kurosawa is nothing more than four words: "Dedicated to duty".

Kagemusha quotes

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

  • Kagemusha: A serious illness can change even a man's heart.