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Showa era samurai movies
Anabel 2022-03-23 09:02:10
No matter how highly rated this movie is, it cannot be overestimated. The neat structure, the control of the rhythm, and the mobilization of emotions are better than the sword of death. Whichever comes to mind, the title is the layout of Jingyi's mansion, which is symmetrical, tidy, orderly, and lawful. By the end of the war, Jin Yun had messed it up. Let's talk about the theme, the samurai films of the new century, those of Yoji Yamada, are very good, but compared to the films of the 1960s, I always feel that they lack a little strength, blood, be content with the status quo, and be a good person. In the samurai movies of the year, under the hierarchical system, under the oppression of the daimyo, the samurai forbearance, but in the end, they would break out and draw their swords in anger. Nakadai's acting is good, needless to say, if Toshiro Mifune is the protagonist, maybe at the end the male protagonist will cut down all the enemies in a dashing manner and then be maimed by random guns.
Extended Reading
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Hayden 2021-12-22 08:01:08
A true masterpiece of a samurai movie, perfect. The hypocrisy and cruelty of Bushido and its oppression of human nature, the little people fight against the magnificent tragedy of the era and the system. Hashimoto Shinobu's superb plays, neatly symmetrical classical narratives and timely recounts, the rhythm is relaxed. The lighting photography editing is excellent, and the ceremony is beautiful. Takemitsu's refined pipa plucking. Duel play gusty wind and strong grass + sky light and cloud shadow. Tatsuya Nakadai performs light lifting and can be retracted freely. (9.5/10)
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Marcellus 2021-12-22 08:01:08
The shogunate dramas of the 1960s were like Hollywood black films of the 1940s and 50s. They created a complete set of general styles with extremely high aesthetics, ranging from black and white photography buildings with costume modeling performances to Takemitsu's drawing of dragons. Although the director can inject his own thought and style into it, it is really difficult to force the program to stand out. This is also one of the reasons why Schizophrenia is highly praised, and its bean score is even 0.1% higher than that of the Seven Samurai, but Kobayashi Masaki cannot stand shoulder to shoulder with Kurosawa Akira. I personally appreciate the structure and suspense of the film: the two stories of Weng-in-law are cross-stacked, making the three top buns and two bamboo swords play a strong narrative! The former criticized hypocrisy and led to a decisive battle, while the latter was not out of cowardice. But the "Miemen" segment is weak. Arguing the wisdom of the elders with tongues, taking the martial arts of the masters and topping the buns, how could it be possible for the weak son-in-law to handle the big event of the female vomiting blood and the grandson with a high fever? After all, starvation is a matter of life and death, not more than a feudal lord forced to marry. Tsumoun’s modeling is a bit out of touch here, a bit in order to sell miserables, slightly inferior to Kobayashi's other samurai rebellion against the life-threatening sword Sasahara Issaburo.
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Hanshiro Tsugumo: The suspicious mind conjures its own demons.
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Hanshiro Tsugumo: After all, this thing we call samurai honor is ultimately nothing but a facade.