Samuraifilm von Akira Kurosawa mit Takashi Shimura und Yoshio Inaba. Die Sieben Samurai ist ein japanischer Samurai-Klassiker von Akira Kurosawa, in dem. Samuraifilm · Last Samurai. Überwältigendes Actionabenteuer mit Tom. jeuxdebratz.eu | "Der Samurai" (Trailer deutsch Der Samurai | Horror Film | Thriller | Full Length | Free YouTube Movie.
Samurai Film Yojimbo, der Leibwächter
Der Samuraifilm ist ein Untergenre des japanischen Historienfilms (Jidai-geki). Es ist praktisch deckungsgleich mit dem unter den Begriffen Ken-geki (剣劇, dt. Samurai (jap. 宮本武蔵, Miyamoto Musashi) ist ein japanischer Historienfilm, von Hiroshi Inagaki nach dem Roman Musashi von Eiji Yoshikawa inszeniert. Samuraifilm · Last Samurai. Überwältigendes Actionabenteuer mit Tom. Samuraifilm von Akira Kurosawa mit Takashi Shimura und Yoshio Inaba. Die Sieben Samurai ist ein japanischer Samurai-Klassiker von Akira Kurosawa, in dem. Entdecke die besten Filme - Samurai: Kill Bill: Volume 1, Die sieben Samurai, Prinzessin Mononoke, Ghost Dog - Der Weg des Samurai, Ronin, Last Samurai. jeuxdebratz.eu | "Der Samurai" (Trailer deutsch Der Samurai | Horror Film | Thriller | Full Length | Free YouTube Movie. Ob Kurosawa oder Kintano, Samurai-Filme aus Japan bieten ein vielfältiges Spektrum von spannenden Action-Szenen über tiefsinnige.
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Sanjuro is about swagger, the mythological facade a person builds for themselves to dazzle and captivate onlookers. As opposed to the steely, cunning, relentlessly vicious Sanjuro of Yojimbo , the Sanjuro of Sanjuro is confident to the point of coming off as a roguish loudmouth, a Japanese forebear to American characters such as Ash Williams.
The fact that he can, that his meekness is just a deception hiding an unstoppable, righteous whirlwind of dismemberment, is the reason The Tale of Zatoichi spawned 26 films, the vast majority of them starring Katsu in the title role.
The stories wallow in the dirt and danger of the Edo Period, when crime and intrigue replaced the war and treachery of the samurai as the greatest dangers to the common folk.
The zato , or anma masseurs, a role traditionally for the blind , of feudal Japan were considered lowly and servile. This inaugural romp sees Ichi hired by local toughs as the ringer in a gang war, and introduces the world to his humble-looking walking stick and the nasty blade it conceals.
Amidst the unrest and corruption of the late Edo Period, the famous kabuki actor Yukinojo Kazuo Hasegawa, reprising his role from an original production , who specializes in portraying women encounters the men who drove his mother and father to madness and suicide.
He puts his lifetime of training in stage and the sword to use, sowing the distrust that will drive his enemies to madness, penury, and ruin.
Revenge of a Kabuki Actor is no less weird and dreamlike if you happen to know that during the Edo Period, actors like Yukinojo were required to dress and act like women even when not on stage.
The staging makes use of isolated set dressings and lighting that leaves the surroundings cloaked in shadow, evoking the art form Yukinojo uses to beguile and destroy his enemies.
Yukinojo does it backwards in heels. Gonza the Spearman is set in , more than a hundred years into the Edo period, when samurai wondered just what a warrior is when he has no war to fight.
Inevitably, their passions, desires and petty grievances are punished by the stifling, unforgiving way of life under the shogun, in which performing an intricate tea ceremony improperly can bring dishonor to a perfectly capable samurai.
There is only one scene of violence in Gonza , long-delayed but as sickeningly inevitable as it is graphic.
The movie ends on that same ridiculously intricate tea ceremony, and the face of an orphaned girl as she impassively pretends that all of this is just fine.
A young aspiring doctor shows up at his clinic, learns that he is to be apprenticed there, and sees the utterly miserable state of the destitute people Akahige takes in.
His presence, and the respect his patients have for him, is felt before he finally invites his young, reluctant apprentice into the room and gives him a long, severe stare from behind a truly epic beard.
Early on, Itto makes his oblivious son choose between a bitter life of vengeance or the sweet, sweet release of death by putting a sword and a ball on the floor and observing which token the infant crawls toward.
Itto foreswears all honor and propriety to walk a path of certain damnation. Across six ultraviolent films, that way is long and paved with his butchered foes.
Surely not every wandering ronin was a terse, violent jerk. As heavy rains trap them in a town, Ihei keeps running afoul of situations that demand he draw his sword despite his peaceful and easygoing nature.
After the Rain is a movie about decency and how it can get an honest man in trouble in a cynical time. Dora-heita winks at the audience from the beginning, and has the good sense to keep the blood to a minimum so as not to spoil the fun.
The movie knows that in a world of pimps and mobsters, the men in that room are the real villains. The fact Koheita never once wets his blade with the blood of his enemies—preferring either intricate judo or the blunt edge of his sword—is just one more cathartic insult to his foes.
For a samurai, death is glorious, but the indignity of a good spanking is universal. Toshiro Mifune returns as the lowly but determined ronin Niiro, the bastard of an unnamed lord whose only ambition is to make a name for himself at any cost.
The film is guilty of dumping a lot of exposition through uninterestingly shot dialogue, but it all culminates in a truly gruesome melee, with dozens of swordsmen trading chaotic blows amidst a snowstorm.
The film follows an itinerant, layabout swordsman named Kiba played by a then-fledgling Isao Natsuyagi who is contracted by a blind waystation boss to protect a shipment of gold from a competing group of assassin couriers.
Gosha never managed to achieve the level of esteem and recognition bestowed on the likes of Kurosawa, but the years since his passing in have seen a significant reappraisal of his work.
Let no one hesitate to ever include Tatsuya Nakadai in all discussions regarding the greatest Japanese actors of his era, so indelible is his voice, his stare, his impregnable presence: Be it the beleaguered father of Harakiri or the ambitious demagogue of Hitokiri not to mention in era-defining works from Ichikawa, Okomoto and Teshigahara , within incomprehensibly constricted amounts of industry time, Nakadai came to embody the infinitely subtle gradations of the period film, the ways in which Japanese directors especially were able to work inside the studio system to both define and completely reimagine what genre film could be.
Have superhero movies burned you out? Do you need a break from big-screen commotions involving costumed men and women flying about all higgledy piggledy, blasting one another with computer-generated energy blasts or slugging it out with their bare hands?
Are you itching to place the blame for the modern theatrical glut of comic book franchise films somewhere? With Zatoichi , he manages to do all three at once and have a grand old time in the process.
Just … goose bumps. Between duty and the deeper demands of an emotional life, what is really worth fighting for? Man, Hideo Gosha sure does have a thing for rogue samurai and the revenge they visit upon the corrupt.
The good news is that Gennosuke is a pretty darn good fighter. And how many samurai movies are there in existence where a wandering samurai, who is either masterless, unscrupulous, jaded, or some combination of the three, decides to involve himself in the travails of warring clans and elected officials?
Quite a lot, it turns out, and some of them happen to be based on the same source novel as one another. The films alternate between mediation and action, both in context as individual movies and as parts of a greater whole; Samurai II: Duel at Ichijoji Temple in particular emphasizes action more than its siblings, ending with a massive battle between Musashi and a horde of bad guys in need of a few sword slashes apiece.
We want to spend more time with them, disloyal as they may be. His most recent effort is What a Wonderful Family! Like The Twilight Samurai , The Hidden Blade downplays the traditions of its genre and instead fastens samurai iconography to a love story and an historical drama, set around the point in Japanese history where samurai culture gave up the ghost.
He has a gift for reframing our expectations of samurai films, and an abiding compassion for the characters at the center of his narratives, save for those guilty of trampling poor unfortunates under malfeasant rule.
The Hidden Blade is heartbreaking, but maintains warmth in spite of its documented anguish. Otherwise known as Life of an Expert Swordsman.
But such is his love for her that he decides to help the man she does love win her hand. Hotei, a. They just carry swords so they can kill people.
Bloody Spear at Mount Fuji plays in a fairly typical samurai sandbox when boiled down to themes, but unlike a percentage of samurai films of its era, this Tomu Uchida joint is built on humor and charm that carries the plot for the first hour.
After that, all of the legwork done in service to character and tone pays off with a whole lot of violent, well-executed action in its finale, as Genpachi Chiezo Kataoka , servant to the samurai Sakawa Kojuro Eijiro Kataoka , doles out harshness at spear-point.
There is, of course, much more to Bloody Spear at Mount Fuji than that, but Uchida sees division in class as the ultimate inequity, an ugliness that he contrasts with beautiful cinematography and a bevy of terrific performances from his cast.
In , Commodore Matthew C. Perry of the U. Navy sailed into Edo Bay with four warships, demanded Japan open itself up to trade, and shelled the bejeezus out of some buildings to prove he meant business.
To say it kicked off a century of animosity between the two countries would be an understatement. It also signaled a beginning of the end of the Tokugawa Shogunate.
This culminated in the toppling of the shogunate and a return to power of the emperor. Films set in this period feature stories loosely based on real episodes of espionage and revolution, the conflict between tradition and modernity, and sober reflections on the passing of an age as obsolete samurai come to grips with a new world.
Study the soul to know the sword. Evil mind, evil sword. The only way to stop him? A freeze-frame to bring the film to a sudden, jolting finish.
In Shimada, Ryunosuke sees his better, and in so doing sees his own mortality, and in the courtesan house he sees his sins coming full circle to haunt him.
No samurai film captures sudden insanity, begotten by grief, quite so well as this one. Sword of Doom is the more fleet adaptation of this same story, but in , these three violent, haunting films were a longer retelling of the original serial novel by Kaizan Nakazato.
The souls Ryunosuke leaves in his wake bay for his blood. We watch as he changes allegiances, duels fearsome opponents, and bit by bit becomes more physically and psychologically hobbled.
Yet, not even the loss of his vision in an explosion can stop his vicious swordplay skills. It ends as we know it must—with the murderous swordsman in the giddy grip of what he does best.
He will never stop. Quentin Tarantino gets flak for his pastiche habits, but when Tarantino steals, he steals from the best.
Yuki Kashima avenges first the murder of her family, and then the corruption of her country. Mysteriously, agents of the shogun issue a pardon to a murderous ronin despite his apparent loyalty to the Emperor.
Knowing full well he might betray the shogun at any time, his handler tasks an underling with murdering the ronin should he step out of line. Assassin is a highly fictionalized telling of real-life historical figure Kiyokawa Hachiro Tetsuro Tamba.
The film portrays him as a terse snake of a backstabber, his every motive as shadowy as his face beneath his straw hat and his every move filling his hapless foes with uncertainty and dread.
Much of the film unfolds in flashbacks as his enemies recall parts of his life in the hopes of getting at the truth behind the man.
Assassin depicts the end of an era and a deeply traditional society in upheaval. At the center of that chaos is Kiyokawa—menacing, deadly and ultimately unknowable.
The end of the Shogunate told through the unblinking eyes and stubborn hearts of its fiercest defenders, the story of Shinsengumi is one known well in Japan, which might be why director Tadashi Sawashima offers very little in the way of context or explanation when it comes to those of us um, Americans who know next to nothing about Japanese feudalistic history.
Simpler than all of them and yet truer to the common folk than any of them, Gonzo is a spitting, slashing dervish of populism. He shreds debt notes, liberates prostitutes, redistributes ill-gotten wealth, and generally induces the citizenry to riots and revelry, with no proof of his Imperial legitimacy beyond his good-natured bluster.
Many films set in this time period are dour affairs that lament the passing of an age, or at least the good people in it. Pare che, durante il casting per il film, Tarantino sfruttasse le pause per riguardare questo film.
Giappone, Era Meiji: in una prigione di Tokyo una donna partorisce una bambina e muore dopo il parto. La fanciulla, chiamata Shurayuki, viene cresciuta da un maestro di spada e arti marziali.
Un film che ha pochi eguali per estetica e presenza scenica. Punti di forza un protagonista monumentale e una sceneggiatura capace di raccontare al meglio la barbarie della vendetta , della sete di potere e la caduta nella follia.
In un susseguirsi di azione mozzafiato ed evocativa messa in scena, i protagonisti sveleranno le fitte trame di un piano architettato per abbattere lo shogunato Tokugawa.
Epiche le musiche di Kaoru Wada. Violenza, onore e filosofia sono la colonna portante di questo bel film. Ha ricevuto numerose nomination, tra cui miglior film straniero agli Academy Awards e altrettanti premi, vincendone ben dodici ai Japanese Academy Awards.
Giunto in un paese minacciato da una faida fra criminali, lo spadaccino decide di offire il proprio aiuto per porre fine ai soprusi degli yakuza.
Il film, a differenza di altre opere del genere, cerca di non esaltare la violenza e il sangue ma di raccontare la storia interponendo al dramma, sottolineato dalle belle musiche, interruzioni comiche che possano sia intrattenere che tratteggiare i personaggi.
Non mancano comunque le sequenze dove il massaggiatore cieco mette in mostra la sua forza. Fluidi e ottimamente coreografati, gli scontri riescono a fondere con maestria violenza e delicatezza artistica, come una letale danza.
Dove vederlo in streaming? Andrea Pochiero 2 Agosto 14 minuti di lettura. Potrebbe interessarti anche:.
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