Akira kurosawa in Foreign DVDs & Videos

Description:

In his final collaboration with Akira Kurosawa, Toshirô Mifune portrays Dr. Kyojio "Red Beard" Niide, a gruff but caring head doctor at a 19th-century clinic for the poor. Sorely in need of competent assistance, Red Beard takes on a new intern, the ambitious Noboru Yasumoto (Yuzo Kayama). However, Yasumoto isn't made aware of his appointment until after he's visited the facility and seen its grim conditions and impoverished patients. Initially, the brash young physician rebels against the wise elder and declines his duties, but gradually Yasumoto begins to respect Red Beard and his difficult yet essential work. As Yasumoto slowly acclimates to the clinic, the story also follows the lives (and deaths) of various patients. Truly the end of an era, RED BEARD marks the dissolution of the Kurosawa/Mifune partnership and also Kurosawa's last black-and-white production. Although surprisingly little has been written about the rift between Mifune and Kurosawa, it's likely that tensions were largely due to the film's grueling two-year shoot. Despite the drama behind the camera, RED BEARD remains one of Kurosawa's underrated classics. Although Mifune is best known for his earlier roles as an impetuous youth, here he gives a mature, though no less vital, performance, echoing the mentor character Takashi Shimura played in STRAY DOG, SEVEN SAMURAI, and other Kurosawa movies. (However, Mifune does get one action-packed, YOJIMBO-worthy fight scene.) In turn, Kayama admirably fills the role of the headstrong young intern. A sort of period-piece MASH or ER, RED BEARD is a moving drama that uses doctors and patients to address the timeless notion of trying to be a good person in an often cruel world.

Description:

Set in 16th Century Japan, Akira Kurosawa's epic SEVEN SAMURAI follows the plight of a defenseless farming village that lives in constant fear of marauding bandits. The farmers know that when their crops are harvested, the thugs will attack, so four men go to town in hopes of employing samurai to fight for them. However, the poor villagers can merely offer payment in the form of shelter and a daily bowl of rice, and initially only Kambei (Takashi Shimura), a brave elder samurai, and his eager young apprentice, Katsushiro (Isao Kimura), take up their cause. Encountering various nomadic warriors on the streets, they slowly put together his team of swordsmen, recruiting Shichiroji (Daisuke Katô), Gorobei (Yoshio Inaba), Heihachi (Minoru Chiaki), and Kyuzo (Seiji Miyaguchi). Finally, Kikuchiyo (Toshirô Mifune), a scruffy wanderer who has been trailing them, completes the small band of ronin. However, upon reaching the village, the samurai learn that the farmers fear them as much the enemy. Despite the tensions, Kambei and his men slowly train the peasants to defend their village. Eventually the warriors launch a preemptive strike against the bandits, and begin a series of intense conflicts that culminates in a rain-soaked final battle--without a doubt, one of the most stunning sequences in cinema history. Widely considered to be the greatest Japanese film ever made, Kurosawa's SEVEN SAMURAI is also credited with pioneering the modern action movie. This notion is especially evident in thrilling scenes such as Kambei's rescue of a kidnapped child, Kyuzo's duel, and Kikuchiyo's intensive theft of an enemy gun. Although the film clocks in at more than three hours, the story remains consistently engaging and slowly heightens the tension while providing action, drama, comic relief, and character development. Gleefully running amuck, Mifune gives one of his most renowned performances, imbuing the often comical Kikuchiyo with a surprising streak of melancholy and introspection. However, it is Shimura that anchors the entire film as the thoughtful and courageous Kambei, who stoically takes on the leadership of an almost impossible task. A monumental achievement in filmmaking, Kurosawa's SEVEN SAMURAI is cinematic perfection in nearly every aspect, giving the production its much-deserved status as one of the best films ever created.

Description:

A "man of the woods" saves the members of a Russian surveying expedition by teaching them how to cope with nature. Years later, a member of the team meets up with him again, and tries to convince him to come and live in the city. Academy awards: Best Foreign Language Film.

Description:

This collection represents some of the giants of world cinema at the peak of their artistic prowess. Akira Kurosawa's DERSU UZALA, Claude Chabrol's LES BONNES FEMMES, Andrei Tarkovsky's THE MIRROR, Michelangelo Antonioni's IL GRIDO, and Volker Schlondorff's CIRCLE OF DECEIT are all art-house classics that are as wonderful as they are diverse. Please see individual titles for synopsis information.

Description:

Akira Kurosawa's DREAMS consists of eight short films based on actual dreams of the director. The first sequence, "Sunshine Through the Rain," features a young boy sneaking off into the forest on a rainy day to watch a procession of enchanted foxes. In "The Peach Orchard," a slightly older boy witnesses tree spirits performing a delicate dance. Weary travelers in "The Blizzard" face the elemental wrath of a snow enchantress, while "The Tunnel" finds a military officer haunted by the ghosts of his dead regiment. In "Crows," an art aficionado literally walks into the paintings of Vincent Van Gogh (played by Martin Scorsese). "Mount Fuji in Red" and "The Weeping Demon" are both fantastical cautionary tales about the hazards of nuclear power. Finally the gentle "Village of the Watermills" brings the film to a quiet, pastoral end. A highly personal project, DREAMS evinces its labor-of-love atmosphere in every sequence. As with all Kurosawa productions, each short film is meticulously designed and beautifully photographed. While many of the middle sequences are eerie and surreal, the first two films and the finale ("Sunshine Through the Rain," "The Peach Orchard," and "Village of the Watermills") are gorgeously lush and serene.

Description:

Akira Kurosawa's highly acclaimed film, set in feudal Japan, presents an intriguing tale of violent crime in the woods, told from the perspective of four different characters--a bandit (Toshirô Mifune), a woman (Machiko Kyô), her husband (Masayuki Mori), and a woodcutter (Takashi Shimura). Only two things about the incident seem to be clear--the woman was raped and her husband is now dead. However, the other elements radically differ as the four participants and/or witnesses relate their own stories (with the dead man, eerily enough, speaking through a medium). As each account is revealed, what seemed black and white turns to various hues of gray, leading to surprising--and confounding--relevations. A landmark of international cinema, RASHOMON won the prestigious Golden Lion at the Venice Film Festival in 1951, bringing both Kurosawa--and Japanese film in general--to the attention of Western audiences. From the rain-soaked opening sequence to its moving conclusion, the film is a stunning examination of truth and human nature. The entire cast is pitch-perfect, with regular Kurosawa lead actors Mifune and Shimura giving typically outstanding performances. While critics and cinephiles debate over exactly how many masterpieces Kurosawa directed, RASHOMON stands as one of the revered filmmaker's indisputably brilliant motion pictures. In fact, the film's influence is so pervasive that it has inspired everything from a high profile Hollywood remake (THE OUTRAGE starring Paul Newman) to numerous tributes in movies such as COURAGE UNDER FIRE and THE USUAL SUSPECTS.

Description:

In director Akira Kurosawa's comedic YOJIMBO, a masterless samurai, Sanjuro (Toshirô Mifune), wanders into a town divided by two warring clans. After displaying his formidable swordsmanship before both clans in a brawl with street thugs, Sanjuro offers his services to the highest bidder. When one clan conspires against him, the clever warrior switches his allegiance to the other side, with the ultimate goal of tricking the two equally despicable and foolish clans into exterminating each other. Sanjuro's authority is challenged, however, when Unosuke (Tatsuya Nakadai), a brother of one of the leaders, comes to town wielding a modern contraption: a gun. In the classic final showdown, the old world samurai is pitted against new world progress, and must use both his wits and physical prowess to survive. Perhaps Kurosawa's most overtly comic film, YOJIMBO easily ranks with the director's finest work. In this reconception of the Western, Mifune plays Sanjuro, the tough mercenary of few words, to perfection, often allowing his subtle movements and swift actions speak for him. Throughout the entire film, Sanjuro is vigilant yet stoic, conceding that he finds the scenario entertaining and absurd, and essentially has nothing to lose. Mifune's outstanding performance, combined with Kurosawa's expert direction and Kazuo Miyagawa's beautifully balanced photography, makes for one of the finest, and funniest, films in Japanese cinema.

Description:

A sequel to YOJIMBO, SANJURO features Toshirô Mifune reprising his role as the title character, an uncouth wanderer with a quick sword. While napping in a deserted shrine, the cynical and unkempt warrior is awakened by a meeting of nine young samurai who seek to weed out corruption within their city. While the youths take their situation at face value, the sleepy Sanjuro interjects with wise insight, pointing out that the real corruption may be hidden. The temple is suddenly surrounded by men seeking to kill the nine samurai, but Sanjuro cleverly hides them and fiercely deters the entire band of attackers, led by Muroto (Tatsuya Nakadai). Now indebted to Sanjuro, the novice warriors proceed to follow the unlikely hero around like lost puppies in their attempts to defeat the corrupt local officials. Akira Kurosawa's YOJIMBO was such a success that the director decided to make another film in the same comedic-adventure vein. Once again Mifune is in fine form, portraying Sanjuro as a gruff character who would rather laze about and drink sake than fight for justice. Constantly suspicious of the irreverent swordsman, his nine clean-cut followers slowly begin to look past his outward appearance and discover Sanjuro's deep, if unconventional, sense of honor. Featuring an excellent supporting cast and typically brilliant photography, the film is engaging from the bold opening scene to the tense, bloody final duel between Muroto and Sanjuro.

Description:

In this dazzling epic from Akira Kurosawa, a petty thief named Kagemusha (Tatsuya Nakadai) gets saved from a death sentence because he resembles the warlord Shingen Takeda (also Nakadai). The warlord has been fighting two other leaders for control of 16th-century Japan and impersonators often take his place during battles to put him out of harm's way. Because of Kagemusha's strong physical similarities to the warlord, he's a perfect choice for a "shadow warrior." However, the arrangement suddenly changes when Shingen gets fatally wounded while watching a battle. Adhering to Shingen's final wish, the warlord's men keep the death a secret, and Kagemusha struggles to transform himself from a criminal into a leader. KAGEMUSHA marked a welcome return for the legendary director, who had not made a movie since 1974. Nakadai, a supporting player in earlier Kurosawa films, expertly portrays the leading role(s), almost always filled in the past by Toshirô Mifune. KAGEMUSHA also features the final screen appearance of longtime Kurosawa actor, Takashi Shimura. In order to help the film get an international release, Francis Ford Coppola and George Lucas served as executive producers.

Description:

Akira Kurosawa's stunning reconception of Shakespeare's MACBETH is a dark samurai drama, set in feudal Japan. As the film begins, two soldiers--Washizu (Toshirô Mifune) and Miki (Minoru Chiaki)--find themselves lost in a dense forest during a powerful thunderstorm. Seemingly unable to leave the woods, they encounter a ghostly old woman who predicts that Washizu will soon rise to power. At the goading of his ruthless wife, Asaji (Isuzu Yamada), Washizu embarks on a murderously ambitious path and quickly fulfills the prophecy. However, his ascension is cursed by his brutal actions and soon opposition arises to challenge his blood-stained rule. One of the finest Shakespeare adaptations to appear in any medium, Kurosawa's THRONE OF BLOOD is covered in an entrancingly macabre web. The always-amazing Mifune gives one of his greatest performances as the haunted yet unrelenting Lord Washizu, while Yamada portrays the eeriest version of Lady Macbeth to ever grace the screen or stage. A master of reinterpretation, Kurosawa incorporates strong elements of Japanese Noh drama into the film, and the result adds to the somber and chilling mood. The film's highlight, however, is the tense and skillfully paced finale, which features Washizu literally up against the wall as he faces an army of vengeful archers.

Description:

A powerful, thought-provoking drama about a petty bureaucrat who discovers that he is dying of cancer. Coming to the realization that his life has been a meaningless quest for following petty company rules, he tries to create one thing of lasting worth.

Description:

Three generations of a Japanese family are moved by awakening memories of a family event involving an American relative.

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Something is rotten in Japan in this engaging drama by acclaimed director Akira Kurosawa. Toshirô Mifune stars as Koichi Nishi, the secretary to the president of a housing corporation, who seeks revenge for his father's murder. At Koichi's marriage to Kieko (Kyôko Kagawa), the president's daughter, memories of the death are stirred, and soon corruption within the organization is exposed. Unknown to the officials, Koichi is the hidden force behind the mysterious happenings that begin to weigh on their consciences and ruin their lives. As the story moves toward its tragic conclusion, spectral figures lurk in the darkened streets while others plot and scheme within their shining corporate offices. Loosely based on Shakespeare's HAMLET, Kurosawa's film skillfully combines themes from the classic play with a stylish 1960s film noir mood.

Description:

Based on KING'S RANSOM, a crime novel by Ed McBain, HIGH AND LOW stars Toshirô Mifune as Kingo Gondo, a wealthy, hardworking businessman. As Gondo plans a coup that will secure his position as the head of his Yokohama shoe company, he is contacted by a criminal who informs him that he's kidnapped his son. The crook demands a huge ransom for the boy's return--an amount that has taken Gondo 30 years of labor to amass. As the worried industrialist prepares to pay the ransom, he discovers that his son is safe at home--the kidnapper has mistakenly snatched his chauffeur's son. The question quickly becomes: Does Gondo abandon his plans to pay off the criminal, or does he do the honorable thing and help save his driver's child? This moral dilemma drives Akira Kurosawa's intelligent, detailed thriller that features Mifune in a thoughtful, nuanced performance as a man forced to make a startlingly difficult decision. The first half of Kurosawa's film takes place high upon Gondo's hilltop home, in scenes shot almost entirely in his spacious living room. The second half, however, is largely set in the lowly, cramped confines of the city where the kidnapper hides from the police investigation led by the determined Inspector Tokura (Tatsuya Nakadai). The film's excellent cast also includes Kurosawa regulars Kyôko Kagawa, Takashi Shimura, and Susumu Fujita. With its bleak backdrop of 1960s industrial Yokohama, HIGH AND LOW stands as one of the finest examples of Japanese film noir, lensed through the meticulous vision of a master filmmaker.

Description:

In this classic film noir, set in postwar Japan, Toshirô Mifune plays Matsunaga, a tough small-time gangster who takes a bullet during a fight in the slums of Tokyo. He makes his way to the office of Sanada (Takashi Shimura), a disillusioned yet passionate doctor, who treats the wound and, in the process, discovers Matsunaga has an even bigger ailment--tuberculosis. As Sanada hounds Matsunaga into dealing with his disease, the alcoholic physician and the arrogant thug form an uneasy friendship. Meanwhile, Matsunaga's mobster boss, Okada (Reisaburo Yamamoto), is released from prison with aspirations of rejuvenating his rough-and-tumble crew. Once Matsunaga is discovered ill, he's excluded from the gang, leaving him shunned by his peers with a seriously bruised ego. In an act of vengeance, he confronts Okada, leading to a violent standoff that only one man will survive. DRUNKEN ANGEL marks the first major screen role for Mifune, one of Japan's most revered actors. And although Kurosawa had made numerous movies before this production, the director himself recognized it as his first truly distinct and personally satisfying motion picture. Kurosawa skillfully sets the tone by focusing on the seedy elements of the surroundings, and, even more importantly, he lets Mifune run wild as his character simultaneously locks horns with and befriends Shimura's frustrated doctor. In fact, the terrific onscreen rapport between the two actors would later become even more apparent in other Kurosawa films, particularly STRAY DOG and SEVEN SAMURAI. However, the most significant element of DRUNKEN ANGEL is its initial collaboration between Mifune and Kurosawa, arguably the greatest actor-director pairing in cinema history. The fiery yet versatile actor and the master storyteller would go on to make fifteen more remarkable films together.

Description:

In Akira Kurosawa's gritty STRAY DOG, a young police detective named Murakami (Toshirô Mifune) gets his pistol stolen on a crowded bus during the oppressive heat of a late 1940s Tokyo summer. Since guns are scarce at the time, the impulsive Murakami decides to track it down rather than risk losing his position on the force. With the aid of Sato (Takashi Shimura), a laid-back senior officer, Murakami embarks on the determined hunt for the weapon that leads him into the darkest corners of the city's criminal underworld. As his investigation progresses, Murakami discovers that his gun has been used in both a robbery and murder, making his search for the pistol and the criminal even more urgent. Mifune's third collaboration with Kurosawa, STRAY DOG displays the renowned actor's youthful intensity, a quality that would become more mature and refined in later films such as RASHOMON and SEVEN SAMURAI. Tempering Mifune's brash character is Shimura's wise older cop, an endearing figure from his first moment on the screen. The student/mentor relationship between the two proves crucial to the film, and elevates it above many crime movies of the era. Sporting excellent photography, a swinging soundtrack, and an increasingly perilous story line, STRAY DOG exemplifies a time, place, and genre with startling verve.

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Akira Kurosawa's early career is exposed on this collection of five film from 1946-1955. NO REGRETS FOR OUR YOUTH is a touching tale about a young girl from a privileged background who is exposed to Japan's peasant farmers; ONE WONDERFUL SUNDAY follows the activities of a couple who are struggling with the poor postwar economic climate of the country; SCANDAL stars Toshiro Mifune as a painter embroiled in a tabloid scandal; THE IDIOT is an adaptation of Dostoyevsky's classic novel; and, finally, I LIVE IN FEAR also stars Mifune, this time playing a man who is terrified of the atomic bomb.

Description:

This series from Janus Films and the Criterion Collection assembles benchmark works from some of cinema's greatest filmmakers. This first volume presents Jean Renoir's GRAND ILLUSION, Jean Cocteau's BEAUTY AND THE BEAST, Peter Brook's LORD OF THE FLIES, Ingmar Bergman's WILD STRAWBERRIES, Roman Polanski's KNIFE IN THE WATER, and Akira Kurosawa's RASHOMON. Please see individual titles for further information.

Description:

For his 27th film, the "sensei" of Japanese cinema, Akira Kurosawa, transposes Shakespeare's KING LEAR to feudal Japan. RAN, which translates as "chaos" or "turmoil," is the tragic tale of Lord Hidetora, a warlord who decides to divide his empire among his three sons on the eve of his 70th birthday. However, Hidetora's youngest and most compassionate son, Saburo, defiantly objects to this hasty decision and is disowned by the proud, stubborn ruler. Once the two eldest sons take control of the empire, they quickly turn on their father and begin vying for total control over the land. As Hidetora is banished from his own kingdom in a bloody battle, he must confront the consequences of his violent, ruthless past. Ten years in the making, RAN represents the culmination of Kurosawa's career by revisiting his skill at adapting Shakespeare, as evidenced in THRONE OF BLOOD, and displaying the cinematic splendor of his other landmark films such as SEVEN SAMURAI and RASHOMON. With its magnificent costumes, breathtaking settings, and amazingly photographed battle sequences, the film is truly stunning. An epic on the grandest of scales, RAN is not only one of Kurosawa's finest films, it is a glorious masterpiece of Japanese cinema.

Description:

Akira Kurosawa's highly acclaimed film, set in feudal Japan, presents an intriguing tale of violent crime in the woods, told from the perspective of four different characters--a bandit (Toshirô Mifune), a woman (Machiko Kyô), her husband (Masayuki Mori), and a woodcutter (Takashi Shimura). Only two things about the incident seem to be clear--the woman was raped and her husband is now dead. However, the other elements radically differ as the four participants and/or witnesses relate their own stories (with the dead man, eerily enough, speaking through a medium). As each account is revealed, what seemed black and white turns to various hues of gray, leading to surprising--and confounding--relevations. A landmark of international cinema, RASHOMON won the prestigious Golden Lion at the Venice Film Festival in 1951, bringing both Kurosawa--and Japanese film in general--to the attention of Western audiences. From the rain-soaked opening sequence to its moving conclusion, the film is a stunning examination of truth and human nature. The entire cast is pitch-perfect, with regular Kurosawa lead actors Mifune and Shimura giving typically outstanding performances. While critics and cinephiles debate over exactly how many masterpieces Kurosawa directed, RASHOMON stands as one of the revered filmmaker's indisputably brilliant motion pictures. In fact, the film's influence is so pervasive that it has inspired everything from a high profile Hollywood remake (THE OUTRAGE starring Paul Newman) to numerous tributes in movies such as COURAGE UNDER FIRE and THE USUAL SUSPECTS.

Description:

A powerful, thought-provoking drama about a petty bureaucrat who discovers that he is dying of cancer. Coming to the realization that his life has been a meaningless quest for following petty company rules, he tries to create one thing of lasting worth.

Description:

During a civil war in 16th-century feudal Japan, two cowardly farmers (Minoru Chiaki and Kamatari Fujiwara) stumble upon Makabe (Toshirô Mifune), a fierce army general. Escaping from hostile territory, General Makabe embarks on a mission to rescue both Yukihime (Misa Uehara), the willfull princess of his ruling house, and the royal fortune. In the selfish hopes of finding the gold, the two misfits accompany the hardened soldier through dangerous mountain passes. In addition to its status as one of Akira Kurosawa's finest films, THE HIDDEN FORTRESS is especially notable for its influence on director George Lucas's STAR WARS. Lucas admittedly borrowed much from Kurosawa's lighthearted epic; the two bickering misfits were the inspiration for R2-D2 and C-3PO, while Princess Leia was largely patterned after the feisty Lady Yukihime. Both Luke Skywalker and Han Solo contain elements of General Makabe, but neither character matches Mifune's disciplined ferocity.

Description:

Based on KING'S RANSOM, a crime novel by Ed McBain, HIGH AND LOW stars Toshirô Mifune as Kingo Gondo, a wealthy, hardworking businessman. As Gondo plans a coup that will secure his position as the head of his Yokohama shoe company, he is contacted by a criminal who informs him that he's kidnapped his son. The crook demands a huge ransom for the boy's return--an amount that has taken Gondo 30 years of labor to amass. As the worried industrialist prepares to pay the ransom, he discovers that his son is safe at home--the kidnapper has mistakenly snatched his chauffeur's son. The question quickly becomes: Does Gondo abandon his plans to pay off the criminal, or does he do the honorable thing and help save his driver's child? This moral dilemma drives Akira Kurosawa's intelligent, detailed thriller that features Mifune in a thoughtful, nuanced performance as a man forced to make a startlingly difficult decision. The first half of Kurosawa's film takes place high upon Gondo's hilltop home, in scenes shot almost entirely in his spacious living room. The second half, however, is largely set in the lowly, cramped confines of the city where the kidnapper hides from the police investigation led by the determined Inspector Tokura (Tatsuya Nakadai). The film's excellent cast also includes Kurosawa regulars Kyôko Kagawa, Takashi Shimura, and Susumu Fujita. With its bleak backdrop of 1960s industrial Yokohama, HIGH AND LOW stands as one of the finest examples of Japanese film noir, lensed through the meticulous vision of a master filmmaker.

Description:

A sequel to YOJIMBO, SANJURO features Toshirô Mifune reprising his role as the title character, an uncouth wanderer with a quick sword. While napping in a deserted shrine, the cynical and unkempt warrior is awakened by a meeting of nine young samurai who seek to weed out corruption within their city. While the youths take their situation at face value, the sleepy Sanjuro interjects with wise insight, pointing out that the real corruption may be hidden. The temple is suddenly surrounded by men seeking to kill the nine samurai, but Sanjuro cleverly hides them and fiercely deters the entire band of attackers, led by Muroto (Tatsuya Nakadai). Now indebted to Sanjuro, the novice warriors proceed to follow the unlikely hero around like lost puppies in their attempts to defeat the corrupt local officials. Akira Kurosawa's YOJIMBO was such a success that the director decided to make another film in the same comedic-adventure vein. Once again Mifune is in fine form, portraying Sanjuro as a gruff character who would rather laze about and drink sake than fight for justice. Constantly suspicious of the irreverent swordsman, his nine clean-cut followers slowly begin to look past his outward appearance and discover Sanjuro's deep, if unconventional, sense of honor. Featuring an excellent supporting cast and typically brilliant photography, the film is engaging from the bold opening scene to the tense, bloody final duel between Muroto and Sanjuro.

Description:

Kinji Fukasaku's (BATTLE ROYALE) revered gangster series is a landmark of 1970's Japanese cinema. Set just after WWII and based on the memoirs of a real-life crime boss, these films serve to deglamorize the traditional cinematic portrayal of organized crime, instead painting its members as petty, backstabbing thugs who will turn on their closest allies for power or profit. The story follows the violent exploits of Shozo Hirono (Bunta Sugawara), a former soldier, as he joins a yakuza gang in post-bomb Hiroshima. From there, he weathers a brutal series of events, including jail terms and pulling off hits of rival gang members, on his shaky journey through the ranks. This 6-Disc box set includes all 5 films in the series, plus a bonus disc of supplemental material.

Description:

Kinji Fukasaku's (BATTLE ROYALE) revered gangster series is a landmark of 1970's Japanese cinema. Set just after WWII and based on the memoirs of a real-life crime boss, these films serve to deglamorize the traditional cinematic portrayal of organized crime, instead painting its members as petty, backstabbing thugs who will turn on their closest allies for power or profit. The story follows the violent exploits of Shozo Hirono (Bunta Sugawara), a former soldier, as he joins a yakuza gang in post-bomb Hiroshima. From there, he weathers a brutal series of events, including jail terms and pulling off hits of rival gang members, on his shaky journey through the ranks.

Description:

Akira Kurosawa's film is a sprawling social portrait of life in a Tokyo shantytown. A colorful array of down and out characters populate a cluttered dumpsite, where every day becomes a another protracted struggle just to survive. Kurosawa skillfully intertwines a number of separate narratives into a moving panorama of tortured and suffering humanity.

Description:

During a civil war in 16th-century feudal Japan, two cowardly farmers (Minoru Chiaki and Kamatari Fujiwara) stumble upon Makabe (Toshirô Mifune), a fierce army general. Escaping from hostile territory, General Makabe embarks on a mission to rescue both Yukihime (Misa Uehara), the willfull princess of his ruling house, and the royal fortune. In the selfish hopes of finding the gold, the two misfits accompany the hardened soldier through dangerous mountain passes. In addition to its status as one of Akira Kurosawa's finest films, THE HIDDEN FORTRESS is especially notable for its influence on director George Lucas's STAR WARS. Lucas admittedly borrowed much from Kurosawa's lighthearted epic; the two bickering misfits were the inspiration for R2-D2 and C-3PO, while Princess Leia was largely patterned after the feisty Lady Yukihime. Both Luke Skywalker and Han Solo contain elements of General Makabe, but neither character matches Mifune's disciplined ferocity.

Description:

In this dazzling epic from Akira Kurosawa, a petty thief named Kagemusha (Tatsuya Nakadai) gets saved from a death sentence because he resembles the warlord Shingen Takeda (also Nakadai). The warlord has been fighting two other leaders for control of 16th-century Japan and impersonators often take his place during battles to put him out of harm's way. Because of Kagemusha's strong physical similarities to the warlord, he's a perfect choice for a "shadow warrior." However, the arrangement suddenly changes when Shingen gets fatally wounded while watching a battle. Adhering to Shingen's final wish, the warlord's men keep the death a secret, and Kagemusha struggles to transform himself from a criminal into a leader. KAGEMUSHA marked a welcome return for the legendary director, who had not made a movie since 1974. Nakadai, a supporting player in earlier Kurosawa films, expertly portrays the leading role(s), almost always filled in the past by Toshirô Mifune. KAGEMUSHA also features the final screen appearance of longtime Kurosawa actor, Takashi Shimura. In order to help the film get an international release, Francis Ford Coppola and George Lucas served as executive producers.

Description:

Akira Kurosawa's stunning reconception of Shakespeare's MACBETH is a dark samurai drama, set in feudal Japan. As the film begins, two soldiers--Washizu (Toshirô Mifune) and Miki (Minoru Chiaki)--find themselves lost in a dense forest during a powerful thunderstorm. Seemingly unable to leave the woods, they encounter a ghostly old woman who predicts that Washizu will soon rise to power. At the goading of his ruthless wife, Asaji (Isuzu Yamada), Washizu embarks on a murderously ambitious path and quickly fulfills the prophecy. However, his ascension is cursed by his brutal actions and soon opposition arises to challenge his blood-stained rule. One of the finest Shakespeare adaptations to appear in any medium, Kurosawa's THRONE OF BLOOD is covered in an entrancingly macabre web. The always-amazing Mifune gives one of his greatest performances as the haunted yet unrelenting Lord Washizu, while Yamada portrays the eeriest version of Lady Macbeth to ever grace the screen or stage. A master of reinterpretation, Kurosawa incorporates strong elements of Japanese Noh drama into the film, and the result adds to the somber and chilling mood. The film's highlight, however, is the tense and skillfully paced finale, which features Washizu literally up against the wall as he faces an army of vengeful archers.