Toshiro Mifune stars as Isaburo Sasahara, an aging swordsman living a quiet life until his clan lord orders that his son marry the lord’s mistress, who has recently displeased the ruler. Reluctantly, father and son take in the woman, and, to the family’s surprise, the young couple fall in love. But the lord soon reverses his decision and demands the mistress’s return. Against all expectations, Isaburo and his son refuse, risking the destruction of their entire family. Director Masaki Kobayashi’s Samurai Rebellion is the gripping story of a peaceful man who finally decides to take a stand against injustice.Read More »
Masaki Kobayashi
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Masaki Kobayashi – Jôi-uchi: Hairyô tsuma shimatsu AKA Samurai Rebellion (1967)
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Masaki Kobayashi – Ningen no jôken AKA The Human Condition: II. Road to Eternity (1959)
Masaki Kobayashi1951-1960DramaJapanWarQuote:
Masaki Kobayashi’s six-part magnum opus, The Human Condition, based on Junpei Gomikawa’s postwar novel, bears the imprint of Kobayashi’s tutelage under legendary filmmaker Keisuke Kinoshita at Shochiku’s Ofuna studio, a critical, introspective, and deeply personal account of wartime Japan framed from the perspective of an idealistic everyman (and Kobayashi’s alterego), Kaji (Tatsuya Nakadai). Opening to the ironic image of lovers Kaji and Michiko (Michiyo Aratama) meeting under an archway auspiciously called the Southern Gate of Peace in Manchuria as Imperial troops march in the street, Kobayashi presents an incisive image of 1930s Japanese society that is morally consumed—and ravaged—by increasingly extremist values of militarism, occupation, and nationalism.Read More » -
Masaki Kobayashi – Kaseki (1975)
Masaki Kobayashi1971-1980ArthouseDramaJapanThis drama is adapted from a Japanese television mini-series. In the story, an industrialist learns of a medical condition which will greatly shorten his life. He is on a trip to Europe at the time, and a glimpse of a Japanese woman in that setting causes him to fantasize about her as the personification of his impending death. As his dialogue with his imagined mortality continues, he actually meets the living woman who is the template for his fantasy, and together they tour rural churches. Gradually he comes to some kind of peace about the diagnosis. When he returns to Japan, he is met with a series of challenges which profoundly test the lessons he has learned.Read More »
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Masaki Kobayashi – Nihon no seishun AKA Hymn to a Tired Man (1968)
Masaki Kobayashi1961-1970DramaJapanWarKobayashi Masaki’s 1968 Toho film about a man beaten to the point of deafness by his superior officer during WWII. He meets him again through his work as an inventor, and struggles through the challenge of his son’s romantic interest in the Officer’s daughter.Read More »
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Masaki Kobayashi – Kono hiroi sora no dokoka ni aka Somewhere Beneath The Wide Sky (1954)
1951-1960DramaJapanMasaki KobayashiRomanceSOMEWHERE BENEATH THE WIDE SKY (1954, aka KONO HIROI SORA NO DOKOKA NI) came near the end of Masaki Kobayashi’s formative period as a director — scripted by the sister of his mentor Keisuke Kinoshita (and scored by Kinoshita‘s brother), this drama of middle-class life in postwar Japan tells the story lower-middle-class workers in the city of Kawasaki, and their troubles and travails.Read More »
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Masaki Kobayashi – Seppuku aka Harakiri (1962)
1961-1970ActionAsianJapanMasaki KobayashiQuote:
Following the collapse of his clan, an unemployed samurai (Tatsuya Nakadai) arrives at the manor of Lord Iyi, begging to be allowed to commit ritual suicide on the property. Iyi’s clansmen, believing the desperate ronin is merely angling for a new position, try to force his hand and get him to eviscerate himself—but they have underestimated his beliefs and his personal brand of honor. Winner of the Cannes Film Festival’s Special Jury Prize, Harakiri, directed by Masaki Kobayashi is a fierce evocation of individual agency in the face of a corrupt and hypocritical system.Read More » -
Masaki Kobayashi – Seppuku AKA Harakiri (1962) (HD)
1961-1970ActionArthouseJapanMasaki KobayashiNew, restored high-definition digital transfer, with uncompressed monaural soundtrack on the Blu-ray edition
Following the collapse of his clan, an unemployed samurai (Tatsuya Nakadai) arrives at the manor of Lord Iyi, begging to be allowed to commit ritual suicide on the property. Iyi’s clansmen, believing the desperate ronin is merely angling for a new position, try to force his hand and get him to eviscerate himself—but they have underestimated his beliefs and his personal brand of honor. Winner of the Cannes Film Festival’s Special Jury Prize, Harakiri, directed by Masaki Kobayashi is a fierce evocation of individual agency in the face of a corrupt and hypocritical system.Read More » -
Masaki Kobayashi – Musuko no seishun AKA Youth of the Son (1952)
1951-1960DramaJapanMasaki KobayashiQuote:
The story of a father and two teenaged sons, and the rivalry between the two siblings as they begin to discover the attraction of girls.YOUTH OF THE SON (1952, aka MUSUKO NO SEISHUN) marked Masaki Kobayashi’s official directorial debut, telling the story of a father and two teenaged sons, and the rivalry between the two siblings as they begin to discover the attraction of girls. Although Kobayashi is credited as director, the movie was heavily influenced (and larger supervised) by Kobayashi’s longtime mentor Keisuke Kinoshita (1912-1998) and as such, it is more dominated by a sentimental tone common to Kinoshita’s films than displays of Kobayashi’s later, familiar lyrical visual style.
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Masaki Kobayashi – Kaidan AKA Kwaidan [uncut] [+commentary] (1964)
1961-1970DramaFantasyJapanMasaki KobayashiQuote:
For a film so widely and indelibly remembered, Masaki Kobayashi’s Kwaidan has confounded a surprising number of critics over the years. Ever since its release in 1965, there have been those who have found it too long, too artificial, too self-consciously exotic, not socially minded enough for the director of The Human Condition (1959–61) and Harakiri (1962), not scary or gory enough to qualify as a horror film. To be sure, this four-part adaptation of four renowned ghost stories by Lafcadio Hearn—not quite comparable to any other film, regardless of genre or country of origin, and unique in Kobayashi’s oeuvre—defies easy categorization. That is perhaps why it has remained for countless viewers such a singular experience, clinging to memory like an unshakable dream, a glimpse into some alternate zone where light falls differently on faces, time moves by a different measure, and terror blends disturbingly with beauty.Read More »
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