Tatsuya Nakadai

Review from clydefro.com
I wasn’t sufficiently acquainted with Kon Ichikawa’s work (and, truthfully, I’m still not), but the entire tone of his relatively obscure I Am a Cat caught me somewhat by surprise. I’d loved Ichikawa’s Fires on the Plain, a deeply and darkly humorous look at the ridiculousness of war played against that looming seriousness that’s always prevalent in those kind of films. I was then ready for some kind of Japanese incarnation of Harry and Tonto. That’s really not what I got, though. I Am a Cat is definitely steeped in comic undertones, with Tatsuya Nakadai almost parodying himself, but it’s absolutely far removed from Harry and Tonto. Instead, we’re left with some odd tribute to Nakadai’s eternally grumpy protagonist and the stray cat who’s his only true confidante.Read More »

Synopsis:
The president of the Japanese National Railways is found dead during a period in which train service is plagued by numerous layoffs, strikes and shutdowns. The government says that the president was murdered; the police claim it was a suicide. A quizzical reporter follows the case for years, but the basic question remains unanswered: was the victim killed by members of the burgeoning Communist movement in Japan, or was the death stage-managed by the authorities in hopes of discrediting the Communists?Read More »

A guilt-haunted samurai warrior attempts to stop a massacre taking place.Read More »

Rouven Linnarz wrote:
Although she would go on to make feature films as an actress, Kinuyo Tanaka’s last project as a director would be the 1963 jidaigeki “Love Under the Crucifix”, a work based on the novel “Ogin-sama” by Toko Kon. At the same time, given her development as a filmmaker, this is truly an interesting climax to a career which saw her progressing more and more, developing her skills, especially when it comes to cinematic storytelling. Additionally, the themes that defined her previous works such as “Love Letter” and “Forever a Woman” also found a fitting conclusion in a feature that, even though it was not set in the present as her other movies, it certainly made a very relevant point about gender roles within Japanese society as well as the conflict between duty and desire as expressed in the story of the main characters.Read More »

In the wake of Watergate, the scandal surrounding then Prime Minister Kakuei Tanaka’s dealings with construction companies in Japan caused a similar political upheaval. Director Yamamoto chose as the subject for his film a scandal that had taken place some ten years prior to the Tanaka disclosure, to let the Japanese people know that such corruption had long been part of their politicians’ lives.Read More »

Synopsis:
Akira Kurosawa’s lauded feudal epic presents the tale of a petty thief (Tatsuya Nakadai) who is recruited to impersonate Shingen (also Nakadai), an aging warlord, in order to avoid attacks by competing clans. When Shingen dies, his generals reluctantly agree to have the impostor take over as the powerful ruler. He soon begins to appreciate life as Shingen, but his commitment to the role is tested when he must lead his troops into battle against the forces of a rival warlord.Read More »

quote:
Haru’s Journey provides an insider’s look at Japanese culture through its themes of acceptance, endurance and familial commitment. It tells the story of elderly fisherman Tadao and his granddaughter Haru, who live in a small fishing village in Hokkaido. When Haru’s job disappears, she wants to take her stubborn grandfather to live in Tokyo where she will find more opportunities. But Tadao refuses to go to the capital, sparking a search for another family member who will share his life. Thus begins a road movie driven by family dynamics, as the two set out for Japan’s main island, Honshu, to see if one of Tadao’s siblings will look after him. First stop is his even more cantankerous older brother, Shiego, and their testy exchange reveals there’s more to Tadao’s selfishness than just old age. By contrast, selfless Haru takes on responsibility for the pair’s dwindling finances so their pilgrimage can continue…Read More »

Quote:
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 »

Synopsis:
The film begins with exposition as a lunatic asylum “mad scientist” ex-Nazi played by Amamoto Eisei (he and his pals switch back and forth between menacing Japanese and scary German the whole film) discusses how a massive diamond was lost and a young Japanese (Nakadai Tatsuya) has it in his possession. A league of assassins make comedic attempts at Nakadai’s life (along with a girl, Dan Reiko, Yuriko from Ozu’s The End of Summer and a goofy pal) which are all thwarted, naturally, since even playing a little bit of a “dweeb”, Nakadai is still graced with luck and a certain charisma (a natural fighting ability). Turns out that the diamond…Read More »