Sanezumi Fujimoto

Sanezumi Fujimoto

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The Hidden Fortress Review

Long ago and far, far away, in a worn-torn feudal Japan, two graspingly venal peasant stooges, Tahei (Minoru Chaiki) and Matakishi (Kamatari Fujiwara), have escaped from a prisoner-of-war camp and are trying to get back home when they run into General Rokurota Makabe (Toshiro Mifune). He appeals to their greed for gold to enlist them into helping to bring Princess Yuki (Misa Uehara) through enemy territory and across the border to safety so she can reclaim her throne.

If Akira Kurosawa's The Hidden Fortress sounds a bit familiar, it should: It's the basic story line of not only George Lucas's Star Wars and The Phantom Menace but also Hayao Miyazaki's Princess Mononoke and countless other space operas and anime features in which a ragtag group has to bring a wayward princess through hostile territory to the safety of her throne.

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The End Of Summer Review

Yasujiro Ozu clearly had a lot on his mind as he wrote The End of Summer, his penultimate film: the old vs. the new, generational shifts, family loyalty, death. It's all in there in this wonderfully elegiac film. Leave it to Ozu to make the smoke from a crematorium chimney look positively poetic. "It's the cycle of life," someone watching the smoke comments. Indeed.

Ozu introduces us to a widowed family patriarch Mr. Kohayagawa (Ganjiro Nakamura) who is enjoying his merry widowerhood much to the consternation of his three adult daughters, each of whom has a few issues of her own to work out. One daughter, Noriko (Yôko Tsukasa), is trying to fight off an arranged marriage while worrying that her boyfriend is moving all the way to Sapporo. Another daughter, Fumiko (Michiro Aratama), is married but concerned about the family's sake brewing business. And widowed daughter Akiko (Setsuko Hara) is trying to decide if she should seek another husband.

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Sword Of Doom Review

Very Good
"Evil mind, evil sword." This is the mantra of Sword of Doom, Kihachi Okamoto's great 1965 samurai bloodletting. Tatsuya Nakadai's sword is a nihilistic bearer of death, responsible throughout the film for dozens of pointless murders, including an excruciating massacre that serves as the climax. This sequence, coming at the end of the countless deaths we have already seen, seems to take the violence into a higher plane of frenzy, almost as if the blade is injuring the very concepts of right and wrong. Thus is the sword of doom, and thus is Nakadai.

Trying to parse Nakadai's motives out of the gore is a difficult task. Some of the murders result from somewhat legitimate showdowns, especially later in the film when he is used as a killer for a Shogunate organization in decline. Yet other murders seem to come with the brutally simple justification of "practice," including the slaying of an elderly man (which will come back upon Nakadai later). Nakadai becomes an anti-hero in a true sense of the word. He becomes a figure of total nihilism as the film unfolds along its three-year plotline. His presence becomes like a specter of death, a mythological harbinger of the gravest misfortunate. Yet, he has no moral agenda, and little justification for actions, as if his conscience, the only thing that could make him human, was carefully excised from his mind. What results is a towering figure, deadly and frightening in his capriciousness.

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Sanezumi Fujimoto

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Sanezumi Fujimoto Movies

The End of Summer Movie Review

The End of Summer Movie Review

Yasujiro Ozu clearly had a lot on his mind as he wrote The End of...

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