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Os arquivos para DVD 9 n. Up By CycloneSP / Release. Para aprender com ele, Rob aceita n. Como gravar jogos em DVD? Jogos para Celular; O que . DVD Release: FLT Idioma. Vendo Gol G 5 TREND 1.0 4 portas. Planeta Terra se esgotou e as tentativas coloniais de outros corpos planet. Enquanto as monstruosidades gigantescas interior e nos oceanos parecem relativamente calmas, insetos e fungos de tamanho humano est. Como elas se espalham, eles v. But evidence suggests they were stylistically crude – more or less straightforward recordings of onstage action. The revolution in chanbara came in the late 1. Chuji’s Travel Diary (1. It was from these that the modern samurai film was born. After the Second World War, the Allied occupation restricted films promoting feudal values, putting the kibosh on this most Japanese of action genres. When the occupiers departed in 1. As popular as the western in America, films based on legendary figures such as Musashi Miyamoto or the outlaw Chuji Kunisada, or historical tales such as . But distributors in the west had their blind spots, and little of the vast, popular output of, for example, the Toei studio has ever been seen overseas. To this day, classics like Bloody Spear at Mount Fuji (1. Let’s hope we’ll see some of these missing milestones being released for home viewing in the future. For now, the new Blu- ray release of Seven Samurai, and these nine other readily available genre gems, present the perfecting jumping off point. Seven Samurai (1. Director Akira Kurosawa. Poster for Seven Samurai (1. Akira Kurosawa’s monumental tale of heroism and humanism, set in the late 1. Warring States Period, is the director’s most famous work. It was joint recipient (alongside Mizoguchi’s Ugetsu Monogatari) of the Silver Lion Award at the 1. Venice Film Festival, and ranked 1. Sight & Sound poll of critics to determine the Greatest Films of All Time.
The film depicts seven ronin (masterless samurai) as they band together to protect a beleaguered farming community from repeated attacks by marauding bandits. The epic three- and- a- half- hour runtime, on- location shooting, and use of multiple camera set- ups for its action scenes made this release from the Toho studio the most expensive Japanese production of its day. Most impressive is the use of physical geography and natural weather conditions to enhance the drama and the attention to each of its characters’ narrative arcs, resulting in a rich and involving work that has cast an incredibly long shadow across the world. Officially remade as the Hollywood western The Magnificent Seven in 1. The Dirty Dozen (1. Bollywood film Sholay (1. The Samurai trilogy (1. Director Hiroshi Inagaki. Samurai I: Musashi Miyamoto (1. The film was the first samurai film that Akira Kurosawa directed. He had originally wanted to direct a film about a single day in the life of a samurai, but later. He is, quite literally, one of the most important and influential film makers of all time. His work spanned all kinds of genres, including drama, samurai epics. The first official trailer has debuted online for a fantastic documentary. Read articles and publications about The Seven Samurai, 1954, directed by Akira Kurosawa, with Toshiro Mifune, Takashi Shimura, Kuninori Kodo. Movies (Now Showing) Movies and the Theaters Playing Them. Looking for theater schedules? Try Theaters (formerly The Marquee). New Movies; Box Office; Your Favorites. Samurai I: Musashi Miyamoto (1. Samurai II: Duel at Ichijoji Temple (1. Samurai III: Duel at Ganryu Island (1. Samurai I: Musashi Miyamoto (1954) Samurai II: Duel at Ichijoji Temple (1955) Samurai III: Duel at Ganryu Island (1956) With Toei, the largest producer of period.With Toei, the largest producer of period action dramas, remaining aloof to the vogue among Japanese studios of submitting works to international festivals throughout the 1. Toho’s entries in the field that provided foreign viewers with the most open window onto the country’s mythic past. Helen DeWitt’s Remarkable The Last Samurai Returns, and Is More Relevant Than Ever. The life of master swordsman Musashi Miyamoto (1. Zen ink brush, have been immortalised on film numerous occasions, including a 1. Mizoguchi for Shochiku. However it was Toho’s first colour production, and the first instalment of Inagaki’s remakes of his earlier trilogy for Nikkatsu studios (1. Eiji Yoshikawa, which won the Honorary Foreign Language Film Award at the 1. Oscars. Along with the works of Kurosawa, the films helped forge the international status of the studio’s contracted star, Toshiro Mifune, as the most iconic of screen samurais. Strangely overlooked today, the series charts Miyamoto’s rise from the formative years of his rural upbringing to his first taste of glory at battle, then through his further training, before Duel at Ganryu Island sees him renouncing his search for fame to concentrate on his quest for inner truth, culminating in a remarkable duel by sunset. Throne of Blood (1. Director Akira Kurosawa. Throne of Blood (1. Kurosawa’s oeuvre is so well- represented among western releases, so critically regarded and so impressive, it is difficult to know which to single out for individual attention lest this list turn exclusively into a celebration of this most famous of Japanese filmmakers. One could argue equally forcefully for Hidden Fortress (1. George Lucas, featuring two peasants enlisted into the service of a notorious general and the princess of a defeated clan (and represented Kurosawa’s first feature in widescreen Toho. Scope); the western- inspired Yojimbo (1. Kagemusha (1. 98. Century Fox. However, this eerie restaging of Macbeth in 1. Japan is worth singling out as a counterpoint to these more action- driven pieces. With its expressive use of light and shadows and stylised use of Noh’s theatrical conventions to convey the psychological torment of its protagonist, it is regarded as one of the most successful cinematic renditions of the Bard ever made. Kurosawa would later return to Shakespeare with his 1. King Lear, Ran. Harakiri (1. Director Masaki Kobayashi. Harakiri (1. 96. 2)The first jidaigeki by Kwaidan (1. Masaki Kobayashi, about a young ronin during the early Tokugawa period (c. As its title suggests, the relatively slow drama comes punctuated by moments of extreme goriness, mercifully rendered in monochrome. Formally, the film is quite stunning, making impressive use of the peculiarities of Japanese architecture, selective lighting effects and judicious placement of its characters across the scope frame to create a striking collection of grid- like compositions conveying the oppressiveness of this highly- structured society. Toru Takemitsu’s percussive, atonal soundtrack similarly adds to the haunting air of detachment. Samurai Assassin (1. Director Kihachi Okamoto. Samurai Assassin (1. In Samurai Assassin, set in 1. Tokugawa Shogunate, Toshiro Mifune plays a roguish ronin unaware of the identity of his nobleman father, and who’s driven with ambitions of securing samurai status at a time when this warrior class is on the cusp of being abolished. He becomes involved in a plot to assassinate Ii Naosuke, a powerful official in the shogunate’s military government whose calls for opening up the country to foreign trade anger nationalists. The scene is set for the final implosion, and one which will see the age of the samurai over once and for all. This strikingly- shot dramatisation of an incredibly complex defining point in history (one tackled in a number of films, including Masahiro Shinoda’s first period drama, Assassination, in 1. The historical background, delivered in a combination of terse voiceover narration and whispered intrigues, is dense in detail. The climactic battle, however, framed in spectacular monochrome scope during a snowstorm at Edo Castle, provides more than adequate reward for patience. Directed by one of the stalwarts of the jidaigeki during the 1. Kihachi Okamoto, whose signature works include The Sword of Doom (1. Kill! Add to the mix a British director known for his work on three early Bond films, and love interest in the shapely form of Swiss- born actress Ursula Andress, and one is left with a unique transnational curio, one with little in the way of authenticity to any culture, but an enjoyable romp nonetheless. Lady Snowblood (1. Director Toshiya Fujita. Lady Snowblood (1. Meiko Kaji’s most representative screen role, as the kimono- clad avenging angel immortalised in the cinematic diptych adapted from Kazuo Koike’s pioneering manga series of the 1. Lucy Liu’s character of O- Ren Ishii in Quentin Tarantino’s Kill Bill (2. This first of the two films (Lady Snowblood 2: Love Song of Vengeance was released the same year) is by far the best, as our titular heroine slices and dices her way through Meiji- era Japan in mute displays of bloody carnage as she seeks revenge against those who raped her mother and left her to rot in jail. Despite the early modern- era setting, the film contains many of the same tropes of earlier samurai films (albeit with a lot more bloodletting), most notably another Koike adaptation that preceded it, the seven- film Lone Wolf and Cub (1. Shogun Assassin (1. Director Robert Houston. Shogun Assassin (1. Kazuo Koike’s classic manga series Lone Wolf and Cub features a disgraced former executioner of the Shogun, Itto Ogami, who is wrongly accused of treason and forced to live as an outlaw with his infant son Daigoro following the murder of his wife. He was memorably introduced to the west with this US release, edited together from the first two film adaptations, Baby Cart to Hades and Baby Cart at the River Styx, both directed by Kenji Misumi and released in 1. Fondly remembered by a generation weaned on VHS (its graphic violence saw the film consigned to the video nasties list in the 1. American version is effectively an . Shogun Assassin certainly preserves the hyper- realistic arterial spurts and bone- crushing violence of the originals, but loses out on the moments of Zen- like stillness. The originals are undeniable classics and well worth checking out, but Shogun Assassin nonetheless remains a hugely- entertaining guilty pleasure in its own right. Twilight Samurai (2. Director Yoji Yamada. The Twilight Samurai (2. The man responsible for bringing the loveable travelling salesman Tora- san to the screen in the long- running It’s Tough Being a Man (1. As an antidote to Hollywood’s post- 9/1. Japanese feudal history in Edward Zwick’s The Last Samurai (2. Yamada’s affable take on the samurai as low- ranking everyman, Twilight Samurai stems from a similar political standpoint as the director’s earlier comedy dramas. Its hero is a petty bureaucrat forced to react against the personal and wider historical circumstances he finds himself beset by in the twilight years of the feudal era preceding the Meiji Restoration of 1. The first of Yamada’s . As in his takes on yakuza gangster films in the late- 1. Takashi Miike’s revisionism veers more towards the stylistic rather than the socio- political end of things, in this remake of Eichi Kudo’s 1. Kudo’s work, produced at Toei and thus little- known in the west, were made during a decline in popularity in jidaigeki and marked with the era’s concern for a greater degree of gritty realism. His signature samurai action films, based on original stories, vibrantly captured the spirit of the times, with titles like The Great Killing (1. The 1. 5 Best Samurai Films NOT Directed By Akira Kurosawa « Taste of Cinema. In Japanese cinema, the genre of jidaigeki refers to films set in a pre- 2. Century period of Japanese history. A sub- genre of jidaigeki is the chambara–or sword fight–movie, a type that most often features samurai in various kinds of dramatic action, and in nearly every case showcasing displays of great swordsmanship and valor. The most legendary practitioner of the chambara genre would be the incomparable Akira Kurosawa, who with such films as Rashomon, Seven Samurai, Yojimbo, The Hidden Fortress and Sanjuro created long- lasting shockwaves throughout the cinematic world that significantly influenced the works of, among others, Sergio Leone and George Lucas. We’re not going to talk about any of his films in this article. Instead, we’ll be looking at other important achievements in samurai cinema, spanning across several decades. A few readers may be taken aback by some of the movies chosen to appear on this list, which range from the iconic to the historic, the superheroic to the not- even- Japanese. The intent is to show the broad spectrum of stories it’s possible to tell in the samurai genre, and that even if one opens the playing field in terms of what’s allowable in story and setting, certain films can still be properly called a “samurai movie”. An actor you’ll be coming across fairly often in this list is Toshiro Mifune, a performer of great athleticism and magnetism who for many years was the De Niro to Kurosawa’s Scorsese. He appeared in many films by different directors in the chambara genre, and we’re pleased to touch on a few projects he did outside the Kurosawa category with which he is so often associated. You’ll also see a few films listed here by director Kihachi Okamoto, a filmmaker whose work deserves to be ranked alongside that of Kurosawa as among the most important in Japanese and world cinema. Lady Snowblood (1. From Kazuo Koike, the same creative mind that spawned the Lone Wolf and Cub manga series, comes the inspiration for this film, a bloody and beautifully shot entry in the “arterial bloodspray” sub- genre of chambara that came into prominence in the early 1. Young Yuki, armed with a short- sword hidden in the handle of her umbrella, has embarked on a mission of vengeance, seeking out three people responsible for raping her mother and brutally murdering the man she was married to, along with their son. Born in a womens’ prison, Yuki is trained from childhood by an elderly swordsman in the art of fencing so that she can live out her mother’s final request to take revenge. Though frustrated in her attempts by two of her targets’ early demises (one hangs herself before Yuki can get to her, and Yuki spitefully slices her swinging body in two), a young journalist interested in her story helps her to find the last offender, tracking him down to a posh gala, where she does battle with several attackers before finally fulfilling her destiny (but not without getting shot in the process). Not quite as big budget or flamboyantly gory as the similar Lone Wolf and Cub series, Lady Snowblood is still a highly watchable and blood- drenched melodrama, probably most famous in the last ten or so years for being one of the chief inspirations for Tarantino’s Kill Bill movies. Much of the plot and out- of- sequence story structure is borrowed from Lady Snowblood, and the O- Ren Ishii character played by Lucy Liu and Uma Thurman’s The Bride are spiritual descendants of Yuki. When The Last Sword Is Drawn (2. A low- ranking samurai named Yoshimura Kanichiro abandons his family and his lord to join the Shinsengumi, an organization put together to fight for the Tokugawa Shogunate as it teeters on the brink of collapse. At first his motives are difficult to understand; he seems inordinately concerned with money, constantly bargaining for more as he fulfills his duties for the Shinsengumi. But in time it becomes obvious that he is equally driven by a profound sense of obligation to the Shogun and to his impoverished family, to whom he sends money whenever he can. He befriends another samurai who is his polar opposite, nihilistic and emotionally unattached. In time, however, as the inevitable fall of the Tokugawa government approaches and they gird themselves for a final confrontation with the Emperor’s army, this unfeeling samurai finds that he has grown fond of his idealistic companion, an experience that affects him profoundly well into old age. Told in flashbacks at the turn of the 2. Century, When The Last Sword Is Drawn is an interesting and compelling blend of violent samurai epic and tear- jerker; in some ways, the movie it most seems to resemble in tone is Forrest Gump. The character of Yoshimura (Kiichi Nakai) comes off as an odd kind of samurai, amiable to the point of being silly, yet so skilled with a sword (and so willing to kill) that he inspires a grudging respect in all who meet him. The story can be melodramatic and weepy in the extreme (especially in the last act), but it’s not without those elements that will delight most samurai film fans. Sword fights are plentiful and often bloody, the movie is shot beautifully and makes good use of natural locations, and draws heavily from real Japanese history in the late 1. Century. Unlike many other films on this list, this film doesn’t have a cynical bone in its body, coming off more as a celebration of old- fashioned values and gumption than as a piercing analysis of Japanese politics. Samurai Fiction (1. A samurai movie for the age of irony, suffused with a snarky attitude and great physical humor, Samurai Fiction is an unusual creature: released in 1. Western” music styles from hip hop and country to blues and surf guitar (provided by musician Tomoyasu Hotei, who makes his screen debut as the thieving antagonist Kazamatsuri). Although the black and white photography is clearly meant to evoke the older samurai stories of Kurosawa and others, the director wishes to undercut the seriousness and stoicism typical of many samurai films while at the same time respecting many of the conventions. Young samurai Inukai Heishir. His father tries to discourage him, but when the boy takes off anyway, his father sends two of his house ninjas to track him from a distance. After suffering defeat at the master swordsman’s hands, he’s taken in by the man who saves him from being killed during the attack. More determined than ever, Inukai wants to go after the thief (though he’s torn by his feelings for the man’s daughter), but it will only be with the aid of his savior—a master of fencing himself who has sworn never to kill again—that he’ll have any hope of getting the sword back for his clan. First time feature film director Hiroyuki Nakano isn’t interested in making any grand statements about the way of the samurai or Japanese history, but rather occupies himself with filming an amusing, somewhat broad comedy with influences from earlier Japanese masters and a hip, sarcastic sense of the ridiculous. As seems to be the case with nearly every martial arts movie, this was borrowed from by Quentin Tarantino in Kill Bill Vol. I, specifically by using the image of two silhouetted samurai dueling in front of a latticed red backdrop during the opening credits as a part of the final action sequence. Shogun’s Samurai (1. Following the death of the Shogun Tokugawa Hidetada, his two sons vie for power the only way they know how: by intrigue and subterfuge. Things get off to a bad start when it comes to light that the Shogun was poisoned, and become worse when Yagyu Munenori, fencing master to Iemitsu Tokugawa, admits to the prince that he was directly involved in the plot to kill his father in order to open the way for his ascendancy to the Shogunate. To help push things along, Yagyu enlists the aid of a clan of ninjas closely associated to him, promising that with victory over Tokugawa Tadanaga they’ll regain their native homeland. Heading the clan is Yagyu Jubei (played by Sonny Chiba), the son of Munenori and a capable swordsman as well. What occurs in the wake of the Yagyu plotting (the alternate title of the film is Yagyu Clan Conspiracy) is a series of assassination attempts, battles, betrayals and duels that leads to a very weird and very satisfying ending. Director Kinji Fukasaku spins this tale the same way he did the Battles Without Honor and Humanity yakuza films, with a labyrinthine attention to detail that sometimes threatens to lose the viewer in a hail of names, schemes, cross- plots and revelations. At no point, however, does the action become dull, though a considerable amount of the run time is devoted to scenes of dialogue. What you get in return are ninjas squaring off against samurai, strange characters (keep an eye out for the Emperor’s fey envoy), and some very cool fight scenes and battles, set against what some sources believe to be a pretty accurate depiction of this historical period, despite the magical martial arts techniques that come up from time to time. Fukasaku takes a cynical view of Shogunate politics, framing it almost strictly in terms of lies and deceit, and while the voiceover at the end ensures us that the events shown are mostly fiction, it adds that later successions to the position of Shogun were much like what we see in this film. Sonny Chiba is good in the role of Jubei Yagyu, but the actor who stands out the most is Kinnosuke Yorozuya as the elder Yagyu. He plays his character throughout with a barely contained, sinister rage that comes to a boiling point at the end, when the successor he favored and fought to make Shogun is killed. His instant descent into madness manages to be both disturbing and funny at once, ending the film on the perfect note given everything that has come before. Toshiro Mifune also appears in a brief role. The world’s greatest mind faces his greatest challenge. Release date: April 29, 2016. 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