Description

A testament to the goodness of humankind, Akira Kurosawa's Red Beard (Akahige) chronicles the tumultuous relationship between an arrogant young doctor and a compassionate clinic director. Toshiro Mifune, in his last role for Kurosawa, gives a powerhouse performance as the dignified yet empathic director who guides his pupil to maturity, teaching the embittered intern to appreciate the lives of his destitute patients. Perfectly capturing the look and feel of 19th-century Japan, Kurosawa weaves a fascinating tapestry of time, place, and emotion. ... Read more

Reviews (24)

Touching Classic
As much as I'm a Mifune/Kurasawa fan I was concerned about the movie being three hours long when I saw the beginning. However after the story developed and gave us insight on the various characters I didn't want it to end. As usual the charismatic Mifune gave a powerhouse performance as Red Beard the head Doctor of the clinic who was very compassionate to his patients as well as those who surrounded him. It's just a pity that this was the last project Kurasawa and Mifune did together. Their collaboration remains sheer magic.

Touching last collaboration; epic on the psychological scale
As Kurosawa intended, the story is a morality lesson for us and details the transformation of a vain young doctor by his internship at a clinic for the poor -- headed by Red Beard (Dr. Niide played by the great Mifune-san.) Despite the incredibly realistic set and great performance by the actors, some of the various subplots can seem too melodramatic for even the slightly cynical. However, there are many unforgetable characterizations and bone-chilling scenes (eg. the calling of the name of a dying boy, Chobo, into a well) that portray an ideal of human goodness all too absent from today's films. Mifune shows off his star power in an incredible action scene also...if you need some incentive to sit for this generally fantastic film , which took an excruciating 2 years to make (a very long production for Japanese films then and now.)

One of the master's best.
Having recently seen "Red Beard" for the first time, I was taken by two things. First that Coppola's "White Dwarf" is a clear-cut remake of this film. Second that this one the best three hours I have spent watching a movie in a very long time.
There is a soul and heart in this film that is lacking in most movies and enough to say that it artfully uses it 3 hours with grace.

Kurosawa's many last things
For those of you who don't know, Red Beard is without a doubt the last film of Kurosawa that is absolutely exceptional. Moreover, this film marks the end of many things for the director. First of all, this is the last movie where he works with Mifune. He spent nearly two years making this! It's understandable that they probably had their differences, which must have put quite a strain in their relationship. Red Beard is also Kurosawa's last black and white film. To most film fans of this genre, this is believed to also be his last film that shows so much emotion and complexity towards humans. One of the things I enjoyed most about this film was the cinematography. There are so many awesome scenes that Kurosawa films through wide lenses and long takes (Which I love). The musical score varies in emotion. This also has one of my favorite endings from a Kurosawa movie. While Seven Samurai had to be one of his best, this one was made after more than twenty years of experience from the most famous director in Japan, if not the world. In other words, Red Beard is the highest point of cinematic perfection for Akira Kurosawa.

Red Beard, black and white emotions
Magisterial and impeccably executed, a perfectly designed, crafted, and carpentered movie. But, very stiff and wooden. Kurosawa's films up to Yojimbo were memorable for their sense of tension. Kurosawa always had a sentimental sermonizing streak, which, however, was thankfully held in check with vitality drawn from European and American influences. Red Beard seems to be modeled on the didacticism of Confucius. Kurosawa portrays the character of Red Beard as noble teacher and the poor as the salt-of-the-earth. Just when Japanese cinema was moving in exciting new directions, Kurosawa made his most old-fashioned movie. Still, it's a work of such fine craftmanship, care, and perfectionism, with such dedicated performances from everyone involved that it has to be considered a masterwork if not exactly a masterpiece. ... Read more

Amazon.com

Boasting some of the most impressive swordplay in the history of samuraiepics, Sword of Doom is a visceral masterpiece of violent style andpowerful substance. Illustrating the timeless adage that "an evil soul wields anevil sword," this highly stylized classic is driven by the fierce and fearsomeperformance of Tatsuya Nakadai as Ryunosuke, a sociopathic samurai whosesoul--and sword--are vicious instruments of evil. Having mastered a highlyunconventional style of fencing, Ryunosuke welcomes an exhibition match at afencing school run by master swordsman Shimada (Toshirô Mifune, in a small butpivotal role), where he kills his opponent after promising not to. Flagrantlyviolating all codes of honor, Ryunosuke eventually finds himself challenged fromall sides; even his own henchmen rally against him, and director Kihachi Okamotostages confrontations that are as beautiful as they are graphically violent. AsRyunosuke descends into pure, bloodthirsty insanity, Sword of Doom endswith a freeze-frame that's unforgettably intense. --Jeff Shannon ... Read more

Reviews (41)

Hack and Slash
"The Sword of Doom" ("Dai-bosatsu Toge" or "Pass of the Great Bodhisattva ") is entirely unlike most films in the Samurai genre. Harder than most, crueler than most, and certainly more bloody than any other Samurai film from this time period, it is a difficult film to define and for some impossible to enjoy.

At first, the plot seems straight forward.An outcast Samurai,Ryunosuke enters into a match with Bunnojo Utsuki, upstanding member of the fencing school where Ryunosuke was expelled from.Defending himself from an illegal attack, Ryunosuke kills Bunnojo.Bunnojo's brother, Hyoma, vows revenge and begins to train himself to be strong enough to kill the powerful Ryunosuke.Into this revenge-motif there are added elements of the Shinsengumi army of Kyoto, and the Shogun loyalists, as well as a pair of women seeking to find their place in a dangerous world.

However, nothing else of "The Sword of Doom" is straight forward.Ryunosuke is a sociopath, an emotionless killer of almost-supernatural skills with his sword.His motivations are cloudy, and sheer momentum seems to be his driving force.It is easy to label him a villain, yet it cannot be denied that each of his kills are justified, and he himself does not seek death.Hyoma's vendetta against Ryunosuke is almost pathetic, as it is obvious he would only die in the challenge.He struggles to gain an advantage, but the outcome is never in doubt.Fencing school master Toranosuke Shimada (Mifune Toshiro) is a bridge between the two men, being the only one skillful enough to give Ryunosuke pause, he trains Hyoma.In the background are the political motivations of the Shogun-loyalists, whom hire Ryunoske to kill for them.

Tatsuya Nakadai is incredible as Ryunoske, a driven, intense performance.Nakadai is a veteren of many famous Samurai films, being the gunslinger in "Yojimbo" and the honorable Hanshiro Tsugumo in "Seppuku." Mifune is a stand-out as well, although his role is small.He exudes the necessary charisma to challenge Ryunoske.

An action film, a psychology play, an art film..."The Sword of Doom" could be considered any of these.Definitely a "Love it or Hate it" movie, with emphatic opinions on both sides, it is an important entry in the Samurai genre, and everyone should give themselves a chance to see in what camp they fall.As for me, I love it.

stunning
The cinematography of this film is breathtaking and very effective. I am not familiar with Okamoto as a director, but this film deeply impresses me. The sword fighting scenes in particular are all shot very much in the moment and bring the film to a state of very high art. The freeze at the end is shocking and thought provoking. There is also a kind of metaphoric joke in the mill scene which was quite entertaining. I would strongly recommend this film.

good film, bad DVD, no bonus material
This review is for the Criterion Collection DVD edition of the film.

"The Sword of Doom" known in Japan as "Dai-bosatsu tôge" is a depiction of a samurai swordsman who is inherently evil and kills an opponent during a fencing match. The dead man's family pursues the killer.

The film is very good and has some great scenes but the DVD has no special features at all except for the essay in the liner notes which I don't think count.

This is the first Criterion DVD without special features for a long time and think it was a mistake for them to release a film without special features.

Read what I have to say before buying this movie.
I saw this movie a few years ago. I loved it till the end when there was a cliffhanger ending.

I was really angry with the ending but I did a little research and I found out that this movie was part 1 of a trillogy. The other 2 films were never made!

So I can only give this a partial recommendation. With a movie this great, its a shame the others were not made...

A BOLD, UNFORGETTABLE CLASSIC
Tatsuya Nakadai is wandering samurai Ryunosuke in Kihachi Okamoto's fiercely visceral SWORD OF DOOM (Criterion).

Filmed in black and white 40 years ago, this is one of the greatest samurai films because it not only has a great, original story with a moral center but superbly choreographed sword play (without relying on CGI or wires).

Ryunosuke is a sociopathic samurai whose soul is as cold as his steel blade. Using his singular style of fencing, he kills without remorse.He's a liar.His word means nothing. Soon we realize that this killing machine has no code of honor except to kill and survive to kill again.

This film pulls no punches and goes all the way with its premise.Evil is as evil does. It may be irrational but it has an ultimate end and Ryunasuke finally finds himself in the eye of a hurricane of insane, imploding violence. I loved this extraordinarily beautiful and violent film about the nature of evil.

The nice looking print is a newly-restored high-definition transfer. An interesting extra is an essay by critic Geoffrey O'Brien. ... Read more

Amazon.com

Akira Kurosawa's sequel to Yojimbo is more lighthearted and less cynical, a rousing adventure with Toshirô Mifune reprising his role as the scruffy mercenary who becomes an unlikely big brother to a troupe of nine naive samurai. Shuffling into a secret meeting where the proud young men discuss the graft choking their clan, Mifune's Sanjuro scratches his scraggly beard and distractedly rubs his neck like some common peasant while giving them advice on appearances and truths: "People aren't what they seem," he warns the dubious lads. "Be careful." Naturally they aren't, and Sanjuro grudgingly adopts the well-meaning but hopelessly ill-equipped heroes, giving the starry-eyed youths a series of lessons in real-world honor and respect while saving their skins from reckless attacks and impulsive plans. It isn't the subtlest of Kurosawa's films--the repetitious lessons and speeches delivered to the thickheaded samurai are rather obvious--but it's one of his most entertaining. Mifune, gruffly at ease with the boys, is hilariously discomforted in the presence of a cultured lady, who sees through his shaggy exterior and imparts a little wisdom of her own. Mifune bounds into action in a number of impressive sword fights--wonderfully choreographed lightning-quick battles in which Mifune leaps all over the widescreen image--but an increasing sense of waste, of futility, hangs over the action scenes, culminating in a tense but meaningless duel of honor. The accompanying trailer on the DVD features brief behind-the-scenes glimpses of Kurosawa directing Mifune through an action sequence. --Sean Axmaker ... Read more

Reviews (40)

Sanguine samurai.
Companion piece to 1961's nihilist comedy *Yojimbo*. Not so much a sequel or prequel but rather a redux sort of thing. *Yojimbo* was a boffo hit in Japan (and drew raves from all over the world), and Kurosawa, whose quest for cinematic art never precluded showmanship, gave the audience more of what it wanted: even more action, more comedy, more Toshiro Mifune than in the previous movie. A legitimate criticism of *Sanjuro* is that it somewhat lacks the originality of *Yojimbo*, in particular the End-Of-The-World rancidity in tone, atmosphere, and characters. The liner notes in Criterion's DVD even go so far as to call this movie "sunny" (what an insult! Mifune's samurai would cut your head off if he heard you call him that). "Sunny" is not the apt adjective to describe the sudden, explosive violence in the film; the body-count is too appallingly high to laugh off. The violence here still hurts, and there's a lot more of it here than in *Yojimbo*. Kurosawa may have become weary of the whole samurai genre: a very nice patrician lady admonishes Sanjuro with "good swords stay in their sheaths"; he remembers this advice following the satirically bloody, over-the-top climax. The slice-and-dice duel between Sanjuro and his enemy is, I think, Kurosawa's way of saying, "You want violent action? I'LL give you violent action!!" Though it's designed to elicit shocked guffaws, the evident disgust with the whole samurai mindset leaves the larger impression. For that matter, the old "code of honor" is represented by 9 good-hearted samurai who also happen to be idiots. Just because there might be something worth fighting for here, unlike in *Yojimbo*, the bloody work required to ensure the victory of Good still leaves a bloody stain on the psyche. (Significantly, there was no "three-peat" in the Sanjuro series.) Considering all that, the amazing thing is how entertaining and funny *Sanjuro* remains. Of particular note is how discommoded Mifune appears whenever a pair of very civilized ladies (i.e., the antithesis of himself) show up. When the 9 good samurai keep waking Mifune up with their excited gibbering is also a classic. *Sanjuro* is a minor masterpiece fully deserving of standing alongside *Yojimbo* on your shelf.

A Great Adventure
I love Toshiro Mifune. It's so wonderful to see him play this character. He cracks me up every time he does his little shoulder-twitch character trait. Brilliant!

SANJURO delves a little deeper into his samurai character. There's some themes about killing and comparisons of his character to a good sword that should be sheathed. Other than that, it is flat-out adventure on the menu!

Again, Kurosawa is a wonderful story teller. I find his work (the three films I've seen so far -- HIDDEN FORTRESS, YOJIMBO, and this one) to be so economical. He can add a wrinkle to the story with one word; one look. He truly transcends the language barrier because the storytelling is so good.

I thought Criterion did another good job with the transfer. The trailer does, indeed, feature Kurosawa directing Mifune in an action sequence, which is interesting. I wish Criterion would use pictures on its chapter lists. When I want to access a certain scene and am unfamiliar with the movie it is hard to do based on chapter names that make no sense to me. Other than that, no qualms about the rest of the DVD.

Next, I'd love to see HIDDEN FORTRESS on DVD. Criterion, are you listening ?

One of Kurosawa's best samurai films
In my own opinion, I find Sanjuro to be one of my favorite films by the Kurosawa. Unlike Yojimbo, which mainly showed the violent side of humans, Sanjuro shows a much deeper meaning. A woman in the film comments that he should not use too much violence. At first, he ignores her and thinks that she's completely stupid. In the end, he ends up killing a man in order to save his own life. He understands that "Good swords are kept in their sheaths." Another translation of this would be that violence is bad. This is a continuing theme for Kurosawa, especially in his samurai period movies. I highly recommend it.

a cool follow up to yojimbo
This review is for the Criterion Collection DVD edition of the film.

This film released shortly after the release of Yojimbo, has the same main character. In this film, Sanjuro withthe help of some friends eliminate corruption in his town and rescue his uncle was was jailed on trumped up charges. The film has a famous 'splatter' scene in the climax which is almost Hitchcockian because of the filmmakers use of chocloate syrup for the stage blood. (in B&W films, one cannot tell the difference anyway)

The DVD only has a theatrical trailer for a special feature, but it is still worth getting for those interested in films like this.

"A good sword is best kept sheathed."
I've never been fond of sequels, and when I found out Akira Kurosawa, a film maker I respect and admire more than any other, had done a sequel to his classic "Yojimbo," I had to wonder just how it was. I saw it and needless to say I was very impressed. This is with out a doubt probably one of the best sequels I've ever seen.

Sequels are commonly one of two things: 1) a rehash of the first movie, or 2) a continuation of a story that should have ended with the first film. "Sanjuro" is none of the two - instead, its just another adventure for our ronin friend Sanjuro in his quest for money. This time he finds himself accidentally nearby where some clueless samurai retainers are trying to figure out who in their clan is plotting to take over while their lord is away. Sanjuro steps in to help them out (almost out of aggravation at just how incompetant his new acquaintances are). He guesses correctly that it is the Super-Intendant and not the Chamberlain (as originally guessed) who is the traitor, and the story continues from there.

"Sanjuro" has all the right doses, and even more, of what you got in "Yojimbo." There are more fight scenes - or perhaps I should say there are more chances for Toshiro Mifune to slash through a crowd of hapless enemies. There are also more chances for our hero to figure out traps and plan ways out of sticky situations. With out a doubt, I think Sanjuro ranks as one of the most clever heroes I've ever seen on film, and you just get a joy at his wit and quick-thinking (I especially like how he got the villains to throw petals into the stream).

I would suggest any one who loved "Yojimbo" to give this film a good chance. It's just as enjoyable as its predecessor, and hey - if it has the name Akira Kurosawa on it, it can't be the least bit bad. ... Read more

Amazon.com essential video

Chushingura means "loyalty," and that potent Japanese theme runs like hot blood throughout this stately samurai epic. It's often called the Gone with the Wind of Japanese cinema, and while that may be a fitting cultural parallel, it gives an inaccurate impression of the film, based on one of Japan's most enduring and oft-interpreted historical events. A simmering, deliberately paced drama set during the Tokugawa shogunate in 1701, it centers on 47 loyal samurai who seek vengeance against the arrogant elder statesman who caused their master's ritual suicide. The now masterless ronin let seasons pass (and the movie occasionally seems just as long) before executing a climactic raid that is both expertly fierce and lethally efficient. Featuring a who's-who of fine Japanese actors, including Kurosawa regulars Toshiro Mifune and Takashi Shimura, Chushingura bears little resemblance to Kurosawa's action-packed samurai classics. This is a thematically dense, politically complex drama, presented here at its fullest length (207 minutes) and best appreciated after multiple viewings. Masterfully composed with painterly precision, Chushingura weaves its intricate tapestry from time-honored tenets of Japanese culture, offering a challenging but grandly rewarding experience. --Jeff Shannon ... Read more

Reviews (25)

One Of The Two Best Samurai Films Ever Made!
This film is one of the two best Samurai films of all time, the other being Kurosawa's SEVEN SAMURAI. CHUSHINGURA ("loyalty") is based on a real incident in 18th century Japan, wherein 47 loyal retainers of a disgraced lord take a vow of vengeance on the corrupt nobleman who caused his downfall and death. The story is timeless, the acting is uniformly magnificent, the camera work is so gorgeous that any frame of this film could be hung in an art gallery, and the music is exciting and heart-lifting. It's a complex plot, following many separate individuals as their vengeance unfolds, so first-time viewers may get confused. No matter -- it all comes together at the end. Watch for the late great Toshiro Mifune in a cameo role as a Master Spearman who becomes drinking buddies with one of the 47, and who takes it upon himself to hold off the cops in the final showdown so that his pal and the other 46 won't be interrupted before they can find and behead the bad guy and fulfill their vow. I have watched this movie many, many times, and I always find something new and wonderful in it. Now that it's FINALLY available on video, don't miss it!!

Samurai honor, political intrigue, romance, brilliant cinema
I first saw this film in the 60's in a small theater over 3 hours with one intermission. I never left my seat, in fact I started out sitting in the aisle at the back because the theater was full.

The photography is gorgeous with brilliant winter scenes backing up intense sword fights in which you aren't sure what happened until someone keels over dead.

Political betrayal is revenged while honor ultimately prevails. You are immersed in the feudal Japanese world and yet reminded of much the same thing happening today.

Definitely worth seeing and buying once you've seen it.

The Quintessential Japanese Saga
Chusingura (the 47 Ronin) is a tale that is as popular in Japan -and as often produced - as The Christmas Carol is in the U.S. - and just as revealing of cultural assumptions about right and wrong. There are many versions, each focusing on one of the "47 masterless Samurai" who refuse to surrender and face disgrace out of loyalty to their master. The theme (and story) will be familiar because it's been reworked many times ranging from Gilbert and Sullivan's "Mikado" to "From Here to Eternity."

If you want to gain insight into the Japanese concept of loyalty and the price of honor above all else this is the one movie you should not miss.

The color photgraphy and scene settings are well done and sound is excellent; the acting is also very good and does not lean heavily on over-emoting that is the sometimes "norm" for Japanese films. Sub-titles are a little light, but easy enough to see and this is one of the more accessible versions (many are not available to Western audiences as more recently they tend to be done for annual TV specfials. You won't need to know the history to follow the story - or get the point.

It's a true story of a proud, old fashioned country Samurai who puts the Samurai Code and personal integrity above politics of reality. He's summoned to the Shogun's castle to do his duty - service to the emperor whole messengers are coming through the territory. A corrupt court official expects and demands a bribe to tell the Samurai what he must know of intricate protocol and is outraged when our hero refuses to bend. The official goads him into drawing his sword in the castle - a capital offense, leading to his forced harikiri - suicide.

The remainder of the tale - most of it - is about how the 47 loyal retainers face disgrace and contempt, while biding their time until they can avenge their master. The film has everything: psychological drama, action, passion, greed and pathos - everything in fact that makes life worthwhile.

Don't miss this one!

Samurai Code in Jeopardy...
Corruption and the samurai code converge in a collision when an old man who favors greed and lust crosses the road with a young noble samurai. The collision triggers a chain of events that causes the young noble samurai to violate the laws of the Shogunate, which affects many lives. The issue of injustice remains unresolved after the unlawful event. However, for some life is insignificant when injustice remains. This epic story reveals that humans do know what is right from wrong, but fear and desire seem to influence each and everyone's choice.

A Flawed but Enjoyable Epic
Despite the film's division into two parts, I think the Chushingura is best understood as a complicated story told in three acts.

The first act, culminating in the seppuku of Lord Asano, details the conflict between the young lord and Kira, the Shogun's master of ceremonies, and is, in my opinion, the most interesting as it unfolds logically, tragically, and inevitably towards the spilling of blood in the Shogun's castle. Asano and Kira, at least in this stage of the film, are fully realized and three-dimensional characters, and their conflict can be understood on several levels: idealism versus pragmatism; rural versus urban; and, most centrally, a conflict between different conceptions of honor. Kira is slighted because Asano won't show him the deference he feels he deserves, and Asano cannot accept Kira's attempt to teach him a lesson without fatally wounding his pride. The characters feel real because the situation is developed so carefully, and we as viewers understand why the principal actors behave as they do.

I think the movie bogs down a bit in the second act where the retainers of Asana plot their revenge on Kira. I also feel it is at this point that those unfamiliar with this story may find it difficult to follow the plot. Like the assassination of Thomas Becket in 12th century England, the story of the 47 loyal retainers has left the historian with not only a wealth of primary documents but also of contemporary analysis of exactly how the events were interpreted. Whereas Becket's murder resonated because of the changing perceptions of the limits of temporal power in medieval Europe, the 47 ronin reflect the changing nature of samurai honor following the pacification of Japan under the Tokugawa shogunate. Unfortunately, the movie does little to clarify the issues involved despite a three and half hour presentation. The historical Oishi, for instance, worked patiently behind the scenes for years to restore the clan's honor and holdings under the leadership of Asano's younger brother whereas Horibe represented the more radical view that the ronin owed personal allegiance only to their dead lord. In the movie, by contrast, Oishi makes reference to restoring the clan and questions Asano's judgment at the castle, but it is absolutely unclear in the context of the film whether this represents his true beliefs or is simply part of the feint to divert attention from the plot to kill Kira. It is, in fact, hard to ever discern exactly what Oishi is planning, even in hindsight. Horibe, as the leader of the other wing of the retainers, fairs worse, emerging only as Toshiro Mifune's drinking buddy (Mifune, though always enjoyable to watch, is largely wasted in a sub-plot that is completely superfluous to the story). I don't expect complete historical fidelity, but I do expect the events to develop coherently and to address the main issues of the story. I'm not saying that it is a complete mess, just that it is hard to follow at times, and it is not always clear what motivates the characters, and, as film usually does, some of the subtleties of the real events are lost.

Thankfully, the exciting and famous battle in the snow largely redeems any momentary flagging of interest. My only quibble is that Kira has degenerated by this point into an absolute caricature of his previous self, becoming the embodiment of the man without honor. I suspect this is incorporated less from history and more from the popularizations of this story, e.g., the various kabuki stagings.

Others have spoken of the beautiful visuals, so I won't belabor the point. Suffice it to say this alone is a good reason to watch this film. Others have also spoken of the slow pace. This is also true, and if you demand a tight focus in your movies, this one probably isn't for you. ... Read more

Description

For two hundred years, no other story has captured the hearts and imagination of the Japanese people more than "Chushingura." When Lord Asano is forced by a corrupt lord to commit hara kiri, forty-seven loyal samurai seek vengeance. Often referred to as the "Gone with the Wind" of the Japanese cinema, "Chushingura" is an unparalleled example of the true samurai spirit. ... Read more

Reviews (25)

One Of The Two Best Samurai Films Ever Made!
This film is one of the two best Samurai films of all time, the other being Kurosawa's SEVEN SAMURAI. CHUSHINGURA ("loyalty") is based on a real incident in 18th century Japan, wherein 47 loyal retainers of a disgraced lord take a vow of vengeance on the corrupt nobleman who caused his downfall and death. The story is timeless, the acting is uniformly magnificent, the camera work is so gorgeous that any frame of this film could be hung in an art gallery, and the music is exciting and heart-lifting. It's a complex plot, following many separate individuals as their vengeance unfolds, so first-time viewers may get confused. No matter -- it all comes together at the end. Watch for the late great Toshiro Mifune in a cameo role as a Master Spearman who becomes drinking buddies with one of the 47, and who takes it upon himself to hold off the cops in the final showdown so that his pal and the other 46 won't be interrupted before they can find and behead the bad guy and fulfill their vow. I have watched this movie many, many times, and I always find something new and wonderful in it. Now that it's FINALLY available on video, don't miss it!!

Samurai honor, political intrigue, romance, brilliant cinema
I first saw this film in the 60's in a small theater over 3 hours with one intermission. I never left my seat, in fact I started out sitting in the aisle at the back because the theater was full.

The photography is gorgeous with brilliant winter scenes backing up intense sword fights in which you aren't sure what happened until someone keels over dead.

Political betrayal is revenged while honor ultimately prevails. You are immersed in the feudal Japanese world and yet reminded of much the same thing happening today.

Definitely worth seeing and buying once you've seen it.

The Quintessential Japanese Saga
Chusingura (the 47 Ronin) is a tale that is as popular in Japan -and as often produced - as The Christmas Carol is in the U.S. - and just as revealing of cultural assumptions about right and wrong. There are many versions, each focusing on one of the "47 masterless Samurai" who refuse to surrender and face disgrace out of loyalty to their master. The theme (and story) will be familiar because it's been reworked many times ranging from Gilbert and Sullivan's "Mikado" to "From Here to Eternity."

If you want to gain insight into the Japanese concept of loyalty and the price of honor above all else this is the one movie you should not miss.

The color photgraphy and scene settings are well done and sound is excellent; the acting is also very good and does not lean heavily on over-emoting that is the sometimes "norm" for Japanese films. Sub-titles are a little light, but easy enough to see and this is one of the more accessible versions (many are not available to Western audiences as more recently they tend to be done for annual TV specfials. You won't need to know the history to follow the story - or get the point.

It's a true story of a proud, old fashioned country Samurai who puts the Samurai Code and personal integrity above politics of reality. He's summoned to the Shogun's castle to do his duty - service to the emperor whole messengers are coming through the territory. A corrupt court official expects and demands a bribe to tell the Samurai what he must know of intricate protocol and is outraged when our hero refuses to bend. The official goads him into drawing his sword in the castle - a capital offense, leading to his forced harikiri - suicide.

The remainder of the tale - most of it - is about how the 47 loyal retainers face disgrace and contempt, while biding their time until they can avenge their master. The film has everything: psychological drama, action, passion, greed and pathos - everything in fact that makes life worthwhile.

Don't miss this one!

Samurai Code in Jeopardy...
Corruption and the samurai code converge in a collision when an old man who favors greed and lust crosses the road with a young noble samurai. The collision triggers a chain of events that causes the young noble samurai to violate the laws of the Shogunate, which affects many lives. The issue of injustice remains unresolved after the unlawful event. However, for some life is insignificant when injustice remains. This epic story reveals that humans do know what is right from wrong, but fear and desire seem to influence each and everyone's choice.

A Flawed but Enjoyable Epic
Despite the film's division into two parts, I think the Chushingura is best understood as a complicated story told in three acts.

The first act, culminating in the seppuku of Lord Asano, details the conflict between the young lord and Kira, the Shogun's master of ceremonies, and is, in my opinion, the most interesting as it unfolds logically, tragically, and inevitably towards the spilling of blood in the Shogun's castle. Asano and Kira, at least in this stage of the film, are fully realized and three-dimensional characters, and their conflict can be understood on several levels: idealism versus pragmatism; rural versus urban; and, most centrally, a conflict between different conceptions of honor. Kira is slighted because Asano won't show him the deference he feels he deserves, and Asano cannot accept Kira's attempt to teach him a lesson without fatally wounding his pride. The characters feel real because the situation is developed so carefully, and we as viewers understand why the principal actors behave as they do.

I think the movie bogs down a bit in the second act where the retainers of Asana plot their revenge on Kira. I also feel it is at this point that those unfamiliar with this story may find it difficult to follow the plot. Like the assassination of Thomas Becket in 12th century England, the story of the 47 loyal retainers has left the historian with not only a wealth of primary documents but also of contemporary analysis of exactly how the events were interpreted. Whereas Becket's murder resonated because of the changing perceptions of the limits of temporal power in medieval Europe, the 47 ronin reflect the changing nature of samurai honor following the pacification of Japan under the Tokugawa shogunate. Unfortunately, the movie does little to clarify the issues involved despite a three and half hour presentation. The historical Oishi, for instance, worked patiently behind the scenes for years to restore the clan's honor and holdings under the leadership of Asano's younger brother whereas Horibe represented the more radical view that the ronin owed personal allegiance only to their dead lord. In the movie, by contrast, Oishi makes reference to restoring the clan and questions Asano's judgment at the castle, but it is absolutely unclear in the context of the film whether this represents his true beliefs or is simply part of the feint to divert attention from the plot to kill Kira. It is, in fact, hard to ever discern exactly what Oishi is planning, even in hindsight. Horibe, as the leader of the other wing of the retainers, fairs worse, emerging only as Toshiro Mifune's drinking buddy (Mifune, though always enjoyable to watch, is largely wasted in a sub-plot that is completely superfluous to the story). I don't expect complete historical fidelity, but I do expect the events to develop coherently and to address the main issues of the story. I'm not saying that it is a complete mess, just that it is hard to follow at times, and it is not always clear what motivates the characters, and, as film usually does, some of the subtleties of the real events are lost.

Thankfully, the exciting and famous battle in the snow largely redeems any momentary flagging of interest. My only quibble is that Kira has degenerated by this point into an absolute caricature of his previous self, becoming the embodiment of the man without honor. I suspect this is incorporated less from history and more from the popularizations of this story, e.g., the various kabuki stagings.

Others have spoken of the beautiful visuals, so I won't belabor the point. Suffice it to say this alone is a good reason to watch this film. Others have also spoken of the slow pace. This is also true, and if you demand a tight focus in your movies, this one probably isn't for you. ... Read more