samurai war movies

Assassin is a highly fictionalized telling of real-life historical figure Kiyokawa Hachiro (Tetsuro Tamba). —Kenneth Lowe, Years: 1972 – 1974 (Lone Wolf and Cub series) and 1980 (Shogun Assassin) Directors: Kenji Misumi, Buichi Saito, Yoshiyuki Kuroda and Robert Houston (Shogun Assassin). —Andy Crump, An adaptation of Seven Samurai more in spirit than in tone and plot, Miike’s 13 Assassins is a sprawling bloodbath of mythic proportions—so, in other words, nothing new for the Japanese auteur. 3,423 | Wonder Woman 1984 Review by Vj Abishek _ Gal Gadot _ Open Pannaa. —Andy Crump. | Kurosawa’s adaptation of Shakespeare’s Macbeth is more than merely that, even if English majors will call each plot point before it happens. It is deeply fitting that the genre which gave Eastwood’s Man With No Name his dance steps would in turn adapt the movie in which Eastwood thoroughly deconstructed the Western. It’s too bad that this is the movie where these two characters had to meet. Those who define their honor through force of character rather than force of cunning present as better role models, though of course they’re typically forced to go on the run from authority when authority tricks them into committing, say, treason, as happens to Gosha’s rebel samurai Gennosuke in Sword of the Beast. No samurai film captures sudden insanity, begotten by grief, quite so well as this one. If Toshiro Mifune’s famous Sanjuro samurai-with-no-name is the genre’s strutting badass, Katsu’s Ichi is a far more deceptive and cunning champion of the underdog. Nevertheless, Ran went on to put many war and action movies to shame even today. Director: Maybe you need an artist like Yamada to update samurai stories by taking them out of their subjects’ heydays and examining them from a different moment in time. Wonder Woman 1984. Uchida, a well-known director from Japan’s silent film era in the ’20s and ’30s, remains largely unknown in the West, even though his films are considered foundational to the samurai genre. | For a samurai, death is glorious, but the indignity of a good spanking is universal. And so, in Kobayashi’s tale of poor ronin Hanshiro (Tatsuya Nakadai), who sets out to take elaborate revenge on the feudal ruler who essentially forced his son-in-law to commit ritualistic suicide using nothing but a bamboo sword (in perhaps one of the most grueling scenes of chambara cinema), the director rails against the institutions of his time. But that’s not to say Kill! $4.84M, 130 min ‘Tales of Ugetsu’ (1953) Based on Ueda Akinari’s book of the same name and directed by acclaimed filmmaker Kenji Mizoguchi, Tales of Ugetsu was one of the first major films to emerge from Japan as it rebuilt itself following the nightmare of World War II. This culminated in the toppling of the shogunate and a return to power of the emperor. The good news is that Gennosuke is a pretty darn good fighter. | And how many samurai movies are there in existence where a wandering samurai, who is either masterless, unscrupulous, jaded, or some combination of the three, decides to involve himself in the travails of warring clans and elected officials? A group of assassins come together for a suicide mission to kill an evil lord. —Andy Crump, And so we’ve come full circle. | Director: To his family? —Kenneth Lowe, Following the release of 1966’s The Secret of the Urn, a critically successful albeit creatively frustrating project for Hideo Gosha due in large part to invasive creative constraints imposed upon by producer Mikio Ogawa, his follow-up film Samurai Wolf marked the director’s much-welcomed return to the form of monochromatic chambara. A heartbreaking story of self-sacrifice and the empty tragedy of the samurai code of honor, the movie is also a period piece centered on the treachery and intrigue of the Shinsengumi, a group largely consisting of “samurai drop-outs,” as the author of the book on which the movie was based puts it. Gosha never managed to achieve the level of esteem and recognition bestowed on the likes of Kurosawa, but the years since his passing in 1992 have seen a significant reappraisal of his work. In 1853, Commodore Matthew C. Perry of the U.S. Navy sailed into Edo Bay with four warships, demanded Japan open itself up to trade, and shelled the bejeezus out of some buildings to prove he meant business. Akira Kurosawa’s final screenplay tells the story of Ihei (Akira Terao) and his wife Tayo (Yoshiko Miyazaki), roaming the lands in search of work. —Andy Crump, Otherwise known as Life of an Expert Swordsman. Jim Kelly, —Kenneth Lowe, Kurosawa’s insane popularity in the West has as much to do with his keen understanding of its traditional storytelling as his virtuoso skill and workmanlike insistence on excellence, and Ran showcases both these facets of the director when he was arguably at the height of his influence. sort by: 4 days of snow and blood. How many samurai movies are there that wrap plot threads around recurring sword fight scenes until it’s nigh-impossible to figure out who’s fighting for whom, or against whom, or why anyone has to fight for or against anyone at all? | It also signaled a beginning of the end of the Tokugawa Shogunate. —Dom Sinacola, Have superhero movies burned you out? 112 min But what do we know about the rigors of balancing a day job with a parent’s responsibilities? Takayuki Akutagawa, If you can find it, The Master Spearman (originally Sake to onna to yari, “Sake, Woman and Spear” in Japanese) is one of the latter films from a Japanese director whose work informed those who would come after him. It is with solemn bushido reverence that I invite you to join us as we dive into 50 films that exemplify this mightiest of genres. 117 min | The film follows an itinerant, layabout swordsman named Kiba (played by a then-fledgling Isao Natsuyagi) who is contracted by a blind waystation boss to protect a shipment of gold from a competing group of assassin couriers. Akira Takarada, Not Rated | Yûzô Kayama, The movie ends on that same ridiculously intricate tea ceremony, and the face of an orphaned girl as she impassively pretends that all of this is just fine. | Dai Mizuno, Tom Cruise, Daisuke Ryû, Votes: What Miike later expounded upon with his faithful adaptation of Masaki Kobayashi’s Hara-kiri (also available on Netflix streaming) he began here, translating classic chambara films into neo-realistic accounts of a gritty, painful time for Japanese culture, making historical epics literally eviscerating experiences. Stars: Masaki Kobayashi Viewers may see the awful, Arthurian twist coming long before it arrives, but the grim message of the story still hits hard: There’s something rotten in a culture in which friend murdering friend and son murdering father is all just part of the game. By the mid-14th Century, the Ashikaga shogunate had come to rule Japan’s central government. Refine See titles to watch instantly, titles you haven't rated, etc. Kiba’s exaggerated expressions and easygoing demeanor render him a likable protagonist that later yields to his formidable improvisational ruthlessness as a combatant. Sengoku Jidai—this age of civil war—lasted a blood-soaked century and a half. Action, Drama, Fantasy. Kurosawa would go on to hammer out decade after decade of indelible film classics and indispensable samurai films. | Film Name Director Stars Release Year Note; The Bridge on the River Kwai : David Lean: William Holden, Jack Hawkins ,Alec Guinness: October 2, 1957: A World War II Film Released in 1957. Akira Kurosawa’s script sends loyal retainer Koheita (Koji Yakusho, cheery and game in a role years before his appearance in 13 Assassins) to clean up a crime-ridden cesspit of a red light district in a dirty little corner of the country. It’s a hard moment in anyone’s life the first time he or she faces down a room full of complacent old jerks who insist that the horrible state of affairs can’t be changed—all while, unspoken, is the understanding that they benefit from the arrangement as it stands. Like much of the samurai films of the late ’60s, Shinsengumi sometimes feels too broad for its own good, but what the film lacks in coherence it more than compensates by drawing from a seemingly bottomless well of empathy for all of its characters, on all of its many sides. But even so, that movie can’t help being about tenets of samurai discipline, and the search for self-improvement through marriage of mind and body. Gate of Hell, one of Japan’s very first color films, is a gorgeous, trim, brisk picture, but more than its imagery and choreography, what sticks with me about the film is its concise, muted dissection of what honor and manhood are really supposed to be about. If operatic drama is more your speed, you can sit back and watch committed actors dine upon lavish scenery. Rila Fukushima, Votes: compare. —Andy Crump, Takeshi Kitano is Japan’s jack of all trades, a filmmaker who’s as comfortable generating slow-burning yakuza flicks as he is making arthouse enigmas like Takeshis’ or comedies like Glory to the Filmmaker! —Andy Crump. In chronological order, here are the best samurai movies ever made. TOP 10 STUDIO . The Sword of Doom is all about a man’s ego, his foolish sense of invincibility, and the thundering strike to his ego that ultimately bursts his bubble. Kenji Sawada, "Southwestern War") was a revolt of disaffected samurai against the new imperial government, nine years into the Meiji Era. There’s violence in this film, but there’s far more slapstick silliness that gladly razzes treacherous Imperial colonels, craven Shogun middlemen, and even the old revolutionary ideologues who convince spirited and untrained young men to go die for their politics. one of the most influential movies ever made and an ur-text for both “men on a mission” and underdog films, Kurosawa’s film informs titles ranging from The Magnificent Seven to Bonnie and Clyde, and even the odd kids’ story, a la A Bug’s Life. Stars: When the Last Sword Is Drawn tells the story of a humble and emotional samurai from the country, Yoshimura, and his unlikely friendship and rivalry with real-life historical figure (and reputed spy and assassin) Saito Hajime. attack squadron-wings over the pacific. A young aspiring doctor shows up at his clinic, learns that he is to be apprenticed there, and sees the utterly miserable state of the destitute people Akahige takes in. What follows are revealing lessons about the nature of inequality and self interest, as Akahige’s young intern does his best to adapt from a life where he expected to be caring for the Shogun to one in which he helps the lowest of the low. The bandit, the man accused of murdering a samurai and raping his wife? For no reason we can determine, he decides he’ll play both sides against one another and wring as much money out of these awful people as he can. Like The Twilight Samurai, The Hidden Blade downplays the traditions of its genre and instead fastens samurai iconography to a love story and an historical drama, set around the point in Japanese history where samurai culture gave up the ghost. In Goyokin, Nakadai eats up Gosha’s screen, saying little but carrying every image, whether Gosha wants to toy with darkness (the flashes of swords his blistering sources of light) or stage an elaborate drum circle which completely devours the whole film, its rhythms seemingly mimicking Nakadai’s increasingly visceral intensity. —Dom Sinacola. Kari: Do not waste breath, kill. There’s a fish out of water undercurrent to the film’s overcurrents of social disillusionment that’s uncharacteristic of samurai chronicles and yet also totally in keeping with Yamada’s habit of humanizing these heavily mythologized figures. Furankî Sakai, 207 min Yukinojo does it backwards in heels. It's pacing, storytelling, and cinematography, as well as the production value, is pure cinema magic. Ran retells the story of Shakespeare’s King Lear, with the crucial opening scene featuring the lord divvying up his province amongst three quarrelsome samurai sons rather than three daughters. Tatsuya Nakadai, Action, Drama. 5:54. The armor and swords, the reverent attitude and the reputation for supreme competence in warfare are all pretty impressive, but they don’t get to the heart of it. Gonza the Spearman is set in 1735, more than a hundred years into the Edo period, when samurai wondered just what a warrior is when he has no war to fight. That self-abnegation in service of something greater than oneself is the question at the heart of the works of generation after generation of directors as they revisit the samurai film. Ok I know I just made a thread but now I'm begging for help I need to know either Aye) a Kickass Samurai movie Bee) A kick ass war movie or See)A movi Samurai Wolf’s fights are characteristic in their usage of exaggerated slow-motion sequences punctuated with sharp, diegetic stings of clashing swords and squelching wounds. Kagemusha is a massive war epic, but it’s also a study of a man having greatness thrust upon him and choosing to find meaning in a life he’s essentially inherited. Stars: A freeze-frame to bring the film to a sudden, jolting finish. As far as Kill Bill is concerned, that would be Toshiya Fujita, the filmmaker responsible for adapting Kazuo Koike’s chambara manga, Lady Snowblood, to the screen. (It’s great, by the way, that Sanada has enjoyed so much mainstream love over here in the U.S.A., but if you really want to get to know him as an actor, you’d best go back and watch this movie.) Sword of Doom is the more fleet adaptation of this same story, but in 1960, these three violent, haunting films were a longer retelling of the original serial novel by Kaizan Nakazato. Takashi Miike Toshirô Mifune, Stars: | Gross: 126 min You may wonder why Kobayashi bothered making the former after the latter, in light of their obvious similarities, but that’s a discredit to his talents as a director. The fact that he can, that his meekness is just a deception hiding an unstoppable, righteous whirlwind of dismemberment, is the reason The Tale of Zatoichi spawned 26 films, the vast majority of them starring Katsu in the title role. Naturally, Samurai thought this guy was so high on dorphs that he was talking nonsense, until he gave Johnny his card. Films set in this period feature massive armies clashing on horseback, devious clan warfare and intrigue, castles under siege, and earth-shattering historical epics written in noble blood. You’re in the right place for samurai war movies. Director: Even when Kurosawa generously reveals what actually happened when the bandit crossed paths with the samurai and his wife via the post-trial testimony of a humble woodcutter, we’re still left to wrestle with the question of who, and what, we should believe. Asuka Kataoka, | Takuya Kimura, And yet, he’s persuaded to take up his spear again when he’s offered the chance to redeem himself by participating in one of the pivotal battles of the Age of Civil War. After the maneuvering, the treachery and the clash of armies, it all builds to exactly the inevitable showdown you hope it does: Two guys in head-to-toe armor with swords slugging it out on horseback in the middle of a shallow river. The films alternate between mediation and action, both in context as individual movies and as parts of a greater whole; Samurai II: Duel at Ichijoji Temple in particular emphasizes action more than its siblings, ending with a massive battle between Musashi and a horde of bad guys in need of a few sword slashes apiece. | Gross: And yet, Gosha isn’t a nihilist: Sazen eventually chooses to follow his ninjo, returning the urn to its rightful owners and saving the lives of his friends by giving up everything and willingly going into exile. (It’s worth noting that the first chapter of Inagaki’s trilogy, Samurai I: Musashi Miyamoto, opened in 1954, the same year as Seven Samurai. The films seem to posit that Ryunosuke’s killing controls him, rather than the other way around. Stars: The Muromachi Period encompasses the bulk of the movies in this list, but this part deals with the handful that occur in earlier times, before the ceaseless age of war that followed. That’s the key to Sanjuro, the component that distinguishes it from Yojimbo. Keanu Reeves, Parts from the first and second films were condensed and brought to the United States in 1980 under a classically cheesy dub and retitled Shogun Assassin, the opening narration of which will be familiar to fans of the GZA’s album Liquid Swords. —Kenneth Lowe, It’s sort of unfortunate that The Hidden Fortress is chiefly known in the West for being one of George Lucas’ inspirations for Star Wars, because there’s much, much more to love about this rousing adventure film. The best strategist in Japan, Yamaga, leads a plot to stop the Elder, but ... See full summary », Director: That’s all you get.” If Gosha’s leading men, Tetsuro Samba, Isamu Nagato and Mikijiro Hira, weren’t so damn magnetic, individually and collectively, this likely wouldn’t matter as much, and Three Outlaw Samurai would likely remain a rousing entertainment. He’s fighting the zaibatsus, or corporations, that set up their own kind of modern mid-century feudalism. After a civil war that ended in 1868 with the resignation of the last Tokugawa shogun, Emperor Meiji became Japan’s de facto ruler and instituted numerous reforms to modernize the country—and incidentally brought the age of the samurai to a decisive end. By now you already know that, whatever you are looking for, you’re sure to find it on AliExpress. The ransom for the abduction was the secret for a terrific new weapon - the freeze bomb - but the 'Warlock' ... See full summary », Director: With sweeping operatic performances, hundreds of extras engaged in epic battle with sword, bow and firearm, and some of Kurosawa’s most arresting imagery, it’s essential viewing for any film buff. Mushibugyo. (In fairness, the guy hasn’t made a samurai movie in about ten years. Hiroyuki Sanada, In the film, the titular “Earless Monkey Urn” serves as Gosha’s McGuffin, juggled between factions under the Shogunate and amidst a series of mistaken identity and double-crossings, ultimately becoming the object Sazen is ready to risk his life to obtain. Knowing he faces an uphill battle against the violence of vicious yakuza and the entrenched corruption among the feckless bureaucrats in charge, Koheita adopts the nickname “Dora-heita,” (“alley cat” in Japanese, meaning a playboy), and purposely spreads false rumors of his own ineptitude and womanizing tendencies just so his enemies underestimate him. Yojimbo essentially introduced chambara to the West, burning the blueprint of the amoral, individualistic antihero at odds with the chivalric samurai mold into the minds of the Westerners who would eagerly pay it homage. | There is, of course, much more to Bloody Spear at Mount Fuji than that, but Uchida sees division in class as the ultimate inequity, an ugliness that he contrasts with beautiful cinematography and a bevy of terrific performances from his cast. Kari: No wonder you took so long to find me. All the same, he proves the better of the two by modern and even archaic definitions of manliness, while Morito proves himself to be something of a monster in spite of his martial virtues. Adventure, Drama, Fantasy. | It was the last of Toshiro Mifune’s “Yojimbo” films—in which he played the nameless bodyguard/warrior, who’d both influence Clint Eastwood’s Man With No Name and practically define a whole era of genre films—and it was director Hiroshi Inagaki’s last feature before the Japanese film industry practically decided he was an obsolescing figure and his particular brand of artistry (the lavish period film, his work inspiring such masters as Kenji Mizoguchi) no longer worth the slimming profit margins. —Kenneth Lowe, Dora-heita winks at the audience from the beginning, and has the good sense to keep the blood to a minimum so as not to spoil the fun. Scott Bachicha, —Kenneth Lowe, Told across a couple of tense, snowbound weeks inside the Shogun’s castle in Edo in 1860, Samurai Assassin is loosely based on the brutal, real historical assassination of Ii Naosuke, the grownup pulling the strings of a teenage Shogun. (Or maybe that’s a product of Toshiro Mifune’s irrepressible charm.) The American Western falls more or less within the bounds of the 19th Century, yet samurai films offer centuries of warfare, palace intrigue and a drawn-out end of an era for the history and film buff to chew on. 250 News Media/Behind-the-Scenes Films and Shows, Top 500 Twin Peaks/The X-Files/Outer Limits/Twilight Zone Knock-Offs. His most recent effort is What a Wonderful Family!, a 2016 comedy flick about a woman who asks for a divorce from her husband as a gift on her 50th birthday. Gosha’s characters are ardent believers in their right to change their minds and allegiances, a natural evolution of post-war samurai film’s tendency to divorce honor from fealty, and he’s a nimble enough filmmaker that keeping track of who’s on whom’s side is a breeze (though this is almost certainly because Gosha makes it so obvious whose side he’s on from the word go). View, download, comment, and rate - Wallpaper Abyss The stark black-and-white photography Kurosawa employs here, more even than his better-remembered samurai films like Yojimbo or The Seven Samurai, demonstrates how much care he puts into each shot, whether it requires the exact timing and coordination of hundreds of extras, intricate blocking as a single character succumbs to madness or despair, or framing a motionless evil spirit leering menacingly in the midst of a fog-shrouded forest. The legendary Japanese director Akira Kurosawa directed Seven Samurai as well as many other samurai movies on this list.. It’s set in 1586 in feudal Japan where a farming village is continuously under attack from bandits. Tatsuya Nakadai would step into the dual role of historical warlord Takeda Shingen and the lowly criminal, rescued from crucifixion by Shingen’s brother, who looks exactly like him. After the Rain is a movie about decency and how it can get an honest man in trouble in a cynical time. It will end tragically, of course. “Samurai: I have searched for you a very long time. Tao Okamoto, The reason the words “baby cart” keep showing up is that Itto—the shogun’s chosen executioner—is wandering the world on a protracted quest for revenge with his infant son in tow. That means accepting his fate as well. Action, Drama, Mystery. The effect is perhaps less impressive on screen than in text, but schnozzes are hardly chief among the film’s concerns. —Kenneth Lowe, A crossover was inevitable, wasn’t it? Overwhelmed at first, the decoy soon adopts the slain lord’s mannerisms and even fools his most trusted advisers and some family members. Action, Crime, Robert Sand, agent of D.R.A.G.O.N. Sure, it helps to have great dialogue, it helps to have a great actor reciting your dialogue, but it helps most of all when your dialogue reframes your movie entirely, and this is exactly what Toshiro Mifune’s class rebuke to the damned antihero at the center of Okamoto’s jidaigeki masterpiece does. One the one hand, they’re not the exact same film. 427,576 Hiroyuki Sanada, | It’s a slashing, clashing, gritty start to a cinema phenomenon. 88 min At the same time, Tokugawa declared that Japan would be largely closed to outsiders and that a person could not leave the social class into which he or she was born, facts that contributed to the feeling of society becoming static. The Japanese Movies of War are listed below including Stars and Director of the Movie. But such is his love for her that he decides to help the man she does love win her hand. Rei Dan, Maybe it’s off-putting to describe a film in which gangsters get sliced and diced like so many veggies as “joyful,” but such is Zatoichi’s weirdly ebullient tone. —Andy Crump. Fans who can’t stop talking about the genre symbiosis between the Western and samurai flick will want to see this movie no matter what. Toshiro Mifune’s effortlessly cool antihero—also a Man With No Name—belongs in the same pantheon of cinematic bad dudes as Bogart’s Rick Blaine or Eastwood’s Blondie. Combined, Inagaki’s films make up the most sweeping, romantic and rigorous production of its kind, bolstered by what’s arguably the most sophisticated and nuanced performance of Toshiro Mifune’s career. Billy Connolly, Its name comes from the Satsuma Domain, which had been influential in the Restoration and became home to unemployed samurai after military reforms rendered their status obsolete. The only way to stop him? The film is typically thought to be one of the director’s most uncharacteristic films, largely for its occasional lightheartedness compared to Gosha’s more cynical and aggressive portrayals of corruption and violence. Christopher Mayer, But Seven Samurai isn’t great because of its influence; rather, it’s the other way around, a movie whose towering brilliance is validated by the medium’s habit of aping it since its release. 8:40. Much of the film unfolds in flashbacks as his enemies recall parts of his life in the hopes of getting at the truth behind the man. —Kenneth Lowe. The production seems in many ways to be a final celebration of Kurosawa’s massive contribution to Japanese and world cinema, through the lens of the genre in which he was most prolific. The story, of course, is simple, as Gosha imagines how standard bureaucratic greed infects (or fails to) the simpler, purer hearts of men—infused with the director’s penchant for painting the downfall of the samurai class as an earned, humanistic flaw—but Nakadai complicates every straightforward plot point and dynamic, laying bare the sea change so many director’s dipped into when approaching chambara cinema at the end of the ’60s. Study the soul to know the sword. The man was none other than Jack Masters, the head of Universa… It is very slow, plodding, and the action comes seemingly from out of nowhere. Whether you’re looking for high-end labels or cheap, economy bulk purchases, we guarantee that it’s here on AliExpress. 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