The fourth film from Akira Kurosawa is based on a legendary twelfth-century incident in which the lord Yoshitsune and a group of samurai retainers dressed as monks in order to pass through a dangerous enemy checkpoint.
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Back to basics. Proof that in order to create classic art, you must be free of the constraints of a populist agenda. In this concise masterpiece, Kurosawa returns to the optimistic melodramatic voice which made him great. Here, a sense of brotherhood is better pronounced than in 7 SAMURAI. The flower symbolism is present, as are classic and archetypal characters. The story is pushed along by great wiped transitions.
For writing the script in just two days, Kurosawa implemented a structured story which compliments its short length, while creating an environment fully in a studio, yet remaining atmospherically accurate to the overall setting of the picture.
Esta adaptación de una obra de teatro kabuki representa la única incursión de Kurosawa en los terrenos de la comedia. Entre otros de sus colaboradores habituales, la cinta está protagonizada por Kenichi Enomoto, una especie de antecesor japonés de Jim Carrey (e igual de detestable). Una obra menor (aunque con una edición brillante) que resulta ser toda una curiosidad dentrode la filmografía del notable realizador.
Minor, unessential Kurosawa, but even at his seemingly simplest, he gives us a nice little suspense and creation. Only his fourth film, "Tiger's Tail" has some really silly acting, although the mise en scene is lovely to watch...but Rashomon or even the Seven Samurai it ain't,
Well, it's a Kurosawa. Far from its bests, but still a Kurosawa. It's elegant, the music is great, the story is very good (even though a little Wikipedia search helped understand the whole context of the story, that's originally a Kabuki play about how a Buddhist monk betray his principles for the sake of his Prince). The carrier adds some antagonizing comedy that reliefs the whole seriousness. Worth, as usual.
Early work from Kurosawa. Not exactly spectacular, but he manages to build a nice tension with little effects. A game of poker where nobody, in the end, can consider himself a winner. The stage aspect of it, very Kabuki-like, kind of disturbed me and did not age particularly well.
This film suffers from the fact that it feels stagestuck (because it’s based on Noh/Kabuki plays) and hasn’t transitioned into being a full fledged film. It’s a very minor entry in his canon and you should only watch it if you’re a completist.