“Goyokin,” which translates to “Official God,” is perhaps Hideo Gosha's finest film. Written by Gosha and Kei Tasaka, many of the director's regular players, including Tatsuya Nakadai and Tetsuro Tamba, star here. Toshiro Mifune was initially cast as the character Samon Fujimaki. However, production difficulties resulted in him being replaced by Kinnosuke Nakamura. “Goyokin” was a critical and financial hit upon release and remains a highly regarded piece of Japanese cinema.
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In snowy feudal Japan, Sado Island is home to gold mines that provide riches offered to the Tokugawa clan via ship delivery, which can be jeopardized due to poor weather on the waters. Meanwhile, a reclusive samurai named Magobei Wakizaka wanders, clearly troubled by something. The ronin finds himself the target of an assassination attempt, which he survives. He learns this attack was orchestrated by his former clan master,...
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In snowy feudal Japan, Sado Island is home to gold mines that provide riches offered to the Tokugawa clan via ship delivery, which can be jeopardized due to poor weather on the waters. Meanwhile, a reclusive samurai named Magobei Wakizaka wanders, clearly troubled by something. The ronin finds himself the target of an assassination attempt, which he survives. He learns this attack was orchestrated by his former clan master,...
- 1/17/2024
- by Sean Barry
- AsianMoviePulse
The story of the forty-seven ronin of Ako avenging their fallen master is a significant historical event in Japanese history that has practically gone down as a legend. The events that transpired have frequently been retold in media, most notably in literature through the fictionalized accounts known as “Chushingura.” In addition, many retellings of the vengeful retainers' plot for revenge have been depicted in traditional theater and in cinema. Filmmakers that have directed their depictions include Kenji Mizoguchi, Kunio Watanabe, and Hiroshi Inagaki. Of the countless cinematic renditions, one of the more underrated and unique is Kon Ichikawa's “47 Ronin.”
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Director Kon Ichikawa, who had directed a fair share of period pieces beforehand like “An Actor's Revenge” and “The Wanderers,” had expressed interest in adapting “Chushingura” for quite some time. He was finally given the opportunity towards the approaching end of his career.
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Director Kon Ichikawa, who had directed a fair share of period pieces beforehand like “An Actor's Revenge” and “The Wanderers,” had expressed interest in adapting “Chushingura” for quite some time. He was finally given the opportunity towards the approaching end of his career.
- 5/4/2023
- by Sean Barry
- AsianMoviePulse
A co-production of Shaw Brothers and the Nikkatsu Studio during the mid-60s, this James Bond inspired spy thriller stars a very young and less experienced Jimmy Wang Yu as secret agent Yang Ming Hsuan, who works for the Japanese brunch of Apss (Asia Police Secret Service). George (Jo Shishido) is a Japanese- Malaysian criminal who smuggles gold in Asia; furthermore, he wants to bring down the Japanese economy just because his Japanese father is responsible for the death of his mother. Upon learning about George’s evil plan, Apss promptly sends Agent Yang after him. Consequently, the cat-and -mouse game is on, sending him trotting from Japan to Hong Kong and finally a showdown in an ocean tanker full of gold in Macau. Yang also believes that the death of a wealthy businessman who might actually be his long- lost father is the doing of George’s outfit.
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- 3/28/2021
- by David Chew
- AsianMoviePulse
When legendary actor Kiyoshi Atsumi lost his battle with lung cancer in 1996, it effectively brought an abrupt, if not immature, end to the long-running Tora-san series, which had spanned 27 years and 48 films up to that point. So synonymous was the actor with the character that the former’s death was also considered the death of the latter, not just by the fans but also by Yoji Yamada, the director who had helmed 46 of the 48 entries and also wrote (or co-wrote) every single Tora-san story until then. Yamada did pay heartfelt tribute to the character, and Japanese cinema in general, in his 1996 release “Niji O Tsukamu Otoko”, which is considered the 49th entry in series, while still alluding that everyone’s beloved travelling salesman is still out there somewhere. In 2019, to celebrate the 50th anniversary of the character, the 88-years-old director returns once again to the story of Tora-san and the...
- 7/20/2020
- by Rhythm Zaveri
- AsianMoviePulse
Hong Kong Arts Centre: Moving Images announces their May programme, which includes their Golden Scene Selection, “Hong Kong Short Film: New Action Express” Online Short Film Selection: And Here Comes the Dawn, Hong Kong Arts Centre x Hong Kong Independent Film Festival – Independently Yours: Memories to Choke On, Drinks to Wash Them Down and Independently Yours – May.
Golden Scene Selection – May
Venue: Louis Koo Cinema, Hong Kong Arts Centre Date: 2020.05.26 – 2020.05.31Price: Standard ticket: $80. Tickets are now available at Putyourself.in.
“Golden Scene Selection”, proudly presented by the Hong Kong Arts Centre (Hkac) and Golden Scene Company Limited, will bring the audience a series of cherry-picked selections from around the world at the Hkac.Screening Schedule26/5 (Tue) 8pm Suk Suk (Preview)27/5 (Wed) 8pm Beyond The Dream (Preview)28/5 (Thu) 8pm My Prince Edward (Preview)29/5 (Fri) 8pm Tora-san, Wish You Were Here*30/5 (Sat) 3pm Beyond The Dream (Preview)30/5 (Sat) 7pm Suk Suk31/5 (Sun) 3pm Tora-san,...
Golden Scene Selection – May
Venue: Louis Koo Cinema, Hong Kong Arts Centre Date: 2020.05.26 – 2020.05.31Price: Standard ticket: $80. Tickets are now available at Putyourself.in.
“Golden Scene Selection”, proudly presented by the Hong Kong Arts Centre (Hkac) and Golden Scene Company Limited, will bring the audience a series of cherry-picked selections from around the world at the Hkac.Screening Schedule26/5 (Tue) 8pm Suk Suk (Preview)27/5 (Wed) 8pm Beyond The Dream (Preview)28/5 (Thu) 8pm My Prince Edward (Preview)29/5 (Fri) 8pm Tora-san, Wish You Were Here*30/5 (Sat) 3pm Beyond The Dream (Preview)30/5 (Sat) 7pm Suk Suk31/5 (Sun) 3pm Tora-san,...
- 5/20/2020
- by Rhythm Zaveri
- AsianMoviePulse
My thoughts and admiration for Mark Schilling’s work have already been shared in the review of “Art, Cult and Commerce“. In that regard, continuing with his bibliography was inevitable, and the fact that the present book deals with the oldest Japanese motion picture studio, and particularly its Action Cinema period, made its appeal even more intense. Even more so, since, during the latest years, there seems to be a renewal of interest regarding the genre, especially through the home video releases of companies like Arrow and Eureka.
The book begins with the history of Nikkatsu, focusing on the period from the late 50s until the early 60s, when the Nikkatsu Action genre started, flourished and declined. The second part deals with the main male protagonists of those movies, presenting detailed biographies of Yujiro Ishihara, Akira Kobayashi, Keiichiro Akagi and Tetsuya Watari, highlighting the concept of the...
The book begins with the history of Nikkatsu, focusing on the period from the late 50s until the early 60s, when the Nikkatsu Action genre started, flourished and declined. The second part deals with the main male protagonists of those movies, presenting detailed biographies of Yujiro Ishihara, Akira Kobayashi, Keiichiro Akagi and Tetsuya Watari, highlighting the concept of the...
- 5/15/2020
- by Panos Kotzathanasis
- AsianMoviePulse
Japanese screen legend Kiyoshi Atsumi built his entire career on one role. For nearly three decades, the comic actor played a character named Torajiro Kuruma — “Tora-san” to his onscreen family and real-world fans — appearing in approximately two new installments of the long-running franchise per year. To Japanese audiences, Atsumi was Tora-san, a connection the actor encouraged by appearing in precious few other film roles beyond the benevolent vagrant, who was a traveling salesman-cum-free spirit, sparking brief but unsuccessful romances with a variety of women on the road, while nudging the love lives of his shy sister and awkward nephew toward more traditional happiness.
When Atsumi died in 1996, so too did the popular film series, meaning that Japanese audiences have been without their beloved Uncle Tora-san for more than 20 years. Now, to commemorate the 50th anniversary of the first movie, director Yoji Yamada (who helmed all but two of the character...
When Atsumi died in 1996, so too did the popular film series, meaning that Japanese audiences have been without their beloved Uncle Tora-san for more than 20 years. Now, to commemorate the 50th anniversary of the first movie, director Yoji Yamada (who helmed all but two of the character...
- 10/28/2019
- by Peter Debruge
- Variety Film + TV
In my review of the first “Diamond Guys” collection Arrow put out, I noted how, for all the ways those films tried to shake up the Nikkatsu formula, it was still a fairly representative look at what the studio was all about – widescreen, black-and-white, stoic men drawn into violent situations, corruptible women, and jazzy scores. Only the final film in that set – Rambling Guitarist – really managed to strike out and maintain a distinctive tone, but the narrative remained the same. With this second collection, the trajectory is quite the opposite. Rather than gradually move away from the formula, Volume 2 begins with a loose riff in the manner of Rambling Guitarist and gets more cartoonish, absurd, and unpredictable from there. Not that this precisely means the films are any more successful overall. The ratio remains the same – one solid bit of fun, one slog, and one that’s pretty near great.
- 9/7/2016
- by Scott Nye
- CriterionCast
Buichi Saito's Danger PaysSTORY68%ACTING75%DIRECTING72%VISUALS74%POSITIVESHilarious parodyGreat comedic actingImpressive finaleNEGATIVESA bit nonsensical script2016-07-2372%Overall ScoreReader Rating: (0 Votes)0%
The second film in Arrow’s Diamond Guys Vol 2 takes a more definite turn towards the comical, being a parody of the crime noir film.
In the film’s intro, it is stated that “danger is where the money is,” and that is actually the main theme of the film, which deals with a case of counterfeiting, revolving around an expert forger and the efforts of a crime syndicate headed by Hijikata and various individuals, to have him working for them. The parody element of the film kicks right in, as these individuals have names like “Glass Headed” Joe (the protagonist), “Slide Rule” Tetsu, and “Dump-Truck” Ken, while the expert forger is comfortably named “The Expert.” The three aforementioned eventually team up, and along with Tomoko, an ex-secretary, skilled in Judo and Aikido,...
The second film in Arrow’s Diamond Guys Vol 2 takes a more definite turn towards the comical, being a parody of the crime noir film.
In the film’s intro, it is stated that “danger is where the money is,” and that is actually the main theme of the film, which deals with a case of counterfeiting, revolving around an expert forger and the efforts of a crime syndicate headed by Hijikata and various individuals, to have him working for them. The parody element of the film kicks right in, as these individuals have names like “Glass Headed” Joe (the protagonist), “Slide Rule” Tetsu, and “Dump-Truck” Ken, while the expert forger is comfortably named “The Expert.” The three aforementioned eventually team up, and along with Tomoko, an ex-secretary, skilled in Judo and Aikido,...
- 7/23/2016
- by Panos Kotzathanasis
- AsianMoviePulse
Buichi Saito's Tokyo Mighty GuySTORY65%ACTING72%DIRECTING70%VISUALS75%POSITIVESVery quick pace that makes the film easy to watchMany hilarious scenes and linesGreat restorationNEGATIVESThe script's nonsensicallity reveals its ageYou have to love Japanese cinema to watch it2016-07-1871%Overall ScoreReader Rating: (1 Vote)70%
Nikkatsu, the oldest film studio in Japan, inaugurated a star system in the late 1950s, finding talent and contracting them to a series of wild genre pictures. A prominent example of the tendency is “Tokyo Mighty Guy.”
Young Jiro returns to Tokyo after finishing his studies in French cuisine and opens a restaurant in Ginza. However, he stumbles upon many troubles as an ex-prime minister crashes his car in his restaurant, the Yakuza seems to demand money for protection, and Jiro does not seem able to stop helping everyone that comes across his way.
Buichi Saito directs a very entertaining film, which, although focuses on the comic element,...
Nikkatsu, the oldest film studio in Japan, inaugurated a star system in the late 1950s, finding talent and contracting them to a series of wild genre pictures. A prominent example of the tendency is “Tokyo Mighty Guy.”
Young Jiro returns to Tokyo after finishing his studies in French cuisine and opens a restaurant in Ginza. However, he stumbles upon many troubles as an ex-prime minister crashes his car in his restaurant, the Yakuza seems to demand money for protection, and Jiro does not seem able to stop helping everyone that comes across his way.
Buichi Saito directs a very entertaining film, which, although focuses on the comic element,...
- 7/18/2016
- by Panos Kotzathanasis
- AsianMoviePulse
The Nikkatsu logo, especially in the late 1950s and early 1960s, was a bit of a promise – 80-100 minutes of wild guys, sexy ladies, mob showdowns, a handful of visually-striking locations (get ready for nothing but bars, nightclubs, and docks), and a good deal of brooding over morality before the inevitable eruption of violence. These were as programatic as they come, yet within those strictures, the filmmakers under contract to the studio found enough room to practice some pretty wild stuff, or at least have some fun in so doing. Though the true classics from the studio (especially those by Shohei Imamura and Seijun Suzuki) were definitely outliers, to the point that the directors behind them were punished or fired for making them, that baseline promise captured the imaginations of young moviegoers at the time and have remained steadfast pleasures for today’s cinephiles.
For those whose curiosity was piqued...
For those whose curiosity was piqued...
- 3/30/2016
- by Scott Nye
- CriterionCast
Asia-Pol
Directed by Matsuo Akinori
Written by Gamasaki Twao
Hong Kong/Japan, 1967
Historically, not many non-Chinese directors had the privilege of working within the Shaw Brothers studio system. Unlike with major American studios, where American, British, Canadian and directors from elsewhere in the world can try to make a splash, Shaw Brothers was very much a Chinese endeavour. Like all rules however, there are exceptions. The director behind one of the studio’s most iconic films, King Boxer, was in fact Korean. A Japanese director been awarded the chance to put their stamp onto the Shaw legacy is even more unique given the historically volatile relationships between the two countries concerned. Matsuo Akinori is one of the few to have done so, with his 1967 spy imitator film, Asia-Pol.
Jimmy Wang plays Ming Yang, a young operative for the highly secretive Asia-Pol, a pan-Asian secret service style organization. The agents work under deep cover,...
Directed by Matsuo Akinori
Written by Gamasaki Twao
Hong Kong/Japan, 1967
Historically, not many non-Chinese directors had the privilege of working within the Shaw Brothers studio system. Unlike with major American studios, where American, British, Canadian and directors from elsewhere in the world can try to make a splash, Shaw Brothers was very much a Chinese endeavour. Like all rules however, there are exceptions. The director behind one of the studio’s most iconic films, King Boxer, was in fact Korean. A Japanese director been awarded the chance to put their stamp onto the Shaw legacy is even more unique given the historically volatile relationships between the two countries concerned. Matsuo Akinori is one of the few to have done so, with his 1967 spy imitator film, Asia-Pol.
Jimmy Wang plays Ming Yang, a young operative for the highly secretive Asia-Pol, a pan-Asian secret service style organization. The agents work under deep cover,...
- 6/24/2012
- by Edgar Chaput
- SoundOnSight
When, in 1934, Jean Vigo died of tuberculosis, he was only 29, "a neglected figure at the margins of the industry who had seen one of his films (Zéro de Conduite) banned by the French authorities and another (L'Atalante) recut and retitled by its producer." Dennis Lim in the Los Angeles Times: "Vigo lends himself to romanticization, and not just because of his tragic early death and the aura of unfulfilled promise. He led a brief but colorful life as a fellow traveler of the French surrealists and the son of a well-known anarchist who was apparently murdered in prison. Vigo's first film, the silent, 23-minute À Propos de Nice (On the Subject of Nice), part of the 'city symphony' genre that flourished in the 1920s, confirmed that the young Jean was very much his father's son…. All of Vigo's films were shot by Boris Kaufman, brother of the Soviet film pioneer...
- 8/31/2011
- MUBI
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