eleven samurai
eleven samurai (dvd / japanese w / eng sub / 2. 35: 1) (dvd )
eleven samurai (dvd / japanese w / eng sub / 2. 35: 1) (dvd) - urltoken
samurai in ninja town: the english version, with the changed samurai fighting ninja crows .
animeigo presents the dvd for eleven samurai. eiichi kudo, the director of the original the thirteen assassins, closes his chapter of the samurai revolution trilogy with eleven samurai. the plot is very similar to the previous films in the trilogy (the thirteen assassins and the great duel), which isn’t necessarily a bad thing .
in the less innocent and more skeptical world of the 1960’s, it wouldn’t be seven samurai that would get the job done. it called for eleven
halloween may be over, but the ‘claret continues to flow’. it’s another dose of in - your - face, bloody group vengeance in animeigo’s release of “eleven samurai” (“ju - ichinin no samurai”, toei 1966) the final film in kudo eiichi’s “samurai trilogy”. the first two films in the trilogy, the original “13 assassins” and “the great killing”, both featured meticulous plans to ambush the numerically superior enemy. they’re often compared to kurosawa akira’s “seven samurai” for this reason. “eleven samurai” also includes this aspect, but this is after all japanese film - there’s no guarantee that the third time will be the charm. with an army of samurai retainers forming the opposition rather than the kurosawa film’s ragtag band of bandits, seven samurai would not be enough. bring on the eleven samurai !
eleven arts is a film production and distribution company located in los angeles that has brought ma ...
eleven samurai who fought themselves and their clan leadership as much as they did the enemy. but when everything was said and done, they pulled together to attack their common enemy, concluding the samurai trilogy with an appropriately brutal and bloody finale. it combines the best of the classic jidaigeki of the 50’s with the increasingly violent large scale chanbara films of the 60’s. you can pick up eleven samurai at a discount on the
eleven arts’ major film titles include japan academy awards winner memories of tomorrow, starring ken watanabe and the samurai film love and honor, directed by yoji yamada, who received an oscar nomination for the twilight samurai (2004). eleven arts is also the distributor for popular animation titles such as the evangelion franchise, fullmetal alchemist: the sacred star of milos, and puella magi madoka magica: the movie. eleven arts also recently distributed the award - winning uzumasa limelight, directed by ken ochiai .
as rumor has it, the story follows a group of bounty hunters who were hired for the job — think the seven samurai or suicide squad meets ocean’s eleven in the world of star wars .
nui has her brave moment. another of the eleven loses his sword & kills one more enemy with a stick before dying .
time travel: the theme for the episode ,
samurai savings time
.
faeryville, a singapore dystopian feature film represented by la - based distributor eleven arts, received an amazing audience reception at its hollywood debut .
gosh dang it to heck! : the last line of the samurai pizza cats oath .
in samurai pizza cats, speedy' s companion ginzu sword is named
binky
.
eleven arts celebrated the distribution deal with a lavish red carpet premiere of tatara samurai at grauman’s egyptian theatre in los angeles on monday, may 8th. writer / director yoshinari nishikori attended, as did a large number of the film’s japanese celebrity cast .
their favorite anime shows and films on the big screen and it was amazing when i went to see the last: naruto the movie. thanks eleven arts !
along the lines of the oft retold 47 ronin. a good old - school samurai flik .
1966), constituting his
revenge trilogy
also called the
samurai revolution trilogy .
artistic license - martial arts: the gag dub calls the cats samurai, but they' re actually ninjas. there is however, one single samurai in the original japanese version ...
eleven arts is a film distribution company based in los angeles which has brought many acclaimed japanese and asian films – both live - action and animated features – to north american audiences .
47 samurai avenge the death of their lord in kenji mizoguchi' s take on the famous historical event .
. this is the third and final chapter in kudo' s samurai revolution trilogy. the plot is a
evil counterpart: the rude noise (the four dark ninjas) to the samurai pizza cats rescue team .
this film is nothing whatsoever like akira kurosawa' s seven samurai, except for the trivial facts that it' s in black and white, involves samurai, and has a big battle scene at the ...
inri studio and eleven arts is proud to announce that faeryville, the first singapore film in singapore’s landmark sg50 year, made its world premiere in los angeles, california on 14 january 2015 .
‘i was surprised by the reaction from the crowd; the film resonated with both young and mature audiences, ” said ko mori, ceo of eleven arts. “eleven arts is definitely going to explore a realease in more cities, perhaps san francisco, austin, texas, chicago and new york. we may take this to colleges and university campuses, where the bullying problem is very real. ”
gyobu' s men are too nkumerous & the brave eleven are being picked off one by one. hayato & gyobu have their one - on - one duel, two powerful men as worthy opponents .
—which got so popular that the series is better known outside of japan in its
samurai pizza cats
form .
the lord of the oshi fief is killed by his trespassing neighbor, nariatsu. but when the oshi clan is blamed for the incident, eleven of their best warriors decide to trade their lives for justice .
the legendary samurai sasuke sarutobi gets caught in a web of political intrigue, deception and espionage during the early 17th century .
the japanese character that the taka' s elder son paints and gives to algren is the character for
samurai
.
the lord of the oshi fief is killed by his trespassing neighbour, the cruel and despotic nariatsu, son of the former shogun. after an investigation, the oshi clan is blamed for what happened and sentenced to be disbanded. eleven of the best samurai of the clan refuse the sentence and are willing to give their life for justice .
from source: result of livestream and moar samurai dad. geez, and this isn’t even half of what i wanted to draw. you have no idea how much more i want to draw. so i’ll continue next week with more samurai dad .
after killing a counselor of his clan, a fugitive samurai befriends a couple poaching the shogun' s gold in the mountains .
contrary to a popular misconception, the title of the film does not refer to nathan algren, or even katsumoto, as the last samurai. the word
samurai
here is in its plural form and is actually referring to katsumoto' s clan as a whole .
depicts the early life of the legendary warrior musashi miyamoto; his years as an aspiring warrior, an outlaw and finally a true samurai .
eleven samurai are sent to avenge the murder of their lord and guard the future of their small clan who was murdered by the arrogant and cowardly brother of the shogun, in this little - known, superbly - directed and acted 1960' s samurai classic. the film features several intriguing plot - twists as well as provide authentic glimpses into both the samurai ethos and, interestingly, its interplay with hostile political forces which two decades later (following the story' s own periodization) would spell the end of the tokugawa shogunate and the beginning of the meiji restoration (as seen, namely, through one antifeudal and inventively modern character who joins the protagonists in their quest) .
guido: (to speedy) you may be an ungrateful, self - centered little jerk, but you' re still a samurai pizza cat .
a timeless tale of honor and revenge, the loyal 47 ronin is the true story of a group of samurai who became ronin (masterless samurai) after their lord was forced to commit seppuku (ritual suicide) for assaulting a court official. after patiently waiting and planning for over a year, they…
ichi kudo (1929 - 2000), descended from samurai, made a handful of classic samurai films that had subtitled prints in the us, canada, & hawaii in the 1950s & 1960s, seen almost exclusively in ethnic movie houses, & rerun periodically until those cinemas began dying off late in the 1970s .
from place to place, through stunningly beautiful landscapes. this also sets samurai films apart from westerns, which are almost always populated with more horses than people .
the lord of the oshi fief is killed by his trespassing neighbor, the cruel and cowardly nariatsu, son of the former shogun. but when the oshi clan is blamed for the incident and sentenced to be abolished, eleven of their best warriors decide to trade their lives for justice !
cherry blossoms, a. k. a. “sakura, ” are an important part of japanese life, and show up throughout samurai vendetta. the original japanese title of this film is “hakuoki, ” which can be translated as “a chronicle of pale cherry blossoms”; “samurai vendetta” is the title under which it is best known in the west .
— following a massively successful festival circuit, eleven arts has licensed north american distribution rights to yoshinari nishikori’s award - winning period action - drama tatara samurai. the l. a. - based distribution company, whose recent titles include the legend is born: ip man, uzumasa limelight, sailor moon r: the movie, and sword art online the movie – ordinal scale -, have set a june 2nd theatrical release for the film, which is produced by exile hiro .
episode eleven of the english dub where the big cheese is watching the movie (or clips) to study the samurai pizza cats and learn from their mistakes, the cats' information shows up alongside labels of their body parts. when it gets to polly esther, the labels were
mimi
( ear) ,
oppai
( breasts) and
xxxx
( xxxx). it was written in romanji, probably why it was able to stay in the english dub .
13 assassins was a kind of reworking of akira kurosawa' s seven samurai. the film was even deemed by the movie press of the time to be a pale copy of kurosawa' s masterpiece. on the minus side, it ought to be reckoned that 13 assassins feels too much like a transitional film, meaning that kudo had not yet fully developed his own realistic style; all the more so as the production was backed by the great star chiezo kataoka, who was then a member of the toei administration board. chiezo kataoka' s role in the film, that of a sacrificial, heroic samurai, is probably what makes the film more traditional than daring in form and content. now, on the plus side, it should be stated that kudo - and scriptwriter kanao ikegami - brought a different perspective to the seven samurai story; whereas kurosawa' s film pitted lowly samurai against each other for the benefit of a despised class - namely, the peasantry -, kudo' s film sees samurai fight merely among each for the benefit of samurai society - the bakuhan. in a way, kudo' s film is darker than kurosawa' s as it describes a corrupt world fostering unrewarding violence. in the great killing, kudo took more liberty and replaced the high rank samurai of 13 assassins with characters of a condition more suited to his social conscience: poor, marginalized samurai, whom he might have looked on as the students of the conflicted 1960s .
situated by the ocean, this hostel is steps from myall lakes national park and tomaree national park. samurai beach and toboggan hill park are also within 3 mi (5 km) .
lady nui (eiko okawa) with sword begs to join the plot against nariatsu. as swordswomen go, she is weakly cast & doesn' t quite live up to the promise of her introduction to the story. but as stories go, it' s nice that of the brave eleven of oishi is a woman .
the filming in taranaki coincided with a summer of many days without rain, to the benefit of the filmcrew. taranaki locals use the term samurai summer as reference for a summer with many clear days .
much of the cast for “eleven samurai” had appeared in the previous two films - two of them, satomi koutaro (playing mitamura kenshin, leader of the hotheads) and nishimura ko (playing ronin ido daijyurou) are probably best known for essaying the title role in the “mito komon” tv series. suga kantaro is the surly nariatsu, in effect reprising his role from “13 assassins”. while at times he goes a bit over the top in acting despicably, he certainly succeeds in making his character come across as an entitled, petulant and sadistic rich boy who takes everything for granted and treats even his vassals as disposable objects. this is one guy you really, really want to see get killed. otomo ryutaro played the evil lord’s loyal samurai akiyoshi gyobu after being the prime baddie in “the great killing” - he also appeared in the first example of ‘samurai group assault’ films, “seventeen ninja”. having a cast that was used to working with the director and each other gave the film solid performances even for the smaller parts .
banshu, also known as harima, was an edo period province of japan that included ako. its capital was himeji and it was also the home of the samurai miyamoto musashi, who wrote the book of five rings .
critical reception in japan was generally positive. tomomi katsuta of
the mainichi shinbun
thought that the film was
a vast improvement over previous american attempts to portray japan
, noting that director edward zwick
had researched japanese history, cast well - known japanese actors and consulted dialogue coaches to make sure he didn' t confuse the casual and formal categories of japanese speech .
however, katsuta still found fault with the film' s idealistic ,
storybook
portrayal of the samurai, stating :
our image of samurai is that they were more corrupt .
as such, he said, the noble samurai leader katsumoto
set his teeth on edge .
in one of the greatest films to come from japan, the lord of the oshi fief is killed by his trespassing neighbor, the cruel and despotic nariatsu, son of the former shogun. after a biased investigation, the oshi clan is blamed for what happened and sentenced to be disbanded. eleven of the best samurai of the clan refuse the sentence and are willing to give their lives for justice. noted director kudo eiichi reached the zenith of his career with this exciting film about the turbulent days of the oshi clan! featuring an all - star cast in one of the most memorable motion pictures from the toei studio .
pretty much a standard samurai flick. overly political, as these movies tend to be. we learn a lot (some would say too much) about the machinations of corrupt government leaders, and the rebel forces fighting against them .
the kanji characters that appear on the posters, often beneath the title, do not say
the last samurai .
they say
bushido
(
the warrior way ,
i. e. , japanese chivalry) .
afro samurai is a 3d brawler with platforming elements. using light hits, power hits, kicks, and blocks the player fights various enemies. most levels culminate in a boss fight, and in - engine cutscenes advance the story .
wow, just finished this film, and i have to say wow. up until the finale i was thinking that it was a pretty good but pretty unoriginal samurai revenge flick, then came the amazing final act and i was like holy crap and sat on the edge of my seat. i think this is a must see for any lover of samurai or historical revenge films. it' s a little too similar to the same directors earlier 13 assassins to be truly phenomenal .
eventually, and most ironically, kudo' s jidai geki are also the achievements of a director who seemingly looked on his samurai legacy with disfavour but found himself most at home in samurai epics. this made him very different from, for example, the venerable director masahiro makino, who had a much more favourable view of his own personal samurai lineage. in a way, kudo proceeded to do what he wanted the protagonists of his samurai films to do: try to subvert a near corrupt world from within, by waging a clever - but often desperate and unrewarding - guerrilla approach.' he was a b - class moviemaker in terms of hierarchy', masaaki ito concludes' but he certainly viewed himself as an auteur director. he had certain privileges which other toei directors envied. but on the set, he would do things which directors did not normally do, like clean up the set, carry spotlights, etc. all the actors and technicians truly loved him. he was a great director.'
complications with the shikimori slow our heroes briefly but give them a deeper understanding of the relationships extant between the bandits, merchants, farmers and the shikimori themselves. combine it with the need to elude bandit scouts, who have heard rumours of samurai being hired to aid kanna village, and our heroes have an interesting trip to kanna. once there they find the reception less than cordial. here kikuchiyo' s past comes to the fore and he proves crucial in letting the samurai and farmers understand each other .
the film superficially resembles the previous two ‘samurai trilogy’ entries, “13 assassins” and “the great killing”, but in spirit is more akin to a chushingura / 47 ronin film. here the samurai are working outside the law to gain revenge for the death of their lord and the subsequent confiscation of their fief (an insult compounded by having it awarded to the man who killed their lord in a fit of pique). it’s particularly mirrored in the moral dilemma of whether to work towards revenge or the restoration of their clan .
historically, the only westerners fighting in the japanese civil war were french military advisers under jules brunet who joined the shogun' s army. even if most of them were fighting with french equipment, some did wear the samurai attire (like eugene collache) .
this is the story of
the forty - seven ronin .
based on historical events in 1701 - - 1702, the movie tells the tale of the asano clan' s downfall and the revenge of its former samurai on the... see full synopsis »
however, kudo' s great - grandfather went to hokkaido after the dissolution of the samurai class & became a horse rancher. horses remained a family business, & even in his films kudo was not apt to pass on a chance to place horses into a story .
effort at a ‘group assault’ film. “13 assassins” was cold and calculating, precise and surgical in its planning and counter - planning. “the great killing” was an exercise in chaos, from the opening that drew in a character totally unrelated to the plot to the closing assault that didn’t look at first to have succeeded. “eleven samurai” blends these disparate approaches and adds the hayato / orei relationship, an aspect that was somewhat missing in the first two films (especially 13 assassins). there are some excellent shots and composition in the film, particularly in the massive, almost expressionistic imperial forest that the ambush is to take place in. light and shadow is used to great effect and there are nice flourishes, such as letting a billowing wave of fog effect a virtual wipe of the screen. kudo is also smart enough to give his leads a bit of screen time to flesh out their characters, not just the hayato / orei / nui angle but hayato’s position as an outsider among the ‘hotheads’, gyobu’s travails as nariatsu’s chamberlain, and daijyourou’s scathing indictments of the samurai lifestyle .
toshiro mifune furiously embodies swordsman musashi miyamoto as he comes into his own in the action - packed middle section of the samurai trilogy. duel at ichijoji temple furthers miyamoto along his path to spiritual enlightenment, as well as further from the arms of the two women who love him: loyal otsu…
raizo was born august 29, 1931 in kyoto, japan, and had a highly successful film career in mostly period dramas, however his roles as ishikawa goemon in the shinobi no mono film series and the nihilistic samurai nemuri kyoshiro in the sleepy eyes of death films catapulted him to true stardom .
the tale of the 47 ronin is by a wide margin the most popular story in japanese history, and is described by some as the country’s “national legend”. its lasting resonance in the hearts of the japanese can be attributed to the timeless appeal of the samurai code of honor, known as bushido. this true story of vengeance is recognized as emblematic of the loyalty, sacrifice, persistence, and honor which all should make prominent in their daily lives, samurai or not. the 47 ronin saga became particularly popular during the meiji period of japanese history, when many citizens longed for a return to their cultural roots .
tatara samurai is the latest feature from visionary director yoshinari nishikori, whose films, konshin and railways were box office smashes in their native japan. his latest historic epic stars sho aoyagi (yakuza apocalypse), pop star naoki kobayashi, akira (legend of the fist), tomoko tabata, and anna ishii .
samurai beach bungalows port stephens yha features an outdoor pool, a library, and tour / ticket assistance. wireless internet access is complimentary. this one mile hostel also offers barbecue grills, a garden, and laundry facilities. limited complimentary onsite parking is available on a first - come, first - served basis .
in the first part of the epic samurai trilogy, toshiro mifune thunders onto the screen as the iconic title character. when we meet him, miyamoto is a wide - eyed romantic, dreaming of military glory in the civil war that is ravaging the seventeenth - century countryside. twists of fate, however, turn him into…
a disillusioned musashi miyamoto (toshiro mifune) has turned his back on the samurai life, becoming a farmer in a remote village, while his nemesis kojiro (koji tsuruta) now works for the shogun. circumstances bring them back together for one final face - off. though it' s marked by a memorably intense final battle…
jaw drop: happened to the pizza cats in
samurai savings time
, after they failed to prevent the big cheese from meeting jerry atric. also, in the japanese version of
pizza cat performance review
, bad bird was laughing so hard that his jaw dropped, and he had trouble talking for a while .
a fascinating samurai film by the director of the original 13 samurai. the evil character is presented as a ruthless lord from the beginning as he attacks anyone who slightly offends him. in order to preserve the alliances among clans, the transgressions of the lord are retold to exonerate him and lay the blame on a minor clan. such an action will abolish the clan' s autonomy and place them under the clan of the offending lord. when the intentions of the alliance are known, the representative of the minor clan asks for a 30 day notice which is granted. in that period the clan will try to kill the ruthless lord in order to expose the injustice and brutal tactics…
the decline of the mass - produced goraku (entertainment) jidai geki coincided with the career end of big pre - war stars of the genre like utaemon ichikawa and chiezo kataoka. what happened was that, like in the pre - war period, the jidai geki films became increasingly realistic and poignant in their content and messages. the camera became free from theatrical forms again while the message about the cruelties of the samurai society was more adamant. masahiro shinoda once commented that he felt the need to' do away with the nonchalant flippancy with which toei jidai geki explored the historical background of the edo era', and set out to show how the bakufu period reflected the excesses of modern japanese society. eiichi kudo set out to break the toei mould from within in three major films: 13 assassins (jusannin no shikaku, 1963), the great killing (daisatsujin, 1964) and 11 samurai (juichinin no samurai, 1966). these were all filmed in black and white, while their stories functioned as mirrors to the hot topics of the 1960s: rebellion and political assassination .
samurai vendetta is a chushingura side - story, which intersects with the main story at key points. the film was made for japanese audiences, who would be extremely familiar with the details of the story of the 47 ronin. western viewers are thus well advised to take a crash - course in 47 ronin lore in order to get the most out of the film .
kazuo mori was born january 15, 1911, and had a prolific career as a film director from the 1930s to the 1970s. over his long career, he directed 131 films, including the blind menace, four zatoichi films, and three shinobi no mono films. samurai vendetta is regarded as one of his best films. kazuo mori died on june 29, 1989 .
this revelation would seem to imply that the great killing is the triumphant expression of kudo' s ideals. but the three films are far from that; their revenge plots lead merely to chaos and despair. there is no triumph in killing. moreover, the great killing of the film will not change much about the social order. as dirty kudo puts it,' the movie shows but mangy dogs nibbling at the political system'. the pessimistic view of violence, once again, makes the great killing more than just another swordplay movie. it is also a nouvelle vague film with a political and moral bias. it may be seen both as a metaphor of student activism but also as the moral stance of a director who stemmed directly from samurai lineage and saw violence as the twilight of enlightenment. 11 samurai, as arai put it,' shows human beings dazed and alienated by their own violence in a metaphorical environment'. but the three films also follow a commercial formula along the lines of the traditional chushingura / 47 ronin story, especially the third film, 11 samurai, about a violent vendetta in the midst of existential uncertainty .
“tasuki” are short, thin sashes worn with kimono which are wrapped around the shoulders in order to keep the long, wide sleeves of the kimono out of one’s way when trying to do something with one’s hands, like tidying up around the house, or slaughtering a group of rival samurai. tasuki are not to be confused with “obi, ” which are longer, wider sashes also worn with kimono .
the swords used in the film are the folded steel orchid katanas by paul chen. originally blue, they were painted red to match the armor of the samurai that algren kills in his first engagement with katsumoto' s men. it it the same armor that taka dresses algren in for the final battle. in all, 7 live blades were purchased for the production from ameurasiart in the united states .
born october 12, 1898, in uwajima, ehime, daisuke ito was one of the top directors and screenwriters of his time in japan. often regarded as the “father of jidaigeki (period drama), ” he particularly laid his bricks in samurai cinema, building the foundation of modern jidaigeki from the era of silent film (his first screenplay was produced in 1921), to his final film in 1971 .
hip hop producer rza is credited as music director, but due to time constraints, he was unable to contribute fully. instead he told the team how he went about scoring afro samurai, and put them in contact with various individuals to assist them in delivering a sound similar to what he created for the anime. he did, however, send the team a couple of tracks to use in the game .
an episodic sequel was announced in june 2015, called afro samurai 2: revenge of kuma. [ 18 ] volume 1 was released on playstation 4, and pc on september 22, 2015 and the xbox one on october 8, 2015. in november 2015, the game was removed from the playstation store, xbox marketplace and steam and volumes 2 and 3 were cancelled due to poor reception. [ 19 ]
the other character development of note is katsuhiro who is rapidly begining to understand the true costs of being a samurai. by volume end he is forced to grapple with the ugly reality behind the noble concepts and i am not entirely sure he likes what he has discovered. it is going to be interesting to see how he develops over future volumes. the stage is now set for the arrival of the oft referenced but infrequently seen nobuseri .
not all those directors were staunch believers in democracy. some, like gosha, were quite defiant, others, like shinoda, were more confident; they all felt that they had been betrayed by the kokutai system - blind obedience to the emperor based on samurai ideology - but they could not always adhere to democratic principles which they felt formed merely a new system imposed upon the people. their jidai geki reveal both their pessimism and faith in the shape of individualistic rebellion against authoritarianism. to top it all, eiichi kudo' s films sprang from the most improbable source: the toei kyoto studio, the realm of entertainment jidai geki for children and the masses. but the sheer strength of films like 13 assassins, the great killing and 11 samurai, although deemed b action jidai geki at the time of their production, deserves a brand new evaluation in the light of political history .
the relationship between hayato (natsuyagi isao) and orei (miyazono junko). it’s very affectionate and much more up - front than similar relationships in most chanbara films and is given a good chunk of time to play out as a subplot in the film. shots of hayato’s hands lovingly caressing orei’s face and his obvious sense of shame when she believes him to have taken up with another woman give a real sense of two people who care deeply for each other. someone at toei obviously thought so, as the two went on to appear together in “samurai wolf” and “samurai wolf ii”. miyazono later starred in “quick draw okatsu”, one of the best ‘swordswoman’ films to come out of japan (not to mention costarring the awesome oshida reiko as a ninja babe). natsuyagi is still active in japanese film, recently appearing in the azuchi castle / nobunaga jidaigeki opus “ castle under fiery skies ” .
during his early filmmaking days in the silent era, he was known for his mobile camera style, and earned himself the nickname “ido daisuke” (“i love motion”), a pun on “ito daisuke. ” over his many years of filmmaking, he worked with such legendary stars as kinnosuke nakamura, raizo ichikawa, shintaro katsu, denjiro okochi, and tsumasaburo bando. the director of samurai vendetta, kazuo mori, was also a beloved student of daisuke ito .
the last film in kudo' s informal samurai trilogy turned out to be the most enjoyable for me if not necessarily the best. it seems that, as running time for the films in the trilogy decreased, kudo became more efficient in his storytelling and the films gained upon it accordingly. the conclusion still is that the films are similar in style and in plot, but without being repetitive in any way. they are just variations on a theme and very well executed as such .
in 2013, discotek media released a dvd boxset of the original kyattou ninden teyandee in its entirety (uncut and with subs, of course). discotek also released a boxset of samurai pizza cats in 2013, and followed that up a few years later with a one - disc blu - ray release (made possible by all the episodes being in standard definition, natch). and as of late december 2015, the dubbed version is available on crunchyroll for viewers in the us and canada .
the characters of viggo mortensen (frank t. hopkins) in hidalgo and of tom cruise (nathan algren) in the last samurai have very similar traumatizing backgrounds. they both suffer from p. t. s. d. from helping, or aiding in the massacre of native americans, they lose themselves in alcohol, and work 1800s wild west - type shows, followed by receiving an offer to travel to a foreign land for a large amount of money, and are wholly changed by the experience .
juichinin no samurai starring isao natsuyagi (hayato), ryutaro otomo (gyobu), kotaro satomi (mitamura), kantaro suga (lord nariatsu), koji nambara (tatawaki), ko nishimura (daijuro), kei sato (mizuno), junko miyazono (orie), eiko okawa (nui), minoru oki screenplay by takeo kunihiro, noribumi suzuki and kei tasaka music by akira ifukube toei company, 95 minutes b & w; , 2. 35: 1 scope ratio english - subtitled dvd: animeigo
) leaves the clan to become a ronin, then rounds up ten samurai to help him. he starts be enlisting six retainers who are on the verge of taking revenge themselves before hayato intervenes. hayato orders them to commit seppuku for their plot, just as a test to make sure how serious they are. also joining the team along with those six is lady nui, the sister of an abe retainer who has just died from tuberculosis, and her commitment to the cause is as strong as the men' s .
the real - life counterpart to katsumoto (played by ken watanabe) is takamori saigo, who led a samurai rebellion in 1877. as in the movie, saigo ended up committing suicide in september 1877 after defeat in battle. the emperor' s attitude in the film toward katsumoto' s struggle and death reflects actual japanese popular sentiment toward saigo, who though defeated, was regarded as a hero; a statue of saigo was erected shortly after his death, and can today be seen in ueno, in northeast tokyo .
as a director, he’s perhaps best known for his award - winning hangyakuji, a. k. a. conspirator (1961), and benten kozo, a. k. a. the gay masquerade (1958). as a writer, he’s best - known for his adaptation of yukinojo henge, a. k. a. revenge of a kabuki actor, as well as his single contributions to long - running samurai series such as sleepy eyes of death 8 (1966), and zatoichi and the chess expert (1965) .
after yattarou and karamaru (aka :
bad bird
in the samurai pizza cats version) return safely after destroying the comet that would have wiped out edoropolis (aka :
little tokyo
), omitsu is so happy to see yattarou alive that she lets out a mega huge missile, which heads toward edoropolis, blowing it up in the process (ironically, the missile is labelled
omitsu is so happy ~! !
) the townspeople are seen rebuilding the city in the end of the episode, however, but still .
elemental powers: the samurai pizza cats rescue team each represented one of these. meowzma (gotton) was earth, general catton (rikinoshin) was fire, bat cat (mietoru) was wind, and spritz t. cat (nekkii) was water. similarly, the three of the four rude noise members each represent the elements: cannonball battery (bonkaa) represents fire, ronnie geissmuller (wokkaa) represent water, and mojo rojo (rekkaa) represents wind. the lone exception is bad max (zankaa), who represents the darkness .
it is the early 19th century in japan. nariatsu, a high ranking official and son of the former shogun, is engaged in an animal hunt. in his reckless pursuit of the game, he crosses borders to a neighboring fief and kills a peasant who happens to be in his way. the lord of that fief also happens to be nearby, and witnessing the incident, calls him out on his ruthlessness. nariastu kills him as well. this murder is covered up by the government, and blame is placed on the dead lord and his fief is slated for disbandment, to be incorporated by the shogun. the dead lord' s samurai will not accept this fate. reckless attempts are made against nariastu, who frequents a local brothel. a semi organized attempt by a group of samurai is thwarted by the dead lord' s chamberlain, who through a contrived sentencing of his own men to commit seppoku, is looking for recruits himself. ten men and one woman are brought together, later, a ronin joins them, and they bide their time until the time to strike is ripe .
gyobu’s not the only one struggling with the contradictions of bushido. hayato’s group takes refuge in an old dwelling where the hothead faction clashes with hayato over how things are being handled. they accuse him of being standoffish, happy to set up shop with lady nui and not taking the opportunities presented them. things seemingly get worse when it’s revealed that a scruffy ronin, ido daijyurou, has overheard their conversation and deduces what their objective is, but he proves sent from the gods when a group of nariatsu’s samurai suddenly attack. with his help, the oshi ronin make their escape .
extras are light this time around - trailers for the three films in kudo’s ‘samurai trilogy’, a handful of historical notes, short bios of some of the cast and crew, and a small image gallery (only five images). toei must not have had much archival material on the film since not only is there a lack of stills on the disc but the trailer is one that animeigo put together themselves. otherwise, the disc is what we’ve all come to expect from animeigo - a top rate translation with cultural notes onscreen, the best possible transfer, and solid sound .
the conflicted sixties were a golden age for a few directors, who renovated an oft - criticized genre thriving on nostalgia and clear - cut depictions of the samurai tate - shakai (vertical society). in japan, their films were either hailed as groundbreaking works or criticized as' bastardized' productions tarnishing the jidaimono tradition with impure blood. very often, those films would be reevaluated from 10 to 30 years after their release, as avant - garde or underground gems. although hideo gosha' s delightful samurai wolf (kiba okaminosuke) movies and his potent reworking of tange sazen (1966) were produced by toei, the most commercially and critically successful films at the time were kudo' s' action jidai geki', as they were labelled. those films, parallel with the taisaku mono (prestige productions) helmed by tadashi imai, signified, like in the heavily politicized 1920s and 1930s, the introduction of more realism and social conscience into the sanitized and kabuki - esque jidai geki productions stemming from the kyoto movie studios, together with more experimental visuals (keisuke kinoshita' s absolutely masterful river fuefuki / fuefukigawa was both very realistic in feel and remarkably experimental) .
afro samurai is a video game for the playstation 3 and xbox 360 video game consoles, loosely based on the manga and anime series of the same name. it was announced in the february 2008 issue of play magazine [ 2 ] and released on january 27, 2009. [ 3 ] the game was developed by namco bandai games [ 4 ] and in north america, it was the first (and would end up being the only) game published under their western label, surge. in europe and australia the game was released under the namco brand instead and was distributed by atari europe .
eiichi kudo was born into a family of samurai lineage. in fact, his great grandfather had been sent by the government to hokkaido to cultivate the land, probably shortly after the hokkaido colonization commission was established, in 1869, and started to promote ranching in the area. it was the time, after the meiji restauration, of the' rehabilitation of samurai', and so the kudo family had a farm and bred horses. eiichi kudo' s brother - in - law, masaaki ito, a production manager at the toei kyoto studio, explained how kudo' s family actually raised race horses typical of the area, probably hokkaido washu horses, for the purpose of banei keiba races, that is,' traditional draft horse races which involve horses pulling iron sleighs of a similar weight while racing each other' (quoted from yomiuri). so in his infancy, eiichi kudo became very familiar with horses and, according to his biographer dirty kudo (the author of the book hikari to kage eiga kantoku kudo eiichi [ light and shadow: film director eiichi kudo ], published by wise shuppan in 2002):' he was the one director who, at toei, started to use horses to better effect in action sequences.'
for younger directors like kudo, the opportunity to show their mettle came with the decline of that founding genre of japanese cinema, the jidai geki. this forced the studios to rejuvenate the genre and make it more violent and realistic to fit the times of social anarchy. the year 1960, for instance, was the year inejiro asanuma, leading figure of the socialist party, was assassinated by a right - wing extremist, in front of tv cameras. it might be said that, to some extent, the extreme brutality of this murder set the tone for some of the most realistic jidai geki produced in the 1960s - not so much akira kurosawa' s sanjuro (tsubaki sanjuro, 1962), which, despite its anti - violence message, remains quite playful, as films like the executioners (bakumatsu zankoku monogatari, 1964) by tai kato or kudo' s the great killing. those black and white films are also partly in the line of the zankoku - or cruel - jidaimono of the 1960s, in literature and movies, a line of works exemplified by the novel todaiki by norio nanjo in 1956 (norio nanjo also penned tadashi imai' s bushido: samurai saga / bushido zankoku monogatari in 1963). todaiki is a novel about a mangled samurai abandoned in latrines. it is a very dark novel much appreciated by filmmakers including kenji misumi .
i took a break from the zatoichi series for this week to check out this film from eiichi kudo. a young, brash, greedy, and violent daimyo, favorite son of the retired shogun, wanders into a neighboring fief while hunting, and in a fit of anger kills a peasant farmer and that clan' s lord. not wanting to embarass the shogunate, the official story is rewritten and the injured clan is ordered to be abolished. a group of samurai defect from the clan and begin plotting the assassination of the offending daimyo. honestly the plot is pretty standard for this style of jidaigeki, but that plot is also plenty satisfying when well executed. i would say, for the most…
at the beginning the japanese soldiers, who are trained by the americans, are using american - made model 1861 springfield muskets and british - made pattern 1853 enfield muskets, no doubt surplus from the american civil war (which ended eleven years before the beginning of the movie). at the final battle, however, the now better trained and better equipped army can be seen using prussian - made gewehr 1871 bolt - action mausers, a single - shot, bolt - action, black - powder cartridge rifle. this rifle, unlike modern bolt - action rifles, had no magazine (the model 1871 / 84 would add a tubular magazine). this equipment update is also reflected in the dress of the japanese soldiers, which abandoned the american 1870s look of the first part of the movie and adopted a stern, militaristic prussian look (dark blue blouse, white gaiters, the more military style cap of a professional army instead of a french - style kepi then used by the u. s. army). this is because the elite japanese units during this time were trained by prussia, and the model 1871 mauser was widely exported during the 1870s - 1880s and was not fully replaced even in prussian / german service until 1889 .
when war broke out, kudo was too young to be drafted, but while at college, like his future toei colleague kinji fukasaku, he had to perform mandatory work to sustain the war effort. he found himself building, in the company of korean immigrants, a brand new airport near the port of tomakomai in hokkaido. nobody knows exactly how kudo felt after this tough period - although he once said that' it strengthened the sickly kid i once had been' -, nor how kudo actually felt about the fact that his family, like other samurai or agricultural families, was later labeled by the american occupation forces' the enemy of democracy', on the grounds that they owned a vast amount of land .
these minor originalities do reveal one of kudo' s talents: his ability to renovate the visual forms of jidai geki. he was one of the first - and maybe also the first - to introduce a lot of hand - held camera in toei' s chanbara, as can be seen in the great killing. this hand - held camerawork may have served to evoke the tv coverage of streets demonstrations in the 1960s. kudo also appropriated the low - angle approach of his director friend tai kato and, according to misao arai,' used it even more effectively than kato'. he also tried to bring a twist to traditional jidai geki framings and compositions. dirty kudo reveals how kudo derived inspiration from toei' s kyosho tomu uchida, the director of a bloody spear at mount fuji (1955).' in the kuroda affair (kuroda sodo, 1956),' he explains,' there is a notable reunion scene between samurai where uchida placed the top rank samurai not at the center but in one corner of the room. this original composition made kudo realize that he could try out new visual approaches in his jidai geki films'. another japanese critic and film historian noted that kudo took a decisive counter - approach to tv filming.' generally, tv jidai geki were much more brightly lit than their film counterparts. but kudo liked shadows very much. here and there, he would place his actors in shadows and hide their faces'.
eleven samurai ( japanese : 十一人の侍 romaji : jūichinin no samurai ) is a 1967 japanese jidaigeki ( period drama ) film directed by eiichi kudo . it is also referred to as 11 samurai . this is the third and final chapter in kudo 's samurai revolution trilogy . the plot is a samurai epic with a loose historical basis . " the young lord nariatsu was probably modeled after the real life figure of matsudaira nariyoshi , also known as matsudaira tokunosuke ( 1819-1839 ) , " who was the 19th or the 20th son of the shogun ienari ( 1787-1837 ) and the younger brother of the shogun ieyoshi ( 1837-1853 ) . " nariyoshi died when he was 19 years old -- a perfect fit for this story . the circumstances surrounding his death are obscure , which is also very convenient for dramatic purposes . " 
eleven samurai (japanese: 十一人の侍 romaji: jūichinin no samurai) is a 1967 japanese jidaigeki (period drama) film directed by eiichi kudo. it is also referred to as 11 samurai. this is the third and final chapter in kudo's samurai revolution trilogy. the plot is a samurai epic with a loose historical basis. " the young lord nariatsu was probably modeled after the real life figure of matsudaira nariyoshi, also known as matsudaira tokunosuke (1819-1839), " who was the 19th or the 20th son of the shogun ienari (1787-1837) and the younger brother of the shogun ieyoshi (1837-1853). " nariyoshi died when he was 19 years old -- a perfect fit for this story. the circumstances surrounding his death are obscure, which is also very convenient for dramatic purposes. "
eleven samurai (japanese: 十一人の侍 romaji: jūichinin no samurai) is a 1967 japanese jidaigeki (period drama) film directed by eiichi kudo. it is also referred to as 11 samurai. this is the third and final chapter in kudo's samurai revolution trilogy. the plot is a samurai epic with a loose historical basis. " the young lord nariatsu was probably modeled after the real life figure of matsudaira nariyoshi, also known as matsudaira tokunosuke (1819-1839), " who was the 19th or the 20th son of the shogun ienari (1787-1837) and the younger brother of the shogun ieyoshi (1837-1853). " nariyoshi died when he was 19 years old -- a perfect fit for this story. the circumstances surrounding his death are obscure, which is also very convenient for dramatic purposes. "