中廣廣播劇, Taiwan radio drama

中廣廣播劇 Taiwan Radio Drama

24 TWENTY FOUR Season1 ep03 日本語吹き替え版

24 TWENTY FOUR Season1 ep02 日本語吹き替え版

24 TWENTY FOUR Season1 ep01 日本語吹き替え版

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Akira Kurosawa’s Shichinin no samurai is a powerful fable about the defense of a poor farming village in the sixteenth century. Dozens of bandits are poised to attack. The village leader suggests finding “hungry samurai” for whom payment in food is sufficient. Weary of fighting, Kambei Shimada (Takashi Shimura, magnificent) nonetheless consents to the task, recruiting six others, one of whom, brash, vulgar, boastful Kikuchiyo (Toshirô Mifune, turbulent, hilarious, heart-piercing—his greatest role), isn’t really of the samurai caste, but, a farmer’s son, provides a bridge connecting the simple farmers to the hired killers protecting them.
This film is elemental, intensely physical, and existential, with soaking rains, whipping winds, farmers in the fields harvesting barley, and a final ferocious confrontation between bandits and samurai. Too, there is one of the most gorgeous passages imaginable: amidst blossoms, the meeting of a boy, the youngest samurai, and the young daughter of a farmer. And one of the saddest: a prostitute’s retreat into a flaming hut, to avoid facing her samurai-husband—the collateral cost of his protecting others rather than protecting his wife.
Robust, dynamic, Seven Samurai projects a harsh black-and-white world in which feudal wars have undermined order, inspiring criminals to prey on the vulnerable. Indeed, most everything conspires to threaten the survival of farmers. Someone says, “It is luckier to be a dog than a farmer.” But it is far less fortunate to be a samurai. At the end of the film, only three of the seven are left standing. They face the graves of their four comrades, in each mound the warrior’s sword as a marker—Kurosawa’s glorious hommage to John Ford’s The Lost Patrol (1934). One remarks: “Again we are defeated. It is the farmers who have won. Not us.”
Bravery, honorable commitment, success—these say otherwise.
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Yojimbo (1961)

Directed by Akira Kurosawa
Starring Toshiro Mifune, Eijiro Tono, Kamatari Fujiwara, Takashi Shimura.
110 min, b&w.
Like The Seven Samurai, this Kurosawa movie is a jidai geki, a historical film set in 1860s Japan. It is one of Kurosawa's more accessible films and actually one of the rare classic foreign films that any audience is very likely to enjoy. After the somewhat heavy-handed exposition, the compelling action and memorable characters will draw anybody in.

The story focuses on a nameless samurai, played by the great Toshiro Mifune, who roams the land after losing his master. He arrives in a town that has become the battlefield for two warring gangs of gamblers. The samurai sells his services and plays both sides against each other, double crossing to his heart's content. Sword fights, treachery, deceit, and general mayhem ensue.

The film's memorable characters, along with its cleverness and wit made the difference to me -- there's a very effective current of humor running alongside the heroics and violence. A marvelous shot early in the movie shows a dog running across the samurai's path with a human hand in its mouth.

Something about Kurosawa's films seems to be crying for Western remakes, and just as The Seven Samurai returned to American screens as The Magnificent Seven, Yojimbo (which translates as "bodyguard") was remade as A Fistful of Dollars with Clint Eastwood. Not that Clint isn't cool, but for my money, Toshiro Mifune outdoes him in style -- and he wears a better costume, too.

That the film's photography (by longtime Kurosawa cinematographer Kazuo Miyagawa), the settings, and production design are marvelous almost goes without saying. Whether you are looking for an accessible way into classic Japanese cinema or simply for an entertaining and rewarding rental, Yojimbo is well worth watching and rewatching.
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Director: Akira Kurosawa
Starring: Toshirô Mifune, Machiko Kyô, Masayuki Mori, Takashi Shimura
Akira Kurosawa's highly acclaimed film, set in feudal Japan, presents an intriguing tale of violent crime in the woods, told from the perspective of four different characters--a bandit (Toshirô Mifune), a woman (Machiko Kyô), her husband (Masayuki Mori), and a woodcutter (Takashi Shimura). Only two things about the incident seem to be clear--the woman was raped and her husband is now dead. However, the other elements radically differ as the four participants and/or witnesses relate their own stories (with the dead man, eerily enough, speaking through a medium). As each account is revealed, what seemed black and white turns to various hues of gray, leading to surprising--and confounding--relevations. A landmark of international cinema, RASHOMON won the prestigious Golden Lion at the Venice Film Festival in 1951, bringing both Kurosawa--and Japanese film in general--to the attention of Western audiences. From the rain-soaked opening sequence to its moving conclusion, the film is a stunning examination of truth and human nature. The entire cast is pitch-perfect, with regular Kurosawa lead actors Mifune and Shimura giving typically outstanding performances. While critics and cinephiles debate over exactly how many masterpieces Kurosawa directed, RASHOMON stands as one of the revered filmmaker's indisputably brilliant motion pictures. In fact, the film's influence is so pervasive that it has inspired everything from a high profile Hollywood remake (THE OUTRAGE starring Paul Newman) to numerous tributes in movies such as COURAGE UNDER FIRE and THE USUAL SUSPECTS.
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Starring: Hideki Sone, Sho Aikawa, Kimaka Yoshino, Shohei Hino, Keiko Tomita, Renji Ishibashi, Kenichi Endo, Kanpei Hazama, Masaya Kato, Tamio Kawaji, Susumu Kimura, Hiroyuki Nagato, Hitoshi Ozawa, Kazuyoshi Ozawa, Tetsuro Tamba, Yoshiyuki Yamaguchi, Harumi Sone
Director: Takashi Miike
Certificate: (18)
Genres: Crime, Drama, Horror, Mystery, Thriller
Languages: Japanese
Synopsis: Another surreal and outré film by maverick Japanese director Takashi Miike. When senior yakuza Ozaki (Sho Aikawa) starts to behave in an increasingly peculiar manner, his superiors start getting worried, and order Ozaki's immediate underling Minami (Hideki Sone) to get rid of him. On the way to the yakuza disposal dump, Minami, nervous about the job ahead of him, hits the brakes too hard and kills Ozaki completely by accident. After he stops to find a telephone to report the incident to his boss, he returns to the car to find that Ozaki's body has vanished. So begins a desperate and increasingly un-hinged search that takes in a bizarre array of eccentric and deranged suburbanites, each of whom seems to reflect some weird, dark aspect of Minami's complex and troubled personality.
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