#Toshio Kurosawa

[fuckyeahmeikokaji]

Meiko Kaji (梶芽衣子) and Toshio Kurosawa (黒沢年雄) in Lady Snowblood (修羅雪姫), 1973, directed by Toshiya Fujita (藤田敏八).

[weirdlookindog]

Chi o suu bara / 血を吸う薔薇 (1974)

AKA Evil of Dracula; Bloodsucking Rose; The Bloodthirsty Roses

[brand-upon-the-brain]

Evil of Dracula (Michio Yamamoto, 1974)

[mariocki]

Chi o suu bara (Evil of Dracula, 1974)

"If the devil is to exist in this world, it cannot look like a devil. It must be in disguise. It must live in the disguise of an ordinary human being."

[peachypaddys]

ten frames.

evil of dracula (1974) — dir. michio yamamoto

vfg31 horror film challenge: day 26 · free watch

[nobbykun]

Artist - 黒沢年男 (Kurosawa, Toshio) Song - やすらぎ (Yasuragi) [Eng. "Peace Of Mind"] Release Date - May 1975

Listen 🎶

https://rumble.com/v2tnml4-toshio-kurosawa-yasuragi.html

My blog: Showa Music Library https://nobbykun.tumblr.com/

[nine-frames]

醜聞 (Shūbun  - Scandal), 1950.

Dir. Akira Kurosawa | Writ. Akira Kurosawa & Ryūzō Kikushima | DOP Toshio Ubukata

[byneddiedingo]

Masayuki Mori and Setsuko Hara in The Idiot (Hakuchi), Akira Kurosawa, 1951

Cast: Setsuko Hara, Masayuki Mori, Toshiro Mifune, Yoshiko Kuga, Takashi Shimura, Chieko Higashiyama. Screenplay: Eijiro Hisaita, Akira Kurosawa, based on a novel by Fyodor Dostoevsky. Cinematography: Toshio Ubukata. Production design: Takashi Matsuyama. Film editing: Akira Kurosawa. Music: Fumio Hayasaka.

The Idiot, or Hakuchi, is Akira Kurosawa's mutilated masterpiece, made in the year after Rashomon and the year before Ikiru, with the stars of the former, Masayuki Mori and Toshiro Mifune, in the respective roles of Kameda (the Dostoevsky novel's Prince Myshkin) and Akama (the novel's Rogozhin). And Takashi Shimura, the star of Ikiru, has the key role of Ono, the novel's General Yepanchin. Setsuko Hara, best known for her work with Yasujiro Ozu, is the "kept woman" Taeko Nasu, the novel's Nastassya Filippovna. So it's something of an all-star affair, originally designed as a two-parter. After a flop opening, the studio forced Kurosawa to cut it from its original run time of 256 minutes to the extant 166-minute version. It became something of a brilliant ruin in the process. Kurosawa stuck to Dostoevsky faithfully, while adapting the 19th-century Russian characters and setting to postwar Japan. Mori is, I think, an almost ideal Kameda/Myshkin. The raw edges from the cutting of the film show, however -- it's hard to follow the logic of some the characters' actions, and the presence of the mob that shows up with Rogozhin at one key point in the story goes unexplained in the film. The complex relationship among Takeda, Taeko, and Ono's daughter Ayako (the novel's Aglaya Ivanovna) becomes reduced to a kind of love triangle. But there are few sequences in Kurosawa as haunting as the candlelight vigil Kameda and Akama keep over the body of Taeko at the film's end.

[michaelcoffeysthoughts]

Favorite First Time Watches of 2023

After Hours (1985) dir. Martin Scorsese

The Banshees of Inisherin (2022) dir. Martin McDonagh

Black Girl (1966) dir. Ousmane Sembène

Bringing Out the Dead (1999) dir. Martin Scorsese

Cairo Station (1958) dir. Youssef Chahine

Cemetery Man (1994) dir. Michele Soavi

Chicago (2002) dir. Rob Marshall

Crimes of Passion (1984) dir. Ken Russell

Elvis (2022) dir. Baz Luhrmann

Faust (1926) dir. F.W. Murnau

Female Trouble (1974) dir. John Waters

Fire of Love (2022) dir. Sara Dosa

Footprints (on the Moon) (1975) dir. Luigi Bazzoni and Mario Fanelli

Funeral Parade of Roses (1969) dir. Toshio Matsumoto

High and Low (1963) dir. Akira Kurosawa

In Search of Darkness: Part III (2022) dir.David A. Weiner

Let the Right One In (2008) dir. Tomas Alfredson

Lingua Franca (2019) dir. Isabel Sandoval

Odd Man Out (1947) dir. Carol Reed

Original Cast Album: Company (1970) dir. D.A. Pennebaker

Paper Moon (1973) dir. Peter Bogdanovich

Pearl (2022) dir. Ti West

Petite Maman (2021) dir. Céline Sciamma

Porco Roso (1992) dir. Hayao Miyazaki

Puss in Boots: The Last Wish (2022) dir. Joel Crawford

Querelle (1982) dir. Rainer Werner Fassbinder

The Silent Partner (1978) dir. Daryl Duke

Slap Shot (1977) dir. George Roy Hill

Southern Comfort (2001) dir. Kate Davis

To Live and Die in L.A. (1985) dir. William Friedkin

Train to Busan (2016) dir. Yeon Sang-ho

The Umbrellas of Cherbourg (1964) dir. Jacques Demy

X (2022) dir. Ti West

[fuckyeahmeikokaji]

Meiko Kaji (梶芽衣子) and Toshio Kurosawa (黒沢年雄) in Lady Snowblood (修羅雪姫), 1973, directed by Toshiya Fujita (藤田敏八).

[karin-ko]

Sukiyaki Western Django by Takashi Miike

In 2007, director Takashi Miike released the film Sukiyaki Western Django. This movie combined the essence of Japanese culture with the Western genre, following the trend of Spaghetti Westerns that became a global sensation after Akira Kurosawa's Yojimbo was adapted into a Western as A Fistful of Dollars. Despite most characters being Japanese, they all speak English, with Japanese dialogue appearing only twice. The film features a remarkably lavish cast, though some seemed to struggle with their acting, perhaps due to the challenge of performing in English. While the movie might aim for a Western atmosphere and international appeal by using English, I couldn't help but think that having the actors perform in Japanese with English or other language subtitles might have been a better choice. In short, it felt like an extravagant farce with a luxurious cast, complete with comedic moments and even a chabudai flipping scene. However, the top-notch cast performed the funny scenes with sincerity, and combined with the power of the action scenes and the elaborate costumes and sets, it was still enjoyable. But, I wonder if people unfamiliar with these actors would still find it entertaining.

One of the most memorable aspects was undoubtedly Minamoto no Yoshitsune, who, wielding a Japanese sword and handling guns stylishly, exuded charisma in every scene. As a fan of him as the actual historical figure, I was satisfied with Yoshitsune's portrayal, though the rape scene was not good though. In contrast, the leader of the Taira clan, Taira no Kiyomori, who adopts the name Henry, uses his subordinates as shields and behaves chaotically. Shigemori, who faithfully accompanies him and affectionately calls him Henry, is adorable. Also, Bloody Benten who is Akira's mother and Heihachi’s grandmother and has a large tattoo of Benten on her body is incredibly strong and beautiful. The scenes depicting the sorrow of Heihachi's mother, Shizuka, through dance and her enchanting performances were also excellent. All of the characters including the insane Yoichi and the sheriff, were very well-defined, and the actors truly embodied them, which was impressive. Perhaps because of this, the protagonist, the gunman, while cool, seemed slightly overshadowed. Quentin Tarantino's portrayal as the excessively meticulous uncle of seasoning and ingredients for sukiyaki was quite amusing. He came across as an anime enthusiast, hence the name Akira for his son, which was a nice touch. Akira seemed like a decent guy, and I wished we could've seen more of him. However, it was surprising to see someone like Shun Oguri used for such a fleeting role, and famous supporting actors appearing in minor roles like collapsing with bullet holes in his stomach. The use of the space created by the bullet hole was an amusing directorial choice. Nonetheless, it seemed like everyone had an extraordinary vitality; even when they suffered fatal injuries, they didn't immediately fall or die, which added a humorous element to several scenes.

The backgrounds that appear in the early and middle parts of the film give off a distinctively set-like vibe, over-the-top sound effects, anime-style inserts, and manga-like editing were also striking. While the storyline itself was somewhat typical, with no major twists, the outstanding performances and intense action made it immensely enjoyable. The juxtaposition of the red symbolizing the Taira clan, stained with blood, and the white snow symbolizing the Minamoto clan, along with the red and white flowers representing love blooming amidst it, was beautiful. The scene where a baby, Heihachi, emerges from these flowers is particularly memorable. Also, the confession scene where Toshio confesses his love for Ruriko, not as Bloody Benten but herself, and the scene where the sheriff falls with the crucifix were also impactful. If possible, I'd love to watch it again with Japanese subtitles.

[cleoenfaserum]

LADY SNOWBLOOD

Japanese sword swaggering samurai movies have fascinated me since my late teens. I am now 75, and I state my age for context, but as much as enjoy these movies, they have always baffled me. Vengeance, it seems (to me), is an obligation of honor, particularly pronounced in the two flicks I am presenting to you now. The movies are good, not exceptional, however. Another item I enjoy about these films are women sanarais. The way they carry themselves in general, in undulating kimono while swaying the katana, seems poetic to me, it gives these movies another intrinsic character.

I recommend both movies that I have brought to you in this blog, but only if you are a fan. Movies are English subtitled and you have to have knack for this type of watching and film.

Lady Snowblood is a 1973 Japanese jidaigeki film directed by Toshiya Fujita and starring Meiko Kaji. Based on the manga series of the same name by Kazuo Koike and Kazuo Kamimura.

The film recounts the tale of Yuki (Kaji), a woman who seeks vengeance upon three of the people who raped her mother and killed her half brother. The film's narrative is told out of chronological order, jumping between present and past events. Alongside Kaji, the film's cast includes Toshio Kurosawa, Masaaki Daimonm, Miyoko Akaza, and Kō Nishimura. Lady Snowblood (film) - Wikipedia

IMdB: 7'6 ACTION / CRIME / DRAMA DURATION: 1h 37min

904-1 https://ok.ru/video/4809139686070

Lady Snowblood (1973) spawned a sequel, Love Song of Vengeance (1974), that follows.

Lady Snowblood served as a major inspiration for the 2003 Quentin Tarantino film Kill Bill and its lead character, The Bride.

THE SEQUEL

Lady Snowblood: Love Song of Vengeance is a 1974 Japanese film directed by Toshiya Fujita and starring Meiko Kaji. It is a sequel to the 1973 film Lady Snowblood, itself an adaptation of the manga series of the same name by Kazuo Koike and Kazuo Kamimura. Lady Snowblood: Love Song of Vengeance - Wikipedia

IMdB: 6'3 DRAMA / SUSPENSE DURATION: 1h 29min

904-2 https://ok.ru/video/3857091070600

Following is the link to the comic that you can see on line:

LINK: Lady Snowblood chapter 1 - Read Manga Online (mangafire.to)

[adamtesta]

Japanese Horror Films of The 1990s and 2000s.

Many describe the era of Japanese Horror Films from the 1990’s and 2000’s as the J-Horror boom. J-Horror is defined as horror fiction, originating from popular culture within Japan. The genre came about starting all the way back in 1600, and was spread through word of mouth with urban legends and countless folktales. Japanese Horror sets itself apart from more traditional Western horror. Kiyoshi Kurosawa, a Japanese film director, defines the genre as taking the subject matter of fear that follows one throughout the entirety of their lives. J-Horror becomes unique by the way it portrays their ghosts and the psychological elements that it comes with. The physiological aspect, sometimes with vengeful spirits that are connected to objects that are used on a daily basis, is how directors attempt to scare audiences in their films. The boom from the 90’s and 2000’s saw these movies make their way to America with limited time releases and bigger budget remakes. For example, The Grudge and The Ring. When thinking of the Japanese Horror genre, for most, the two films that come to mind are Ringu (1998) and Ju-On (2002). 

Ringu was a low budget film and was a major reason the genre was modernized and reinvented kaidan storytelling in the 1990’s. What made Ringu so amazing was the way the film infiltrated the imagination of its audience in a particular way that other horror films had not found success in yet. The focal point of the film was an evil spirit Sadako, a spirit based on the Japanese concept of onoyō (vengeful ghosts), representing the battle between Japanese tradition and modernity. This spoke to the people that were fearing modernization of their country due to the recent economic crash that had taken place. Ringu was brought to the United States, but needed an extensive rewrite in order to build a more familiar landscape. Eventually, the film The Ring was made, except with major differences. Instead of focusing on societal concerns like most Japanese movies, The Ring showcases the internal family dynamic, concentrating on the protagonist's attempts to rescue her son. The United States version of the film had about 40x the budget as the Japanese version, granting it more success compared to the original.

Ju-On became a franchise created by Takashi Shimizu when he made two short films, Katsumi and 4444444444 while he was still in film school. He then used these concepts and developed Ju-On: The Curse, the first portion of his franchise. This film was most known for its non-chronological style, which was unique at the time, and its creepy imagery. The sequel, however, Ju-On: The Grudge, became the more famous movie. Keeping with the non-chronological style, Shimizu showed how he had matured and developed as a director, implementing very unsettling scenes into this movie and featuring big name villains Kayako and Toshio. This film also had an American remake of it with a much higher budget. The Grudge (2004) is described as a supernatural horror film with many intersecting subplots. 

Sources: https://www.otaquest.com/japanese-horror-90s-00s-your-japanese-film-insight-11/ , thering.fandom.com/wiki/Sadako_Yamamura , wikipedia.org/wiki/The_Grudge , gamerant.com/japanese-horror-movies-uniquely-frightening/

[goatmattersinc]

Incredibly cool and stylish revenge flick!!  Was not expecting how vibrant it would be, or how hard the score would go.  Definitely lived up to the hype.  Instant fav.  

Also big shouts out to Toshio Kurosawa's eyebrows.  Glorious. 

Let's go.

[nobbykun]

Artist - 黒沢年男 (Kurosawa, Toshio) Song - 時には娼婦のように (Tokiniwa Shōfu No Yōni) [Eng. “Sometimes Like A Prostitute”] Release Date - February 1978

Listen 🎶

https://rumble.com/v225sc6-toshio-kurosawa-tokiniwa-shofu-no-yoni.html

My blog: Showa Music Library https://nobbykun.tumblr.com/