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Chambara / Chanbara - Samurai Cinema (Akira Kurosawa, Kihachi Okamoto, Masaki Kobayashi, Hideo Gosha.. a dalsi)


"In all my films, there's three or maybe four minutes of real cinema."
Akira Kurosawa

Máte k tomu co říct? Vložte se do diskuze.
TIGRE --- 23:08:29 26.6.2008
???: to bohuzel nemam :(
TIGRE --- 21:27:10 26.6.2008
a porovnani nejakeho stareho ripu (to je ten asi o kterem mluvis)...


s ripem novym (prave z nejakeho dvd co vyslo ve francii):

TIGRE --- 21:25:41 26.6.2008
???: ha sakra - me ta kvalita (alespon podle tech screenu prijde docela ok) ale nepoznam to film fyzicky doma nemam - na KG je to ale jako jako upgrade z novyho francouzskyho DVD printu v tehle kvalite, ktera me prijde uplne ok:

File Name .........................................: Hitokiri.1969.avi
File Size (in bytes) ............................: 1,467,863,040 bytes
Runtime ............................................: 02:14:07
Video Codec ...................................: XviD
Frame Size ......................................: 720x320 (AR: 2.250)
FPS .................................................: 25.000
Video Bitrate ...................................: 1198 kb/s
Audio Codec ...................................: 0x2000(AC3, Dolby Laboratories, Inc) AC3
Audio Bitrate ...................................: 256 kb/s [2 channel(s)] CBR
TIGRE --- 14:03:59 25.6.2008
dalsi vec na kterou se urcite tesim - ted jsem ale v tom vedru chambary a filmy spis zanedbaval - je tohle vecer to sosnu a snad nekdy vpristim tydnu spolu s temi dvoumi predchozimi zkouknu a poreferuju. Od klasika Hideo Goshi se Shintaro Katsuem v hlavni roli a mym milovanym Tastua Nakadaiem...


Hitokiri (1969)

The downfall of the Tokugawa shogunate in the early second half of the nineteenth century is one of the more dramatic periods in Japan's history. Though inevitable - it was brought upon by the very structure of the feudal system installed by the Tokugawa - numerous forces resisted it, some out of loyalty to the shogun, others to protect the archipelago from the foreign invaders on its doorstep. Yet others tried to profit from the winds of change that were blowing, hoping to further their own positions of power. They saw the imminent restoration of the emperor's reign as merely a reshuffling of the feudal cards and believed that regardless of who was ultimately at the head of it, the social structure of lords and domains would remain the same.


Hideo Gosha's Hitokiri is set against the background of such profiteers, in particular the Tosa Loyalist Party headed by Hanpeita Takechi (portrayed by Gosha regular Nakadai). Though officially fighting on the side of such revered modernist reformers as Saigo Takamori and Ryoma Sakamoto (played here by former Nikkatsu star Yujiro Ishihara), Takechi followed his own agenda, using a squad of stealthy samurai assassins as his main weapon to eradicate his enemies, which included those who were officially his allies.

One of his most effective servants to this scheme was Izo Okada, a ronin of Tosa stock, and childhood friend of Sakamoto, who joined Takechi's private army to escape poverty. The third film to dramatise his life story, Hitokiri follows Okada's (Katsu, who also produced) induction into the Loyalist ranks, where he is soon basking in the glory of his murderous deeds. He takes to his new vocation with glee, racking up the body count and spreading the reputations of both himself and his master far beyond the borders of Kyoto, their base of operations.


In what is perhaps his stylistic triumph (no one has rivalled this director's ability to compose with muted colours and earth tones), Gosha portrays Okada's ascension as pure decadence: a man living above his status with no sense of humility. Naïve stupidity plays a major part in his psychological make-up; as he revels in his newfound fame, he fails to see that he is merely being used, a pawn in Takechi's chess game, or a dog, as his old friend and would-be saviour Sakamoto puts it.

This condemnation of arrogance is central to the way Gosha approaches the actions of Takechi and his ilk, for whom loyalty to the emperor is merely a front. The abuse of the cry of "Tenchu!" (divine punishment) as a devious way for the assassins to overwhelm their victims before the kill, is emblematic. As the film progresses and Nakadai's character grows increasingly determined in the face of mounting adversity to his deeds, a parallel with the military leadership that headed Japan in World War II becomes apparent in the willingness to sacrifice everyone and everything for an abstract notion of victory.

Izo Okada is given some respite from this, however. His foolishness also humanises him, as the more comic situations that evolve from his thick-headedness show. In Gosha and Katsu's portrayal of the character, there is always a sense of compassion for a simple soul swept away by powers beyond his control and comprehension. Throughout, he is defined through the contrast he forms with Ryoma Sakamoto: clumsy, boorish, unkempt country boy versus the latter's unwavering air of determined sophistication. But his lowly status never serves as an apology; Okada learns humility before paying for his crimes.

Although the narrative closely follows the giri-ninjo tradition (represented by master Takechi and friend Sakamoto respectively), Hitokiri manages to rise above the plot machinations in a way that some of Gosha's later films (like the Nakadai starrer The Wolves) don't. Furthermore there is the stellar cast, which includes Mitsuko Baisho as Okada's prostitute girlfriend Omine and author Yukio Mishima as Shinbei Tanaka, his rival in the assassination stakes whose end is suitably Mishima-esque. Resonant and meaningful, and being so without moving into the heavy metaphors and symbolism of Takashi Miike's later Izo, Hideo Gosha's Hitokiri remains the ultimate portrayal of Izo Okada, but above all an enthralling film in its own right.
TIGRE --- 12:30:43 11.6.2008
a jinak ja se z chambar tesim asi uplne ted nejvic na tohle - jelikoz na to ctu jednu odu za druhou:


Dai satsujin (1964)

In French Connection, the director William Friedkin used a hand-held camera to capture the rude reality (like documentaries). The Great Killing had already done the same thing in 1964 ! That wasn’t to shoot the japanese streets of the 60’s, but samurais ! That’s far better ! But why having chosen a hand-held camera realism in a historical movie ? Because it’s a direct metaphor of the student movement of the 60’s ! Meaning, it’s a nihilist and violent film about terrorism and how common people end up being rebels, planning the destruction of the police state and all the laws ! Here, there is no bomb or things like that, just swords, guts and mud !


tady je koment z CSFD:
Eiichi Kudo-ve majstrovske dielo, docitame sa rozne po webe. Brutalny samurajsky film ktory je metaforou na politicke nepokoje v tokiu zaciatkom 60 rokov. Existuju aj brutalnejsie samurajske filmy, japonci miluju gore, ale ani jeden z nich nie je natolko realny v akcnych scenach. Kudo nie je kurosawa ani kobyaishi, jeho vizualne podanie je viac chaoticke, viac v experiemntovani novo nastupujucej novej vlny. Oproti 13 assasinom je great killing aj v obsahu menej samurajsky, spriasahanie voci sogunovi proste je, nie je dovod vysvetlovat preco, kto je dobry, kto je zly? nevieme, tak ako to nevieme pri akejkolvek obcianskej vojne. Chaos, panika a akcne sceny natocene tak, ze skutocne netusime akym smerom sa dej bude uberat. Kto koho preekona? Kto kedy umrie? Kto je vlastne kto? Chaos, panika, nasilie.

a tady je velice pekna recenze v AJ - http://www.midnighteye.com/reviews/great-killing.shtml
TIGRE --- 12:04:44 11.6.2008
tak jsem si vcera vecer dal Zatoichiho - ze serii krome kitanovy verze jsem v podstate neseznamen
- takze jsem do ni vstoupil verzi c. 26 - coz je tahle zalezitost. a musim rict ze neni vubec, ale vubec spatna:


Zatôichi (1989) AKA Zatoichi: Darkness Is His Ally (1989)

tady je trailer pro predstavu - http://www.youtube.com/watch?v=eau6xhU_RNg

tak predne - pozitiva Shintaro Katsu je naprosto skvelej, nemuzu si pomoct, ale srsi z nej hrozny charisma na kazdym kroku, ne nadarmo je povazovanej za jedinyho Zatoichiho, tenhle film krome toho ze v nem hral i reziroval - a to vubec ne spatne, i kdyz par much se taky najde. Jednoznacny pozitiva jsou Katsu jak uz jsem zminoval, Ken Ogata, kteryho mam taky moc rad jako Ronin, bitky maji dobry choreo, i kdyz dejove se film trochu rozplizava na konci to neni moc znat, bitek tak akorat i kdyz na konci uz se po zaverecne mele trochu clovek chyta za hlavu, posledni scena - nesmirne zajimave vyreseny souboj (vecny stret) mezi Ichim a roninem. Jeste k postave ronina, kterou tady hraje Ogata - vyborne resena - takova tradicne japonska, skoro vecne plakajici, melancholicky killah :) mistama velice slusna kamera. Nicmene krome pozitiv jsou tam i veci ktery me osobne moc nesedly. Prvni asi jednoznacne hudba, do chambar moc 80s pop pisne vazne rad nemam, zkousavam je u jakuzaren a japonskych thrilleru, u samurajskych filmu sorry ale vazne ne, tohle jsem citil asi jako nejvetsi krivdu, za druhy krev - tenhle prispevek z zanru je opravdu hodne krvavej, katsu si s tim moc hlavu nedela a krev tam misty strika vyslovene proudem, najednou z nekolika casti tela, to mi principielne moc nevadi tady v tomhle pripade to ale cele posouva ten film, tak nejak do hodne Beckove exploitation roviny. Treti vec, kterou samozrejme nevycitam filmu, ale konstatovat musim je, ze me proste porad chambary v ty barve nejdou moc pres pysky, mam radsi klasicky polarizovany CB format. hodnoceni nevim kolik tomu dat - premyslel jsem mezi 7 a 8 - nakonec jsem se priklonil k 8/10 - i kdyz s odrenyma usima, v podstate za katsua a ogatu.

tady je nejaky koment z IMDB:

Shintaro Katsu is an actor who needs no introduction. Having played the rascal Zatoichi, the Blind Swordsman, in 26 films, he knew exactly what made those films so indelible. Though he had directed a few smaller films in the past (including Zatoichi in Desperation), this was his largest budgeted and most personal work.

Zatoichi: Darkness is his Ally, is a breathtakingly beautiful film, shot with almost totally natural lighting. In fact, the photography of the film is near brilliant in it's lighting and set-up. Katsu's handling of the action scenes is absolutely top-notch. Kudos must be given to the final set piece, which I dare-say may be one of the best sword battles in Chanbara film history.


But it is Katsu's moving, final performance as the wandering swordsman, that gives this film it's weight. His mere presence is so compelling, and his carrying of even the smallest of scenes so capable, that you wish the film would just continue forever, just to bask in a master actor's radiance that much longer.


Some people may balk at the slightly episodic (and convoluted) storyline, but there are so many beautifully handled scenes, you can easily forgive any of the films flaws. Samurai film fans, take note, this is one movie you don't want to miss.

MURPHY --- 17:45:10 9.6.2008
TIGRE: jasný. já od Nakadaie už většinou očekávám špičkovej výkon předem. ale Takahashi mě vysloveně překvapil, ta role sedla jak p***l na hrnec. jinak twilight samurai je fakt vynikající, o filmech o Kunisadovi Chujiim jsem slyšel, ale kde to sehnat, fakt netušim, taky bych rád. jinak já prahnu po Chikadô no taiyô made a Asayake no uta, obojí má na svědomí Kei Kumai (v prvním hraje Mifune a Shimura, druhej je s Nakadaiem)
TIGRE --- 10:32:19 9.6.2008
mel bych poptavku kdyby nahodou nekdo mel, vedel...etc tak bych ho blahorecil a napodobne.

ze serie o lidovem hrdinovy Kunisada Chuji o kterem bylo natoceno X filmu behem let - shanim vitalne tu verzi s toshiro mifunem z roku 1960


Kunisada Chuji (1960) AKA Gambling Samurai (1960)
TIGRE --- 9:52:45 9.6.2008
jj vune zeme je kouzelna, i ty ostatni sceny z bordelu jsou moc fajn :)
jinak s takahashim mas pravdu - pro me je buh predevsim nakadai, ktery naklada jako vzdycky (treba scena jak to poseka na tom kopci a vubec ty jeho skleby ktery oscilujou nekde mezi sympatii a totalni jizlivosti a probihaji vsim).

goyokin tyjo genialni ani dokonaly to neni v mnoha ohledech je to ale vazne poctiva prace a ten film spatnej vubec neni.
kwaidan je klasika co mi chybi a setrim si ji na nejakou extra dobrou naladu-prilezitost.