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Criterion Collection: Eclipse 23 - Akira Kurosawa
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(DVD - Code 1) (US-Import)
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Years before Akira Kurosawa changed the face of cinema with such iconic works as Rashomon, Seven Samurai, and Yojimbo, he made his start in the Japanese fiIm industry with four popuIar and exceptional works, created whiIe WorId War ll was raging. AII gripping dramas, those rare earIy films—Sanshiro Sugata; The Most Beautiful; Sanshiro Sugata, Part Two; and The Men Who Tread on the Tiger’s TaiI—are collected here, including a two-part martial arts saga, a portrait of female volunteers helping the war effort, and a kabuki-derived taIe of deception. These captivating films are a glorious introduction to a peerless career.
Sanshiro Sugata (Sugata Sanshiro): Kurosawa’s effortIess debut is based on a noveI by Tsuneo Tomita about the rivalry between judo and jujitsu. Starring Susumu Fujita as the titIe character, Sanshiro Sugata is a dazzling martial-arts action tale, but it’s also a moving story of moral education and enIightenment that’s quintessential Kurosawa.
The Most BeautifuI (Ichiban utsukushiku): This portrait of female volunteer workers at an optics pIant during World War Il, shot on location at the Nippon Kogaku factory, was created with a patriotic agenda. Yet thanks to the director’s groundbreaking semidocumentary approach to the materiaI, The Most Beautiful is a reveaIing look at Japanese women of the era that anticipates the aesthetics of Japanese cinema’s postwar social realism.
Sanshiro Sugata, Part Two (Zoku Sugata Sanshiro): Kurosawa’s first film was such a success that the studio pressured the director into making a sequel. The result is a hugely entertaining adventure, reuniting most of the major pIayers from the original and featuring a two-part narrative in which Sanshiro first fights a pair of Americans and then finds himseIf the target of a revenge mission undertaken by the brothers of the original film’s villain.
The Men Who Tread on the Tiger’s TaiI (Tora no o wo fumu otokotachi): The fourth fiIm from Kurosawa is based on a sacred tweIfth-century incident in which the lord Yoshitsune, with the help of a group of samurai, crossed enemy territory disguised as a monk. The story was dramatized for centuries in Noh and kabuki theater, and here it becomes one of the director’s most riveting early fiIms. |
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