adieu philippine ( [ a.djø fɪlɪpin ] , " farewell , philippine " ) is a 1962 french film directed by jacques rozier .

although obscure and difficult to screen , it has been praised as one of the key films of the french new wave .

it premiered at the 1962 cannes film festival .

adieu philippine

adieu philippine <EOT> adieu philippine - jacques rozier . ( music by royksopp " twenty thirteen " ) .

adieu philippine - jacques rozier . ( music by royksopp " twenty thirteen " ) . - youtube

mix - adieu philippine - jacques rozier . ( music by royksopp " twenty thirteen " ) .

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i did not see yet the movie , read a lot about it . maybe a silly question : why is the titel adieu philippine ? thanks in advanve for your answer . philippine

unofficial music video for the song twenty thirteen . footage is of the movie adieu philippine 1962 . download here : urltoken . souncloud : urltoken edited by : urltoken

phl embassy in ottawa bids adieu to . . . - department of foreign affairs republic of the philippines | facebook

hello , i just saw your post on adieu philipine . my mother is yveline cery and she is always surprised how often this film is mentioned in discussions , festivals ect . . . so nice to see the appreciation for it , after all these years . regards , laurent

adieu philippine is on the one hand , chaotic and fun , and is a landmark film in many ways ; it is unfortunately , however , a bit sophomoric and rozier ' s inexperience as a beginning director shows . on the one hand , some of the visuals are beautiful and perfectly pitched : the lyrical interludes between scenes , such as the two girls walking along a summery paris street set to the rhythm of a tango , are nearly perfect . but often the soundtrack swings into the territory of the garish : too much pop , overly loud – you can barely hear the girls talking in the restaurant in a scene which should have been very naturalistic – and there are huge chunks of the movie , especially after they return from the ‘adventure’ hunting down the deadbeat producer – which seem badly edited and misplaced . what was up with that very long hula - esque dancing sequence with the two girls in the holiday camp , for example ? it didn’t contribute to the atmosphere and seemed to me stylistically gratuitous , dull .

positively sizzles with energy and authenticity throughout , and it genuinely does feel like rozier has somehow managed to distil the whole of the french new wave into a single , one hundred minute feature . the obvious technical imperfections add to the film ' s striking impressionistic feel - rozier ' s intention clearly was not to make a polished piece of cinema , but to seize life as it is , in a similar ' sur le vif ' manner to the painters monet and renoir , showing us not just the vitality and insouciance of youth but also its trepidations and uncertainties . the main characters ' sojourn in corsica is shot with breathtaking artistry and is devastatingly poignant as we see all too clearly what it signifies : the last days of youth slowly fading from view , never to return . the final shot leaves us mourning the fact that michel ' s sweet summer is over - he will soon be on his way to algeria , to face the horrible realities of war in a strange and hostile land . the bitterest adieu of all is the one which we must bid to our youth .

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michel ( jean - claude aimini ) works as a technician at a television station where one day he picks up two starstruck teenage girls liliane and juliette ( yveline cery and stefania sabatini ) , and begins casual affairs with both of them . at first , neither realise that the other is seeing michel and they independently fall in love with him . the film follows several successive dates and experiences he has with them separately and together ; however when the girls discover that he has been seeing them both , jealousies and petty arguments begin to tear their triumvirate relationship apart .

michel goes to corsica to escape the girls and to his increasingly complicated life . they follow him , however , to his holiday camp and convince him to chase after a film director who owes him money , who also happens to be filming nearby . they travel by car to search for the film director , but their close proximity now only exacerbates their romantic situation and michel finds himself flip - flopping between the girls as their jealousy and arguments mount . however , like many youthful love affairs , the situation ends in limbo , with the girls standing on the quayside and michel aboard a boat bound for algeria and national service .

jacques rozier is one of the lesser known of the nouvelle vague directors , and this , his first feature , is probably his best - known work . using improvisation and a cinema verité approach , he endeavoured to bring a sense of realism to his stories , most of which , like this one , are concerned with the mixed up lives of teenagers .

overall , though , an enjoyable effort and impressive for a first feature film . there are some gorgeous mis - en - scene , somehow simultaneously imbued with both a kind of quiet reflectivity and a buzzing adolescent energy . the scene with the wasps on the pebble beach is lovely –

is fantastic at capturing the naturalness and vibrancy of youth and at evoking a sense of real speech ( although perhaps because much of the script was improvised ) . in any case , this is real youth , not a nostalgic rumination on youth . i’m not so sure i buy into the relationship between the two girls ( they seem quite quick to become chummy with each other , for no particular reason , only moments after fighting bitterly over the same man ) , but perhaps their fickleness is a perfect fit for the kind of lovely , chaotic , capricious spirit of this film .

this video is no longer available because the youtube account associated with this video has been terminated .

i know this scene is already in youtube . maybe i could justify me on the quality here , but being really sincere : i couldn ' t care less because the whole youtube could be only this two girls walking . that ' s all .

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is a forgotten classic of the french new wave , a marvelous , free - spirited film that hasn ' t received anywhere near the acclaim of the contemporaneous early offerings of the more famous new wave filmmakers . it was the first film of jacques rozier , shot in 1960 and only finished in 1962 due to production difficulties . though rozier is far from a household name in comparison to the other new wave directors — indeed , after this film failed he didn ' t make another feature for over ten years — this debut deserves to be mentioned along with

as a remarkably assured and joyous first leap into filmmaking . it ' s a loose and improvisational film , shot like many of the other early new wave films on the fly , in the streets and anywhere a camera could be quickly set up . frequently , in the outdoor shots , passersby openly gape at the camera , stopping to stare , and rozier mirrors this acknowledgment of the film ' s artifice in the metafictional , semi - documentary sequences that take place at a tv studio , where the film ' s central character michel ( jean - claude aimini ) works as a camera assistant . the film ' s credits roll , in staggering stop / start fashion , over a sequence set in the tv studio , where everyone is bustling around , rolling cameras frantically around the set , punching the sound in and out as they film a jazz combo performing . in the midst of this chaos , michel fixes on a pair of cute girls gawking outside , liliane ( yveline céry ) and juliette ( stefania sabatini ) , and invites them in to watch . indeed , whenever the tv crew is filming , there are always people standing by and watching , and at one point michel stumbles into a shot , walking across the frame of a melodramatic period costume drama , looking stupidly into the camera in his white t - shirt and jeans , an intruder from the modern era , from outside the narrative , like all the random people who rozier ' s camera captures in the streets around his protagonists .

that loose sensibility winds through the film , giving it a jazzy , spirited vibe as michel flirts with both girls , trying to decide who he wants more , as the girls , inseparable best friends , engage in a competition that ' s initially friendly and joking , but soon gives way to jealousy and hurt feelings . this love triangle drama , played lightly but with real feeling , plays out against the constant threat of the algerian war : michel knows that he will soon be summoned for the draft , and that promise of the future lingers over the entire film as an inescapable climax . the girls try to get him out of the draft , but their plans quickly peter out and michel , for his part , seems fatalist about the whole thing , viewing his future service as an unavoidable destiny . with this fate hanging over him , michel hangs out with his buddies , buys a car with them to pick up girls , plots to break into commercial filmmaking , and finally decides to go on vacation while waiting to be called up for the military .

the film has a casual , episodic feel that befits its amateur shoot and its mostly inexperienced cast of non - actors , the bulk of whom never acted in another film before or after this one . it feels like a film of observation , of documentary , observing the life of this young military - age man in the months before he ' s sent to war . the film ' s joyful tone and light sensibility thus seem fragile , subject to shattering at any moment , and there ' s a current of mournfulness running through everything that happens , as though the film is simultaneously a celebration of and an elegy for the freedom and serenity of youth . the film ' s characters are young and innocent , and their flirtations and their dalliances are inflected with that innocence ; michel genuinely can ' t decide which girl he likes best , and indeed he seems to like them best together , while the girls try to tell themselves that they ' re not taking any of this too seriously , that it ' s all just a game . in any event , their friendship and their affairs seem to have an expiration date as michel ' s impending enlistment approaches .

nevertheless , rozier keeps the tone predominantly airy and fun , with a strong thread of humor . liliane ' s employer , the producer pachala ( vittorio caprioli ) , is especially humorous as a parody of the commercial aspects of the cinema — both literally , in the sense that he makes advertisements , and metaphorically as an icon of all the money - men and dishonest manipulators serving as middle - men in the film industry . rozier had his own troubles with producers —

languished unfinished for nearly two years due to conflicts over money , and only the intervention of rozier ' s famous friend godard could marshal the production support necessary to finish the film — and his mockery of pachala is a hilarious , biting commentary on the intersections of art and commerce .

pachala ( played , perhaps not coincidentally , by one of the few professional performers in the cast , an italian actor who worked with rossellini and fellini ) fancies himself an artist , but in fact he just makes lousy commercials and rips off his collaborators , disappearing whenever he owes some money . a shoot for an arctic - themed refrigerator commercial with a flimsy igloo is a comedy of errors , reflecting pachala ' s odd choices of details to get concerned with : he shrugs off the fact that there ' s a palm plant in the supposedly snowy set , but gets fixated on the store owner ' s refusal to remove his tie while posing as an eskimo . even better is the scene where he shows a detergent sponsor the rushes for another commercial the girls starred in , and there doesn ' t seem to be a usable take — one where the girls aren ' t giggling uncontrollably or knocking over detergent boxes — in the whole reel , as pachala sinks lower and lower in his seat next to his corporate sponsor . later , pachala shows up again as a producer of " photo - romans , " narrative sequences of still photos , with a sleazy interest in baring the breasts of his actresses and a corresponding disinterest in the niceties of historical recreation ; he just shrugs it off when modern boats show up in the backgrounds of his photos of supposedly ancient subjects . he ' s a hilarious character , a target of rich mockery every time he shows up on screen .

are contrasted against the joyful , of - the - moment attitudes of the young people — and against rozier ' s own partially improvised , free - wheeling methods . pachala represents the old ways , the tradition , the closed system of money and patronage in which young artisans like michel and his friends are simply exploited and cheated . the film ' s tribute to the young is thus a tribute to the new wave itself , in opposition to those vested interests , to the cheesy production values of the costume dramas that michel works on or the silly commercials and trashy quasi - porn of pachala .

and the other early works of the new wave , films with life and energy in every frame .

rozier ' s images are at times sweepingly romantic , particularly when the central trio go away on vacation to corsica — a last vacation , it seems , before adulthood and responsibility . there are so many great scenes here , so many wonderful moments , like the sequence where liliane is serenaded by a hitchhiker and slow - dances with him , silhouetted against a foggy valley with the moon a distant glowing coin in the hazy night . there ' s also a meditative boat ride with the three principals filmed from behind , their faces towards the sun . more often , they ' re facing the camera , and their faces say a lot , even in the scenes where rozier — who used primitive sound equipment and post - dubbed almost everything — omits the dialogue from the soundtrack . the faces of the girls , especially , are expressive and unforgettable , ranging from their giggly camaraderie and sly smiles of complicity to their moments of melancholy quiet and pensiveness . everyone gives endearing amateur performances , witty and vibrant , and there ' s a sense of playfulness in all of the actors , as well as in the jagged camerawork and uneven sound , which mixes on - the - street verité with studio dubbing . the film has a real sense of physicality and corporeality , whether in the tv studio sequences of the first half or the seashore idyll of the second half , in which rozier potently captures the feel of the sun and the ocean , the girls in their bikinis and one - pieces , the laughter and jealous rivalry during the car rides along scenic winding roads that crawl , serpent - like , towards no place in particular .

still , throughout this scenic and spirited movie , a troubling scene from earlier lingers in the memory : one of michel ' s friends has just returned from the army and from algeria , and when michel asks about it , the friend simply refuses to talk about it . it ' s just a single line , a momentary pause in the midst of the young man ' s joyous homecoming , but it reverberates with all the unspoken torment of the war , all the things that these characters are so intent not to address , to erase in pleasure and play . politics enter the film explicitly only in a single scene in which michel ' s family discuss technology , china and economics in a manner very familiar from any family ' s dinner table political discussions . it has that feel of real working class people glossing over these massive international topics with their rhetoric and their insistent if incompletely informed opinions . if the rest of the film never addresses politics explicitly , never discusses the algerian war in any detail , the war and its effects on generations of young french men remain the subtext of nearly every scene . the war makes the characters ' youthful games finite , sets an end date for their flings and their destination - free wanderings , and in that respect

is about growing up into the world , about how the political affects even those who steadfastly ignore anything political , as these characters do . more than that , though , the film is about the joy of youth , about the joy of simply

provides a more complete rejection of the ethos of war and death than any more explicit commentary could .

ed , i love seeing that you ' re writing about this . i haven ' t tracked it down yet ( it ' s never been very easy to find ) . but it ' s always mentioned among the crucial early new wave works , some of which are still tough to find in the states - - a couple of rozier films , and then things by jean rouch , michel deville , jacques becker , and alexandre astruc .

thanks , jeffrey , it ' s definitely worth seeking out . there ' s a nice set of rozier ' s films out in france ( with english subtitles ) and i ' m eager to check out some more of them now ; if his later works are anywhere near as good as this then i really don ' t get why he isn ' t better known .

ed , i saw david ehrenstein last night at the quad cinemas during the 9 : 45 p . m . showing of the making of the boys in the band . mind you i didn ' t see our friend in person , but rather he was featured in the documentary , briefly speaking about the period when the film was made , about one - fifth of the way into the film . i was shocked by teh revelations on stanley kauffmann , who has always been my favorite film scribe over the years . crowley was present at a q & a that followed the preceeding show . sorry for the diversion , i will get back on track with my next comment here .

" the film has a real sense of physicality and corporeality , whether in the tv studio sequences of the first half or the seashore idyll of the second half , in which rozier potently captures the feel of the sun and the ocean , the girls in their bikinis and one - pieces , the laughter and jealous rivalry during the car rides along scenic winding roads that crawl , serpent - like , towards no place in particular . " ed , you have me salivating over this one , which i ' ve never seen , though have heard of . that remarkable comparison with breathless and the 400 blows as a maiden effort is telling enough , but your subsequent celebration of the film ' s bevy of buffo sequences further explores the exceeding excellence which reminds me of mike leigh in ways and bresson in others . ( episodic feel , amateur shoot , non - professional actors ) and the exhilaration you speak of reminds me of renoir ' s une partie de campagne . you ' ve really peeled off the layers of this film to produce yet another masterful essay that sits with your finest . i really must seek this out pronto . no lip service here .

i figured you for a fan of this one , david . i ' m glad you mentioned the looong goodbye of the ending , a very moving sequence that really does make it seem like the girls are waving goodbye to their youth , to their innocence , and not just to the guy they spent the summer with . the ending just keeps going , with the girls running along the rock walls to keep the ship in view , as though they ' re reluctant to let go , to let michel — and their youth — slip out of view . it ' s very touching . interesting connection to celine and julie , i can definitely see it . i know both rivette and rohmer praised the film when it first came out , and it ' s easy to see why . in various ways it complements both of their aesthetics , with its improvisation and emphasis on femininity ( michel becomes very much a secondary character in comparison to the girls ) and its obvious affection for youth . sam , it ' s definitely one to seek out ( and i bet allan has seen it and / or has a copy ) . of the names you cite , there ' s not the least trace of bresson here , but renoir and leigh are pretty good reference points . really , though , it ' s very much a new wave film in every way , and as such it fits mostly comfortably beside the early works of truffaut and godard , as well as predicting in some ways the later films of rohmer ( the summery locales , the sensuality of youth , the deceptively light mood wrapped around deeper and more melancholy themes ) . ( and thanks for the info on the david sighting ! sounds cool . )

so glad making the boys is finally coming out . they shot me for it several years back . haven ' t seen mart in quite awhile . he ' s a swell guy , and the film shows why . especially interesting are the home movies shot at roddy mcdowell ' s beach house with judy garland and rock hudson present . it just doesn ' t get any gayer !

laurent , thanks so much for checking in . it ' s an extraordinary film and your mother gave a wonderful performance in it , so much so that i was startled to see that she didn ' t go on to act more .

bonjour , excuse delayed response . she is looking to do some vo work in nyc / boston area when not in france . also may do a special screening sometime this year where she will discuss this little film once we track down rest of cast . best , laurent

this is in response to the poster who was told untruths about stanley kauffmann . stanley kauffmann was a great champion and friend to the lgbt community . the slam against kauffmann is absolutely false , a lie that ' s made the rounds through retelling by acolytes of the alcoholic edward albee . kauffmann argued forcefully in the nyt that gay theater artists should have exactly the same rights as straight playwrights , including the right to have gay sex scene onstage . he was a great friend to to our community . too bad people are still spreading lies about a champion to our community , beloved by lgbts including susan sontag , martin duberman , eric bentlely , among the most brilliant minds of the 20th century . don ' t believe the lies . in his reviews he argued for transgendered kids to wear dresses or jeans , their preference to school , he championed the conccept of lgbt teachers being frank with their students about their lives as lgbt cintizens in this country , in theatre he is responsible , as the village voice reported from a writer who studied with kauffmann , for hundred of lgbts jobs in theatre and film over the decades . again , please do believe the lies spread by edward albee ' s acolytes who know the truth . edward albee even wrote a letter of congratulations after kauffmann wrote his piece . edward albee got furious because he , and other critics , hated his new play , including lgbt critics . albee , severely alcoholic , blamed kauffmann for his loss of standing . he never apologized for his drunken , disgraceful behavior , nor have his acolytes . just because someone is gay , it does not follow he tells the truth . i remember reading an article in the advocate that charged penelope gilliatt with being a homophobe what a damnable lie . she wrote an essay supporting lgbt rights , including marriage and adoption in the 1950s in england . her short stories included lgbt characters . she wrote the screenplay to sunday bloody sunday , most of her best friends were gay , including playwright joe orton . but the advocate called her homophobic . . another disgraceful lie against a straight supporter . don ' t believe albee ' s acolytes . on their side , it ' s all a dirty melange of lying and character assassination .

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in his first feature , made in 1960 , the director jacques rozier celebrates youth , beauty , and exuberance in the shadow of france’s dirty war in algeria . the title alludes to a playful contest between two teen - age girls , juliette ( stefania sabatini ) and liliane ( yveline céry ) , for the heart of michel ( jean - claude aimini ) , a young parisian television technician two months away from his mandatory military service . their lighthearted yet earnest flirtations in the city lead to a shaggy - dog ramble through corsica , but the knowledge of how it must end—with michel’s deployment to algeria—tinges the carefree wanderings with a worldly sadness . rozier revels in the new era of rock music and club med , and his wondrous images raise the delicate rituals of adolescent courtship to a poignant comic grandeur . the girls’ two - minute jaunt through the streets of paris in quest of a pay phone feels like a dance that should never end . in french .

michel plans one last fling before being sent to algeria on military service . only slowly does he realise that the girls he takes with him on holiday love him for who he is , not for what he pretends to be .

this film is not currently playing on mubi but 30 other great films are . see what’s now showing

after seeing kiju yoshida’s debut film good for nothing ( 1960 ) , we can add the filmmaker’s name to the rare list of studio directors . . .

i liked the group in this film much more than the one on jules et jim . perhaps because there are two women involved here and not only one .

" je considère ces danses brutales comme l’expression parfaite de la sécheresse de cœur de la jeunesse actuelle . "

a reminder that it ' s not enough to have the stylistics of the " french new wave " - - even those can be lifeless if the story and characters have no feeling .

une petite histoire racontée avec un grand souci d ' authenticité , de spontanéité et de vivacité . premier long métrage de jacques rozier où le charme et la gaité se partagent allègrement l ' écran en toute jeunesse et sympathie . . . urltoken

our daily free stream ( . . . ) ein amateur film , vermutlich mit zu vielen dialogen und dabei etwas prätentiös - aber mit dem swing der nouvelle vague ! wundervolle bilder , paris im tango rhythmus und ein soundtrack voller popstücke der zeit . irgendwie bekommt man richtig lust dabei , es selbst einmal zu versuchen !

an important if little known nouvelle vague film . the youthful spirit of the story about a young man , his two female companions and his last summer of freedom embodies the movement perfectly .

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aris , in the summer of 1960 . michel is a young frenchman who , just before he is due to start his military service in algeria , works as a television studio trainee . this is how he comes to meet two attractive young women , liliane and juliette , two aspiring actresses who , alas , have only enough talent to appear in the worst kind of television programmes . to make the most of the summer before he is drafted into the french army , michel decides to take a long holiday on the island of corsica . the two girls agree to accompany him and share his last few weeks of freedom . . .

was enthusiastically received by the critics and immediately singled out as one of the most emblematic films of the french new wave . yet it wasn ' t directed by one of the established pillars of the nouvelle vague - françois truffaut , jean - luc godard or jacques rivette - but by an unknown , first - time film maker jacques rozier , who would always remain a peripheral , almost forgotten figure of the movement and aesthetic that his debut film so perfectly epitomised . the importance of

isn ' t that it encapsulates the french new wave , but that it reflects so much of the character of the era in which it was made . with its spontaneous celebration of youth and life , it vividly evokes the joie - de - vivre and freedom of the 1960s , but there is also an underlying and unmistakable sense of melancholia through its discrete allusions to the algerian war . as in agnès varda ' s

( 1964 ) , rozier ' s film leaves us with a tragic awareness of the transience of youth .

( 1960 ) . he envisaged making a film about the war in algeria but , this being too sensitive a subject at the time , he was steered towards a more anodyne story about a young man enjoying his last few months of freedom in the company of two pretty young girls before taking up his military service . with minimal resources , rozier encountered no end of problems whilst making the film and at the end of a gruelling twelve - month shoot he was shocked to discover that he had lost the entire soundtrack for the film .

as virtually all of the dialogue had been improvised there was no script to fall back on , and so rozier had to painstakingly reconstruct the dialogue from scratch , trying to get as near a synchronisation with the lip movements of his actors as he could . meanwhile , de beauregard had totally lost confidence in the film and sold it back to rozier , to do with it whatever he chose . two years after beginning work on the film , rozier was able to present the completed film at the cannes film festival in 1962 , where it received a rapturous welcome . despite the critical acclaim that came its way ,

was not a great commercial success and rozier would have difficulty financing his subsequent films . his output as a filmmaker was modest in scale but it reaffirmed his standing as one of france ' s most committed auteurs . his later films

( 1986 ) are all significant achievements and mark rozier out as an auteur apart .

michel is a young technician in the fledgling tv industry and is due for military service in two months at the time of the algerian war . juliette and liliane are inseparable best friends , . . . see more »

multimedia san paolo s . r . l . ( 2006 ) ( italy ) ( dvd )

michel is a young technician in the fledgling tv industry and is due for military service in two months at the time of the algerian war . juliette and liliane are inseparable best friends , and aspiring actresses , who hang around outside the tv studio . michel invites them in to watch , flirts with them both , and dates them separately and together . when michel goes on a holiday to corsica , just before he is drafted , the girls follow . written by will gilbert

awards : * grand prix des rencontres internationals de prades 1962 . * grand prix de la fédération française des ciné - clubs 1963 . * ducat d ' or du festival de mannheim 1963 * prix du meilleur premier film d ' oberhausen 1963 . see more »

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the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans . it represents the percentage of professional critic reviews that are positive for a given film or television show .

movies and tv shows are certified fresh with a steady tomatometer of 75 % or higher after a set amount of reviews ( 80 for wide - release movies , 40 for limited - release movies , 20 for tv shows ) , including 5 reviews from top critics .

this arty new wave film marked the directorial debut of jacques rozier , and almost finished him commercially . a vacationing television technician ( jean - claude aimini ) falls in love with two teenage girls ( yveline cery and stefania sabatini ) in the months preceding his induction into the military . the girls plot revenge when they discover his two - timing , but one of them has already fallen in love with him . rozier did not make another film for over a decade following this one ' s crashing failure . ~ robert firsching , rovi

rozier revels in the new era of rock music and club med , and his wondrous images raise the delicate rituals of adolescent courtship to a poignant comic grandeur .

aimini plays that familiar figure of ' 60s cinema , the young man awaiting his call - up papers . he works in a tv studio ( very droll , these scenes ) where he meets two girls , best friends , whom he joins for a holiday in corsica . relationships flare and fizzle , ending with the girls on the quayside and the lad on board ship , the war in algeria beckoning . rozier ' s methods were improvisational , and evidently he cast on appearance and manner rather than on acting talent . the result is a bit long - winded but très nouvelle vague , with a hidden camera tailing the characters through summery paris streets , a bunch of franco pop oddities on the soundtrack , and a quick glimpse of jean - claude brialy .

© 2018 time out england limited and affiliated companies owned by time out group plc . all rights reserved . time out is a registered trademark of time out digital limited .

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future learning and skills – giving everyone the opportunity to build a lifelong relationship with film .

contemporary love story of a young television engineer and his affair with girls , while waiting for his call up papers .

in this wednesday , may 9 , 2012 file photo britain ' s queen elizabeth ii sits next to prince philip in the house of lords as she waits to read the queen ' s speech to lawmakers in london . britain ' s prince philip on wednesday aug . 2 , 2017 retires from solo official duties . over the decades he has become renowned for his stalwart support of his wife , queen elizabeth ii . ap / alastair grant , file

london — for over 65 years , he has been the unwavering presence alongside britain ' s longest - serving monarch , the consummate consort and royal representative .

on wednesday prince philip , 96 , made his 22 , 219th — and final — solo public engagement , braving heavy rain to meet royal marines at buckingham palace .

the royal appeared in good spirits , waving to cheering crowds and joking with the soldiers , who have completed a 1 , 664 - mile ( 2 , 678 - kilometer ) trek to raise money for charity .

britain ' s prince philip , in his role as captain general of the royal marines , talks to troops as he attends a parade on the forecourt of buckingham palace , in central london , as it rains wednesday aug . 2 , 2017 . yui mok / pool via ap

" you all should be locked up , " he quipped , making the soldiers laugh .

philip announced he was stepping down from public duties in may . the royal , known for his sense of humor and gaffes , recently joked about his big retirement day , telling celebrity chef prue leith : " i ' m discovering what it ' s like to be on your last legs . "

also known as the duke of edinburgh , he will still appear at queen elizabeth ii ' s side — from time to time — as the 91 - year - old monarch soldiers on .

philip is patron , president or a member of over 780 organizations , with which he will continue to be associated — but he won ' t play an active role by attending engagements . the queen supported the decision .

wednesday ' s event marks a major landmark for the man born prince philip of greece and denmark in corfu on june 10 , 1921 , to princess alice of battenberg and prince andrew of greece . amid the upheaval of the military coup that overthrew his uncle , king constantine , in 1922 , the family fled .

king george v , the queen ' s grandfather , sent a royal navy cruiser to evacuate philip ' s family and he was whisked to safety in a cot made from an orange box . later , he rarely saw his parents and went to school in germany and britain .

philip has had a long association with the military and had once had promising military career . he joined the royal navy as a cadet in 1939 and served during world war ii , winning mention in dispatches for service aboard the battleship hms valiant at cape matapan , on greece ' s peloponnesian peninsula . he rose to the level of commander .

two years after the war ended , philip married the future queen at westminster abbey when she was 21 and he was 26 . he renounced his greek title and king george vi made him the duke of edinburgh . his career came to an abrupt end with george ' s death in 1952 . at the queen ' s coronation in 1953 , philip swore to be his wife ' s " liege man of life and limb . " he settled into a life supporting elizabeth in her role as queen and they had four children — charles , anne , andrew and edward .

philip has given 5 , 496 speeches , written 14 books and gone on 637 solo visits overseas .

he ' s championed environmental and conservation issues , and has interests in science , engineering and industry . an accomplished sportsman , he played polo regularly until 1971 . he earned his raf wings in 1953 , his helicopter wings in 1956 and his private pilot ' s license in 1959 .

this is a june . 2 , 1953 file photo of britain ' s queen elizabeth ii and prince philip , duke of edinburgh , as they wave to supporters from the balcony at buckingham palace , following her coronation at westminster abbey . london . ap / leslie priest

all that activity has led to overall good health . but philip has been admitted to the hospital on a number of occasions in the last few years for abdominal surgery , bladder infections and a blocked coronary artery .

many of his health issues are related to sports . he has arthritis in his right wrist and broke a bone in his ankle from playing polo . he developed a rheumatic condition of the tendon in the hand after a taking a fall in polo .

he takes the stairs rather than elevators and can still fit into the uniform he wore for his wedding . he was only seen wearing hearing aids for the first time at a palace reception in 2014 at the age of 93 .

philip , who enjoys a slightly wicked turn of phrase , has poked fun at himself and his advancing years . in a letter to the oldie magazine in 2011 , he said he appreciated being named " consort of the year . "

" there is nothing like it for morale to be reminded that the years are passing — ever more quickly — and that bits are beginning to drop off the ancient frame , " he wrote . " but it is nice to be remembered at all . "

after weeks of speculation , ellen adarna ' s lawyer has confirmed that the actress has given birth on june 27 .

regine velasquez said enough as she posted a series of tweets against what the president said .

july 9 , 2018 - 12 : 51pm by : deni rose m . afinidad - bernardo

ariana grande has broken her silence on her reported whirlwind romance with comedian pete davidson that ended in an engagement . . .

no , gian magdangal didn’t disappear into oblivion as some people must have suspected . so why was he “missing” . . .

when tourism sec . berna romulo - puyat was agriculture undersecretary , she visited seven tribes in bukidnon and every one of . . .

actress , tv host and “phenomenal star” maine mendoza gave fans a teaser of her upcoming single as a newly signed . . .

twenty years . that’s how long aegis has been surviving , thriving and representing original pilipino music .

“in america , major films with very difficult lead female characters don’t get made that often , they get shoved . . .


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

eleven samurai <EOT> 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 ' .