The light is the amount of serotonin my brain is releasing

Pompoko

To talk about Pompoko ("La guerra de los mapaches de la era Pompoko" in Spanish), the Japanese animated film produced by Studio Ghibli, you must first know about its creator, Isao Takahata.

Japanese director, producer and screenwriter who, in the past, directed mythical series that marked several generations such as "Arupusu no Shōjo Haiji", "Haha o Tazunete Sanzenri" or "Akage no an". Together with Hayao Miyazaki, he founded Studio Ghibli and, the first two films of Takahata within the factory, are authentic masterpieces, considered essential feature films in the history of cinema. The heartbreaking "Hotaru no Haka" (1988) and the melancholic "Omohide Poro Poro" (1991) were his letter of introduction, with which he demonstrated that he was facing a new creative cycle, with a more mature approach and a desire to experiment with animation.

Pompoko was the logical evolution in this search for both artistic and narrative experimentation, a change for Takahata, who had only done dramas before. The film was released in Japan on July 16 (1994), making it the studio's ninth feature film. It managed to become number one in the Japanese box office collecting 2.63 trillion yen in its first week, far exceeding the previous production of Takahata. Such was the recognition among the public and critics that it was the first Japanese animated film selected to represent Japan at the Oscars in the category of Best Foreign Language Film of the Year 1994. Although it did not obtain the necessary support to enter Among the five nominations, it was awarded in 1995 with the Crystal Award for Best Feature Film at the Annecy International Animated Film Festival, France.

Its international distribution took ten years to come to light although its delay was not as late as other productions of Isao Takahata's Studio Ghibli. In the United States, the film was released directly to DVD in August 2005 within the Disney catalogue. In Latin America, the film was released directly on DVD in January 2011 in Mexico, thanks to the Zima Entertainment distribution.

The film is set in a typical Japanese folkloric setting. The protagonists are tanuki or raccoon dogs typical of Japan. According to popular tradition, the tanuki can transform into humans or other creatures just by wishing. However, they are also known as lazy and naive beings. "The key to transformation is to subject the mind and body to extreme discipline. This is easy for a fox, but raccoons are unconcerned about everything by nature ...", explains the narrator of the film.

The film shows the social reality of the economic growth of Japan in the 1960s. In 1966, in the city of Tama, located on the outskirts of Tokyo, it is the setting that Takahata chose to narrate his ironic and particular elegy towards those Tanukis who they 'fought' for a lost cause. The film shows the rapid economic growth of the area, at the cost of a real environmental massacre, by destroying farms, forests, mountains and villas to build buildings, neighbourhoods, roads and that the human being ends up completely invading the area.

When a family of these animals discovers that men are destroying the forest where they live to build new urbanization. Because of this, after many years (and centuries) of rivalries between clans, they decide to sign peace to confront a common enemy: the human being, whom they declare war, determined to re-establish the balance of nature and not lose their home. They prepare to fight them using all their power and skills in a war, never seen before. But since the intentions of the raccoons are known, it is intuited what will be the result of this conflict. Hence, Takahata makes an interesting combination of comedy and tragedy.

That idle nature is used to create humorous sequences, with which to play with the artistic style of the film. But with comedy as an invitation letter, you can already perceive the adult spirit of a film that is not intended for children, as it happened in all his filmography within Studio Ghibli. Not only for humorous situations but the characters themselves, since in Japanese mythology male tanukis can use their bellies as a drum and their testicles can be stretched to such a point that they can be used as a weapon, like a parachute, to float, fly or attack. Something that, effectively, the Japanese public will understand, while the one who is foreign to this folklore will baffle him. Therein lies the main virtue of both 'Pompoko' and Takahata's work within Ghibli, he made his films with a strong Japanese spirit, thinking about the audience in his country.

Despite the many references of Japanese folklore, Pompoko has a universal ecological message, in that fight to preserve his home, the forest, the meadow, the mountains. Takahata creates a sharp counterpoint in which the human being seeks the constant expansion of civilization without conversing with nature itself, breaking the balance of sustainable development. It is a powerful environmental claim, showing the direct and indirect consequences of uncontrollable development, finally looking face to face at the viewer to invite them to seek a form of sustainable growth and remembering that the protection of nature, like the fight against climate change, is essential as a society, as human actions affect flora and fauna, which are the ones who pay the consequences of such irresponsibility. A sublime film that is one of the most important legacies of Isao Takahata.

-Hoshi

5 Classic 1960’s Summer Samurai Films

Summertime and swordplay just seem to go together. Here are 5 samurai-themed films that I picked for their slashing swordfight action, not necessarily for particularly complex plotting. These are energetic entertainment from the classic era of the chambara* movie in Japan (the sword-swingin’ sixties)! These movies are only offered as the Japanese language with English subtitles unless there are some old VHS dubbed versions floating around that I don’t know about, but for samurai flicks that is the way I like it. My choices here reflect my bias for the mid-to-late Tokugawa era jidai geki settings (around 1800-1868 or so). So without more ado, let’s get past the staredown and proceed straight to the quick draw!

1. Zatoichi at the Fire Festival (1969): Shintaro Katsu’s blind swordsman Ichi is matched here against a yakuza boss who is equally blind and delightfully evil; Katsu was adept at pathos AND bathos, i.e., grotesque comedy, and it shows here in a romp directed by Kenji Misumi, the man behind many of the Lone Wolf and Cub films and several other Zatoichi flicks. His films are colorful and packed with energetic swordfights. This is no exception. Watch for transvestite actor Peter as he tries to seduce Ichi, and some repeated encounters with angry, sword-swinging Tatsuya Nakadai, who wants to kill Ichi but not just yet — an action-packed romp with some great set pieces. Probably the most fun to watch of all the Zatoichi films in my opinion.

2. Yojimbo (1961): Akira Kurosawa’s light-hearted but gritty (in a Western way) tale of a ronin named Sanjuro (Toshiro Mifune) who pits one yakuza gang against another in a rundown late Tokugawa era town (the year is 1860, just before the Meiji Restoration). There’s lots of posturing and plotting going on, but all you need to know is that Mifune is playing one side against the other, and most of them are dumb enough to fall for it. The only man in town with a gun (Tatsuya Nakadai) is also the only man in town with brains. He catches on to Sanjuro’s scheme and the showdown begins!

3. Nemuri Kyoshiro 4: Sword of Seduction (1964). Nemuri Kyoshiro roughly translates as “Sleepy Eyes of Death,” which is its American series release title. There are several Kyoshiros, but the one everyone knows is played by Raizo Ichikawa, once called the “James Dean of Japan.” He has a laconic manner and a melodic, deep voice that can menace or seduce. Kyoshiro is a half-breed, born of a Christian father and a Japanese mother. His trademark is his deep red hair and his secret Full Moon cut, which no swordsman has witnessed and survived. As sure as Mifune’s Sanjuro inspired the “Man With No Name” of Clint Eastwood’s spaghetti westerns, so Ichikawa’s Kyoshiro follows in the same mold, except Kyoshiro tends to get laid a whole lot more. He also seems to be an eternal target. So expect lots of seductions and swordfights in this number 4 entry in which he is called upon to protect a Christian nun who has a few secrets of her own. Look for a rousing appearance by “Lone Wolf and Cub” leading man Tomisaburo Wakayama as Chinese boxer Chen Sun. Always a joy to watch!

4. Sword of Doom (Daibosatsu Toge, 1966): OK, this movie does have a complicated historical plot featuring the Shinsengumi and a bizarre karma theme, but you don’t HAVE to watch it on that level. You can enjoy it on a simple level of watching Tatsuya Nakadai as Ryunosuke, a badass, amoral swordsman with the baddest of bad attitudes. He enjoys sake and killing, not necessarily in that order. I tried compiling a body count for this movie once and came up with 88. Not a record, but for sheer style and doggedness, no one beats Nakadai! Watch for Nakadai’s traditional archnemesis, Toshiro Mifune, in a small but memorable role as a sword instructor who embodies the heroic ideal of “the sword is the soul.” Note for those of you in anger management courses: you might be cheesed off at the ending of this one, but as someone who is familiar with the source material, I find the ending of this film quite appropriate.

5. Red Lion (Akage, 1969): It is 1868, and the Tokugawa Shogunate is on its way out, while the new Imperial forces are making their way up the major highways from Kyoto to Edo (old Tokyo) to proclaim their new order and gain support. A bumpkin farmer named Gonzo (Toshiro Mifune) wants nothing more than to bring the message to his home village after his 10-year absence and make a name for himself in the process, while overthrowing the corrupt Tokugawa officials that have, in his view, ruined the town. He finds out that all is not as it seems, and the Imperials are not the godsend he thought they would be. Some people find this film to be socialist or intricate in its plotting, but it has enough broad comedy and action to overcome that, in my opinion. Etsushi Takahashi as the obligatory taciturn samurai bodyguard who is willing to wait til Gonzo gets it together to face him if the Imperials and the Shogun’s men don’t get there first!

Yojimbo and Sword of Doom are widely available, and both have been given the Criterion Collection treatment.

*Chambara, also spelled “chanbara” is a Japanese term for a swordplay film, a subgroup of jidaigeki, which is a historical film, television show or play (usually Edo period:1603-1868).

from KatanaSale – KatanaSale https://www.katanasale.com/blogs/katanasale/5-classic-1960s-summer-samurai-films

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5 Classic 1960's Summer Samurai Films

Summertime and swordplay just seem to go together. Here are 5 samurai-themed films that I picked for their slashing swordfight action, not necessarily for particularly complex plotting. These are energetic entertainment from the classic era of the chambara* movie in Japan (the sword-swingin' sixties)! These movies are only offered as the Japanese language with English subtitles unless there are some old VHS dubbed versions floating around that I don't know about, but for samurai flicks that is the way I like it. My choices here reflect my bias for the mid-to-late Tokugawa era jidai geki settings (around 1800-1868 or so). So without more ado, let's get past the staredown and proceed straight to the quick draw!

1. Zatoichi at the Fire Festival (1969): Shintaro Katsu's blind swordsman Ichi is matched here against a yakuza boss who is equally blind and delightfully evil; Katsu was adept at pathos AND bathos, i.e., grotesque comedy, and it shows here in a romp directed by Kenji Misumi, the man behind many of the Lone Wolf and Cub films and several other Zatoichi flicks. His films are colorful and packed with energetic swordfights. This is no exception. Watch for transvestite actor Peter as he tries to seduce Ichi, and some repeated encounters with angry, sword-swinging Tatsuya Nakadai, who wants to kill Ichi but not just yet -- an action-packed romp with some great set pieces. Probably the most fun to watch of all the Zatoichi films in my opinion.

2. Yojimbo (1961): Akira Kurosawa's light-hearted but gritty (in a Western way) tale of a ronin named Sanjuro (Toshiro Mifune) who pits one yakuza gang against another in a rundown late Tokugawa era town (the year is 1860, just before the Meiji Restoration). There's lots of posturing and plotting going on, but all you need to know is that Mifune is playing one side against the other, and most of them are dumb enough to fall for it. The only man in town with a gun (Tatsuya Nakadai) is also the only man in town with brains. He catches on to Sanjuro's scheme and the showdown begins!

3. Nemuri Kyoshiro 4: Sword of Seduction (1964). Nemuri Kyoshiro roughly translates as "Sleepy Eyes of Death," which is its American series release title. There are several Kyoshiros, but the one everyone knows is played by Raizo Ichikawa, once called the "James Dean of Japan." He has a laconic manner and a melodic, deep voice that can menace or seduce. Kyoshiro is a half-breed, born of a Christian father and a Japanese mother. His trademark is his deep red hair and his secret Full Moon cut, which no swordsman has witnessed and survived. As sure as Mifune's Sanjuro inspired the "Man With No Name" of Clint Eastwood's spaghetti westerns, so Ichikawa's Kyoshiro follows in the same mold, except Kyoshiro tends to get laid a whole lot more. He also seems to be an eternal target. So expect lots of seductions and swordfights in this number 4 entry in which he is called upon to protect a Christian nun who has a few secrets of her own. Look for a rousing appearance by "Lone Wolf and Cub" leading man Tomisaburo Wakayama as Chinese boxer Chen Sun. Always a joy to watch!

4. Sword of Doom (Daibosatsu Toge, 1966): OK, this movie does have a complicated historical plot featuring the Shinsengumi and a bizarre karma theme, but you don't HAVE to watch it on that level. You can enjoy it on a simple level of watching Tatsuya Nakadai as Ryunosuke, a badass, amoral swordsman with the baddest of bad attitudes. He enjoys sake and killing, not necessarily in that order. I tried compiling a body count for this movie once and came up with 88. Not a record, but for sheer style and doggedness, no one beats Nakadai! Watch for Nakadai's traditional archnemesis, Toshiro Mifune, in a small but memorable role as a sword instructor who embodies the heroic ideal of "the sword is the soul." Note for those of you in anger management courses: you might be cheesed off at the ending of this one, but as someone who is familiar with the source material, I find the ending of this film quite appropriate.

5. Red Lion (Akage, 1969): It is 1868, and the Tokugawa Shogunate is on its way out, while the new Imperial forces are making their way up the major highways from Kyoto to Edo (old Tokyo) to proclaim their new order and gain support. A bumpkin farmer named Gonzo (Toshiro Mifune) wants nothing more than to bring the message to his home village after his 10-year absence and make a name for himself in the process, while overthrowing the corrupt Tokugawa officials that have, in his view, ruined the town. He finds out that all is not as it seems, and the Imperials are not the godsend he thought they would be. Some people find this film to be socialist or intricate in its plotting, but it has enough broad comedy and action to overcome that, in my opinion. Etsushi Takahashi as the obligatory taciturn samurai bodyguard who is willing to wait til Gonzo gets it together to face him if the Imperials and the Shogun's men don't get there first! Yojimbo and Sword of Doom are widely available, and both have been given the Criterion Collection treatment. *Chambara, also spelled "chanbara" is a Japanese term for a swordplay film, a subgroup of jidaigeki, which is a historical film, television show or play (usually Edo period:1603-1868).

from https://www.katanasale.com/blogs/katanasale/5-classic-1960s-summer-samurai-films from Katana Sale http://katanasale.blogspot.com/2018/02/5-classic-1960s-summer-samurai-films.html

5 Classic 1960's Summer Samurai Films

Summertime and swordplay just seem to go together. Here are 5 samurai-themed films that I picked for their slashing swordfight action, not necessarily for particularly complex plotting. These are energetic entertainment from the classic era of the chambara* movie in Japan (the sword-swingin' sixties)! These movies are only offered as the Japanese language with English subtitles unless there are some old VHS dubbed versions floating around that I don't know about, but for samurai flicks that is the way I like it. My choices here reflect my bias for the mid-to-late Tokugawa era jidai geki settings (around 1800-1868 or so). So without more ado, let's get past the staredown and proceed straight to the quick draw!

1. Zatoichi at the Fire Festival (1969): Shintaro Katsu's blind swordsman Ichi is matched here against a yakuza boss who is equally blind and delightfully evil; Katsu was adept at pathos AND bathos, i.e., grotesque comedy, and it shows here in a romp directed by Kenji Misumi, the man behind many of the Lone Wolf and Cub films and several other Zatoichi flicks. His films are colorful and packed with energetic swordfights. This is no exception. Watch for transvestite actor Peter as he tries to seduce Ichi, and some repeated encounters with angry, sword-swinging Tatsuya Nakadai, who wants to kill Ichi but not just yet -- an action-packed romp with some great set pieces. Probably the most fun to watch of all the Zatoichi films in my opinion.

2. Yojimbo (1961): Akira Kurosawa's light-hearted but gritty (in a Western way) tale of a ronin named Sanjuro (Toshiro Mifune) who pits one yakuza gang against another in a rundown late Tokugawa era town (the year is 1860, just before the Meiji Restoration). There's lots of posturing and plotting going on, but all you need to know is that Mifune is playing one side against the other, and most of them are dumb enough to fall for it. The only man in town with a gun (Tatsuya Nakadai) is also the only man in town with brains. He catches on to Sanjuro's scheme and the showdown begins!

3. Nemuri Kyoshiro 4: Sword of Seduction (1964). Nemuri Kyoshiro roughly translates as "Sleepy Eyes of Death," which is its American series release title. There are several Kyoshiros, but the one everyone knows is played by Raizo Ichikawa, once called the "James Dean of Japan." He has a laconic manner and a melodic, deep voice that can menace or seduce. Kyoshiro is a half-breed, born of a Christian father and a Japanese mother. His trademark is his deep red hair and his secret Full Moon cut, which no swordsman has witnessed and survived. As sure as Mifune's Sanjuro inspired the "Man With No Name" of Clint Eastwood's spaghetti westerns, so Ichikawa's Kyoshiro follows in the same mold, except Kyoshiro tends to get laid a whole lot more. He also seems to be an eternal target. So expect lots of seductions and swordfights in this number 4 entry in which he is called upon to protect a Christian nun who has a few secrets of her own. Look for a rousing appearance by "Lone Wolf and Cub" leading man Tomisaburo Wakayama as Chinese boxer Chen Sun. Always a joy to watch!

4. Sword of Doom (Daibosatsu Toge, 1966): OK, this movie does have a complicated historical plot featuring the Shinsengumi and a bizarre karma theme, but you don't HAVE to watch it on that level. You can enjoy it on a simple level of watching Tatsuya Nakadai as Ryunosuke, a badass, amoral swordsman with the baddest of bad attitudes. He enjoys sake and killing, not necessarily in that order. I tried compiling a body count for this movie once and came up with 88. Not a record, but for sheer style and doggedness, no one beats Nakadai! Watch for Nakadai's traditional archnemesis, Toshiro Mifune, in a small but memorable role as a sword instructor who embodies the heroic ideal of "the sword is the soul." Note for those of you in anger management courses: you might be cheesed off at the ending of this one, but as someone who is familiar with the source material, I find the ending of this film quite appropriate.

5. Red Lion (Akage, 1969): It is 1868, and the Tokugawa Shogunate is on its way out, while the new Imperial forces are making their way up the major highways from Kyoto to Edo (old Tokyo) to proclaim their new order and gain support. A bumpkin farmer named Gonzo (Toshiro Mifune) wants nothing more than to bring the message to his home village after his 10-year absence and make a name for himself in the process, while overthrowing the corrupt Tokugawa officials that have, in his view, ruined the town. He finds out that all is not as it seems, and the Imperials are not the godsend he thought they would be. Some people find this film to be socialist or intricate in its plotting, but it has enough broad comedy and action to overcome that, in my opinion. Etsushi Takahashi as the obligatory taciturn samurai bodyguard who is willing to wait til Gonzo gets it together to face him if the Imperials and the Shogun's men don't get there first! Yojimbo and Sword of Doom are widely available, and both have been given the Criterion Collection treatment. *Chambara, also spelled "chanbara" is a Japanese term for a swordplay film, a subgroup of jidaigeki, which is a historical film, television show or play (usually Edo period:1603-1868).

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