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#hideo gosha
falsenote · 2 days
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may8chan · 8 months
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闇の狩人 1979
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omercifulheaves · 1 year
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Three Outlaw Samurai (1964)
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aioleis · 4 days
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Goyokin (1969) by Hideo Gosha This final scene, Tatsuya Nakadai walks on ice
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mycinematheque · 1 year
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skinslip · 11 months
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"Never in my life have I been able to get what I wanted. Once I tried and I was chased out of my clan. Now there's nowhere under heaven for me to rest. But this time I will get what I want. I will take it with these hands!"
Sword of the Beast (1965)
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ogradyfilm · 4 months
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2023: A Year in (Movie) Review(s)
Every cinephile has at least one Holy Grail. It's a common story: interest in said rare movie is piqued by a fleeting allusion in the pages of some neglected reference book or obscure magazine article. Gradually, curiosity evolves into infatuation, then obsession, manifesting as a desperate pursuit that might persist for decades, the search constantly hampered by the tragic fact that the White Whale in question remains stubbornly elusive—either out-of-print or never officially licensed or localized in the first place. And even if it is available (usually through sources of dubious legality), the image quality is always barely a step above an nth generation VHS transfer.
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Well, in 2023, I managed to cross five such films off my personal “bucket list”—and despite the year’s numerous challenges (financially, in particular), I think that’s an accomplishment worth celebrating. Thus, in the interest of posterity, I’ve enumerated them below, along with brief descriptions and links to the corresponding reviews I wrote immediately after seeing them:
A Page of Madness: Of all the miraculous discoveries on this list, this one was undoubtedly the most unceremonious and anticlimactic. I randomly stumbled across this silent avant-garde masterpiece (of which I became aware way back in college) while nonchalantly browsing Amazon Prime’s digital library; suddenly, there it was, available to rent for a paltry three dollars. The movie itself was sublime, of course; after spending such a significant chunk of my life hunting it down, however, the relative ease with which I ultimately acquired it couldn’t help but feel a bit… underwhelming.
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Samurai Wolf: Although Hideo Gosha’s lean, mean chanbara classic has never truly been out of reach to those “in the know,” my own research into the assorted bootlegs and unauthorized foreign imports available via various online marketplaces was… less than encouraging. Fortunately, Film Movement came to the rescue like a chivalrous ronin; the restoration on the company’s Blu-ray release is borderline pristine, enriching the director’s already bold compositions and dynamic camerawork. Nihilism and moral decay have seldom looked so beautiful.
Angel’s Egg: Home video copies of Mamoru Oshii’s surreal animated allegory tend to be obscenely, prohibitively expensive in the West, and tickets for the infrequent repertory screenings generally sell out almost instantly. Thankfully, a recent overabundance of free time afforded me the opportunity to experience the film’s haunting, hallucinatory magic under ideal circumstances—in a theater absolutely packed with fellow fans and aficionados. The Q&A with art director/character designer Yoshitaka Amano that followed the feature presentation (courtesy of Japan Society) was just icing on the cake.
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Door: While Banmei Takahashi’s taut, suspenseful, claustrophobic thriller is the latest addition to this list (I learned of its existence roughly a year ago, through out-of-context clips shared between several Twitter accounts), you shouldn’t make the mistake of underestimating my enthusiasm for it—my desire to see it burned with the fiery passion of a spurned admirer. As luck would have it, my thirst was sated rather quickly compared to the previous entries on this countdown; the movie played at this year’s Brooklyn Horror Film Festival—perfectly scheduled to coincide with the Halloween season.
Tokyo: The Last Megalopolis - When I initially encountered this ambitious, extravagant, and extremely expensive special effects extravaganza, the only viable way to view it was in twelve parts on YouTube, compressed to about 240p resolution—a format that hardly does the spectacle justice. Thank goodness for the fine programmers at Japan Society; the big screen really smooths out the movie’s minor flaws and superficial blemishes, and Kyusaku Shimada’s magnificent performance as the nefarious Yasunori Kato certainly benefits from a more expansive frame. Guess I can finally stop requesting the film in the feedback section of literally every post-screening survey…
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And that essentially sums up my 2023; the satisfaction of enjoying so many films that had been taunting and tantalizing my imagination definitely took the sting out of the whole "prolonged unemployment" situation. With that said, I’d like to wish everybody a very Happy New Year! Hopefully, my adventures in cinema will continue in 2024. (For God’s sake, will some distributor please show Kiyoshi Kurosawa’s Sweet Home the love it so richly deserves?!)
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apicturespeaks · 4 months
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Goyokin, Hideo Gosha
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northstarfan · 5 months
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A little help?
I recently watched Three Outlaw Samurai, the 1964 Hideo Gosha film, and really enjoyed it. Does anyone know where I might watch the TV show it spun out of, or even the 1970 reboot version? I've had no luck tracking either one down on streaming or DVD.
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twilightronin · 7 months
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Hunter in the Dark - Hideo Gosha 1979
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cinemaronin · 2 years
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The Geisha (1983)
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陽暉楼 The Geisha (1983)  directed by Hideo Gosha cinematography by Fujio Morita
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may8chan · 2 years
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The Geisha - Hideo Gosha 1983
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omercifulheaves · 4 months
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Samurai Wolf (1966)
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clemsfilmdiary · 11 months
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Sword of the Beast / Kedamono no ken (1965, Hideo Gosha)
獣の剣 (五社英雄)
6/5/23
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strangeorangetage · 2 years
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Hitokiri 1969
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chernobog13 · 2 years
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The Secret of the Urn (1966)
Yet another remake of The Million-Ryo Pot, this time the one-eyed, one-armed ronin Tange Sazen is portrayed by veteran samurai actor Kinnosuke Nakamaura (in Japan his portrayal of legendary swordsman Miyamoto Musashi in a 5-film series is,considered better than Toshiro Mifune’s in the Samurai Trilogy).
This film is directed by Hdeo Gosha, a master of chambara (Three Outlaw Samurai - both the film and television series, Sword of the Beast, Goyokin, Tenchu).
The film also stars Tetsuro Tamba, aka the hardest working man in Japanese cinema, and known better in the West as Tiger Tanaka in the James Bond flick You Only Live Twice (1967).  Tamba-san had also portrayed Tange Sazen: in a 1958 television series, and in the film Tange Sazen: The One-Eyed Swordsman (1963).
For thirty years prior to this film Tange Sazen had been portrayed as an irascible curmudgeon with a heart of gold.  He was basically your stern, yet kind-hearted, uncle who was always looking out for the underdog.
This film changed that.  In the spirit of the 1960s, when many heroes became anti-heroes (or downright villains), Tange Sazen became the monster that his enemies always called him.
Nakamura-san’s Sazen is unhinged, manic, bloodthirsty, and out for himself.  In the context of the film, which depicts how he lost his eye and arm as the result of a betrayal, this new attitude is understandable.  A trauma like that would leave anyone unbalanced.  I mean, that’s how Batman got most of his rogue’s gallery.
But, as fine as the film is - and it is very good indeed - Japanese audiences were not quite ready for this new Tange Sazen.  The long running Toei film series starring Ryutaro Otomo as a much friendlier, almost comedic Sazen, had only ended a few years prior.  Otomo-san’s portrayal was still fresh in many people’s minds, and the new Tange Sazen was just too jarring.
Perhaps not surprising, then, this was the last Tange Sazen film released in theaters.  The character would only return on television in a new series (1970) and several made-for-TV movies.
One of those TV movies, Tange Sazen and The Pot Worth One Million Ryo (1982), was directed by Gosha-san.  It was his remake of The Secret of the Urn, this time starring Tatsuya Nakadai (Sanjuro, Sword of Doom, Ran, Goyokin) as Tange Sazen.  The story remains essentially the same, but Nakadai-san’s portrayal of our hero is much more balanced; nowhere as manic and menacing as Nakamura-san’s.
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