47 ronin 1941 film
1 out of 7 found this helpful. Yes, the pace is slow, yes the movie is long; especially to our eyes used to modern (?) One year later, the Shogun refuses his request and Oishi and forty-six ronin revenge their Lord. None of this is aided by its nearly 4 hour length. This duplicate is out of sequence with the story. Based on a true story, a version of which can be read in Jorge Luis Borges's short story collection, 'A Universal History of Infamy', under the title 'The Uncivil Teacher of Etiquette, Kotsuke no Suke'. There is a air of hopelessness that looms over these kneeling men and their talk of pledges, loyalty, duty.Hot discursive political chamber drama. Use the HTML below. Restoration is not there yet. Mizoguchi's Genroku CHUSHINGURA: originally written for the Japanese Hokubei Mainichi, San Francisco, November 5, 1976 Cinematography is very good with some especially creative overhead tracking shots. In 1701, Lord Takuminokami Asano (Yoshizaburo Arashi) has a feud with Lord Kira and he tries to kill Kira in the corridors of the Shogun's palace. Seika Mayama (play), 47 Ronin est un film réalisé par Carl Rinsch avec Keanu Reeves, Hiroyuki Sanada.
The "47 Ronin" is an epic film about this legendary Japanese story about how 47 masterless samurai plot to avenge their Lord's death. But their leader Kuranosuke Oishi (Chôjûrô Kawarasaki) asks the Shogun to restore the Asano clan with his brother Daigaku Asano.
The 47 Ronin (元禄 忠臣蔵, Genroku Chūshingura, "The Treasury of Loyal Retainers of the Genroku Era") is a black-and-white two-part jidaigeki Japanese film directed by Kenji Mizoguchi, adapted from a play by Seika Mayama.The first part was released on December 1, 1941 with the second part being released on February 11 of the following year.
By 1941 there was no end in sight to these conflicts, and military prospects were turning menacing. The Shogun sentences Lord Asano to commit suppuku and deprives the palace and lands from his clan, but does not punish Lord Kira.
Apparently this was a commissioned work, produced during World War II. 30 out of 38 found this helpful.
The Shogun sentences Lord Asano to commit suppuku and deprives the palace and lands from his clan, but does not punish Lord Kira. The script/dialogue is dense, and there are seemingly countless characters.
While the close-ups and the tight scene making are fine, we are made to wait so long for an event that we know is coming from the outset.
I think, given the films I’ve seen in the genre, there is something inherently fascinating in familiar themes explored purely through personal confrontation. This movie is remarkably well constructed and acted and while the rhythm is slow, it is also implacable : the good side of having a slow rhythm is that you can eventually accelerate, something that ultra-fast doesn't allow. Throughout Mizoguchi handles his frame with incredible precision and subtlety, as if aware that in these images he was struggling to maintain—though more likely wilfully questioning—the last vestiges of balance and sense of an entire world. Watching this film, it seemed to me almost impossible to say anything about it without meditating on its year(s) of release- 1941-42.
The film forms part of a trilogy of totalitarian films about sacrifice, along with Eisenstein's "Alenander Nevsky (1938) and the Nazi film "Kolberg" (1945): but in reality the "47 Ronin" is head and shoulders above both of these.
People just sit on the floor in various rooms and say things like what are we going to do, what does so and so think, I'm not sure, maybe we should ask someone else, I don't know, do you know, I'm so confused, etc. Was this review helpful? 8 out of 18 found this helpful. What this one misses is a modicum of action.
Many (unseen) events are repeatedly described and trivial lines picture in words what the camera is simultaneously showing as if contemporary audience were considered to be very slow on the uptake. Both from the filmmakers and the audience.
3 December 2014 | Barev2013 Indeed, "47 Ronin" is one of the great masterpieces of …
The 47 Ronin (元禄 忠臣蔵, Genroku Chūshingura, "The Treasury of Loyal Retainers of the Genroku Era") is a black-and-white two-part jidaigeki Japanese film directed by Kenji Mizoguchi, adapted from a play by Seika Mayama. Utamaro, a great artist, lives to create portraits of beautiful women, and the brothels of Tokyo provide his models. I think, given the films I’ve seen in the genre, there is something inherently fascinating in familiar themes explored purely through personal confrontation.
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