Eitaro Ozawa Movies

Nearly ten years after his last screen appearance (in 1975's Terror of Mechagodzilla), the Tokyo Terror stomps again -- albeit awkwardly -- in Toho Studios' highly publicized bid to reestablish the Green Guy's popularity in Japan and overseas. More a remake of the 1956 classic Godzilla, King of the Monsters than a continuation of the series, Godzilla 1985 represents an attempt to revamp the Big G with Star Wars movie technology and a more "serious" approach. Unfortunately, Toho's efforts may have gone astray, since the film resorts to exactly the same cheesy conventions that had endeared the series to bad-movie buffs around the world: flimsy cardboard buildings, inconsistencies in the monster's size from one scene to the next, and the same mock-profound commentary from Raymond Burr. The only notable additions consist of some interference from those evil superpowers, America and the Soviet Union, who both want to nuke Godzilla before he decides to direct his rage somewhere other than Japan. Though the film did manage to jump-start the franchise, spawning several high-tech sequels (continuing with Godzilla vs. Biollante and 1995's Godzilla vs. The Destroyer), its cheesiness spelled certain doom for the series in overseas markets, with minimal legitimate U.S. distribution until their arrival on video amid advance hype for Sony-TriStar's mega-budgeted 1998 version. ~ Cavett Binion, Rovi

Set during World War II, the inhuman side of combat is again emphasized in this film that deals with navy officers and their decisions concerning the "great fleet" that they must manage. In order to put the human drama of separation and death in full relief, that drama is played against scenes of nature (ocean waves, cherry blossoms, falling snow) that convey a sense of impermanence and ephemeral tranquility. ~ Eleanor Mannikka, Rovi

The very long but very worthwhile Sandakan No. 8 is set in mid-20th-century Japan. A crusading female journalist makes the acquaintance of an elderly woman who years earlier had been shipped against her will to Borneo. As a young girl, she had been sold into prostitution by her impoverished family. The friendship between the old woman and the young journalist is the heart of the story, and we use that word in its every sense. Nominated for an Academy Award, Sandakan No. 8 was a winner at the Berlin Film Festival and won many Japanese prizes. Originally released in the US without a rating, the film has since been classified "R". ~ Hal Erickson, Rovi

Mysterious lounge singer Ryuko (Akihiro Maruyama) is the subject of awe with an intensity bordering on worship at the Black Rose Mansion, the private men's club that employs her. It's not just the patrons who are enamored with her -- Ryuko has also attracted the reverence of the club's millionaire owner (Eitaro Ozawa), his estranged son (Masakazu Tamura), and a string of lovers past and present. As their obsessions take a turn toward the violent, the young singer's life grows increasingly complicated. ~ Tracie Cooper, Rovi

Director Satsuo Yamamoto wields his sarcastic scalpel in this message movie that takes jabs at the practices of the medical profession. The film begins with a surgeon cutting a patient from his sternum to his navel before revealing the stomach and bowels. A noted surgeon is more interested in publicity photos and press releases than his oath to heal. Another jealous doctor sabotages the career of a gifted young physician to advance his own career. The theme of the film was used once again in the 1970 black comedy The Hospital. ~ Dan Pavlides, Rovi

Based on a story by Ryotaro Shiba, this samurai classic from director Masahiro Shinoda follows a mysterious samurai leader who continuously shifts his allegiance from one political faction to another. All involved are under the constant threat of assassination. Ansatsu's screenplay was written by Nobuo Yamada, and the film features Tetsuro Tamba, Shima Iwashita, Isao Kimura, Eitaro Ozawa, Eiji Okada, and Keiji Sada. ~ Tracie Cooper, Rovi

The epidemic of juvenile delinquency in the mean streets of a Tokyo slum is depicted in this sordid story of sex and violence. The group is dwindled by suicide, murder, gang warfare and accidents as they engage in arson and gunplay. Plagued by drug and alcohol problems, the members of the gang head down the dead-end street to oblivion, despair and certain death. The film attempts at the beginning to give some semblance of a stance on morality before the depraved characters begin the inevitable downward spiral. ~ Dan Pavlides, Rovi

Originally titled Ningen No Joken, No Greater Love is the first of Japanese filmmaker Masaki Kobayashi's Human Condition trilogy. Drawing from his own experiences, Kobayashi weaves the tale of a Japanese pacifist, trying to get by as best he can during World War II. Tatsuya Nakadai plays the leading role of a mine supervisor, whose kindly treatment of POW laborers incurs the wrath of his superiors. As the war in the Pacific rages on, Japan begins suffering heavy losses and military humiliations, yet still Nakadai adheres to his principles. Ultimately overwhelmed by events, Nakadai is horribly mistreated by the powers-that-be, then ordered to don a uniform and fight for his country. Originally released at 200 minutes, No Greater Love was followed in 1961 by the first of two sequels, Road to Eternity (see entry 23819) ~ Hal Erickson, Rovi

Released in Japan as Shubun, Scandal was the eleventh film directed by Akira Kurosawa (it was produced just prior to his more famous Rashomon). The director described it as a "protest" film about press journalism. The film sets forth the theory that the postwar Japanese press was too free in its insinuations, and that personal privacy had been sacrificed for the sake of sensationalism (The more things change...) Based on a story related to Kurosawa at a bar (!), the film traces the tragedy that results when a prominent lawyer is skewered by the press. Scandal ends with the hospital death of the lawyer's daughter--which didn't happen in the real-life anecdote. ~ Hal Erickson, Rovi