Shugoro Yamamoto Movies

Take a trip back to the Tokugawa era for this tale of friendship and loyalty from acclaimed Japanese filmmaker Takashi Miike. When Eiji is wrongly imprisoned for a crime that he did not commit, his bad luck takes a turn for the worse when he is sent to an Ishikawa workhouse to perform hard labor. As Eiji attempts to survive the physical and mental torments of his incarceration, his lifelong friend Sabu struggles in the outside to seek out the man who truly perpetrated the crime before the bleak realities of prison life drive Eiji to a point beyond recovery. Adapted from writer Shugoro Yamamoto's classic novel, this unforgettable tale of courage is sure to remain with viewers and offer a new perspective on director Miike's wildly varied filmography. ~ Jason Buchanan, Rovi

As the Japanese studios were declining in 1969, four legendary directors from that country's "golden age" of cinema -- Kon Ichikawa, Masaki Kobayashi, Keisuke Kinoshita, and of course Akira Kurosawa -- banded together to start their own production company. The financial and critical failure of the studio's first feature, Kurosawa's Dodes'ka-Den (1970), scrubbed all subsequent projects. One of the shelved works was this film, which was adapted by the quartet from Shugoro Yamamoto's "Diary of Town Magistrate" and was originally going to be directed by all four masters. With the passing of Kurosawa and Kinoshita in 1998, directing duties of this almost forgotten script fell to the group's sole survivor: 85-year-old Ichikawa. The film centers on Koheita Mochizuki (played by charismatic leading man Koji Yakusho), a samurai selected by the regional lord to be the magistrate of the particularly lawless district of Horisoto, a place where three such officers disappeared. This appointment arouses more than a little curiosity from the locals; Mochizuki's reputation for liquor and general licentiousness has earned him the nickname Dora-Heita, or "alley cat" (meaning "playboy"). In fact, Mochizuki has carefully cultivated his debauched persona, as he quietly tells his friend Senba (Ryudo Uzaki), who works as district administrator. He exhorts his pal to keep the rumors circulating. When the venerable district council -- who is aghast at Mochizuki's slatternly appearance -- almost votes to remove him, Dora-Heita reveals the lord's signed letter of endorsement giving him absolute authority. His first task is to clean out three powerful gangs who control Horisoto, keeping it awash in prostitution, extortion, gambling, and murder. Though samurais are forbidden to sullen themselves with such riff-raff, he boldly ventures into the prohibited brothel quarters and plays up his libertine persona in order to suss out the real criminals. In the process, he profoundly offends a band of right-thinking young samurais who soon plot to assassinate the heretical Dora-Heita. With almost everyone in the area out to get him, Mochizuki's life is further complicated by the appearance of geisha and former mistress Kosei (Yuko Asano), who demands that he take her back. Told with a sly sense of humor that was common to all four directors, this film is directed with a muscular dynamism that recalls the best of the samurai movies of old, such as Yojimbo (1961) and Harakiri (1963). Dora-Heita was screened at the 2000 Berlin Film Festival. ~ Jonathan Crow, Rovi

Plans have long been set to enable Seishiro to marry the daughter of the castle warden. He is from too humble a background to marry so exalted a personage, so the head of the Iwai family has formally adopted him in order to give him the necessary social standing. All is proceding in an orderly way when an unknown woman appears at the castle, claiming she is unable to remember who she is. She simply calls herself Fusa. Seishiro falls in love with her and marries her. They raise a family, but every day her loving husband wakes with the fear that she will recover her memory and be forced to leave him. ~ Clarke Fountain, Rovi

Dodes'ka-Den (aka Dodesukaden) was Japanese filmmaker Akira Kurosawa's first project since Red Beard (1965), and his first ever in color. Kurosawa focuses this time on Tokyo slum life. We watch as a variety of unfortunates debase themselves to survive, yet, somehow, emerge with more innate dignity than the so-called "better" people. While it seems inconceivable that Dodes'ka-Den would fail at the box office, fail it did upon its original release. The Japanese distributors hastily pared down the film's 244 minutes to 140 (unfortunately destroying the original negative in the process), but this version also came a cropper. It was the negative reaction to Dodes'ka-Den, which allegedly prompted Kurosawa to attempt suicide. Happily, he survived to reclaim his industry stature with 1976's Dersu Uzala. ~ Hal Erickson, Rovi

In 1820, young Noboru Yasumoto (Yuzo Kayama) completes his medical education in Nagasaki and returns to his native Edo hoping both to marry the daughter of a wealthy man and to achieve affluence himself through his medical practice. He happens to visit the famed Koishikawa clinic for the indigent, which is run by the autocratic Dr. Kyojo Niide (Toshiro Mifune), better known as Red Beard. To his intense displeasure, he soon finds himself assigned to the clinic for his internship. At first, the young intern is arrogant and rebellious, intent on displaying his knowledge of medical innovations and contemptuous of the older doctor for spending his life among the poor. But as time passes, he gains an intimate knowledge of the kind of suffering that is endemic to the impoverished, and at length, becomes an acolyte of this seemingly dictatorial physician, who heals his patients with gentleness and humility as much as with his medical skill. ~ Michael Costello, Rovi

In this interesting Japanese drama, a journalist travels to a tiny fishing village outside Tokyo to learn more about traditional customs and culture. There he carefully watches the locals going about their daily business. Among those observed are a recovered alcoholic caring for his crippled wife; a frustrated groom whose marriage remains unconsummated; a mother and her impoverished daughter; and an old man, living aboard his boat, who reminisces about his past. ~ Sandra Brennan, Rovi

Set in the mid-19th century when the disintegration of a rigid social structure was turning the once wealthy into paupers, or vice-versa, this kinetic drama by acclaimed Akira Kurosawa features the hero Sanjuro (Toshiro Mifune), one of many samurai whose once traditional positions were fast disappearing. In this tale of false perceptions and truth, of honor and dishonor, Sanjuro is a character who captures and holds attention from the moment he appears on screen. When he arrives in a small city, he discovers that a band of nine men are anxious to overthrow the corrupt ruling elite. Physically strong and agile, mentally sharp and clear-headed, Sanjuro still has an deep commitment to justice and honor underneath his dirty, abrasive, and cynical exterior. The nine men may doubt his nobility, but that is because they are only looking skin deep. While the sword fighting and action scenes are memorable, it is Toshiro Mifune's characterization and Kurosawa's camera eye that enhance the story. ~ Eleanor Mannikka, Rovi