Kinya Kitaoji Movies

1985  
 
Himatsuri is based on a real life tragedy, in which a Japanese man inexplicably slaughtered his family and then killed himself. Kinya Kitaoji plays the thoroughly self-centered "protagonist," who does what he pleases no matter who he hurts. No one dares question Kitaoji due to his blasting-cap temperament. The only thing Kitaoji holds sacred is the land around him, but he's willing to destroy even that to have his own way. He befouls a lake that is sacred to the Shinto religion, spilling oil into the waters rather than letting them fall into the hands of land speculators. Suddenly experiencing a religious awakening, Kitaoji decides to "atone" -- by murdering his family, then committing suicide. No explanations are offered by director Kenji Nakagami: one takes what one wishes from Himatsuri. The film was released to some English-speaking markets as Fire Festival. ~ Hal Erickson, All Movie Guide

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Starring:
Kiwako TaichiRyota Nakamoto, (more)
1982  
 
Some of the complexities involved in the murder of 5,000 Chinese in Singapore during World War II are considered in this joint Japanese-Australian film. After the British surrendered Singapore to the Japanese, the Imperial Japanese Army unit known as the kempei-tai or a kind of military police, were responsible for most of the brutality against captured Allied forces and the "ethnic cleansing" of Chinese based on the claim that their guerrilla forces were a threat. The hero of the film is Minoru Tamiya (Atsuo Nakamura) who worked as an information officer at the Japanese mission in Singapore before the outbreak of World War II. In this story, Tamiya was educated at Cambridge and argued for the humane treatment of prisoners of war against the harsh, often fatal, and degrading methods used by the kempei-tai. The difficulties of his position come to a climax in a melodramatic ending, in which the fate of a group of Allies and the fate of the Japanese themselves are symbolically bound together. ~ Eleanor Mannikka, All Movie Guide

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Starring:
Atsuo NakamuraKinya Kitaoji, (more)
1981  
 
Glowing Autumn starts out like a dark-hued Rembrandt, loses some focus like an Impressionist painting by Monet, and finally descends into the chaos of Jackson Pollack dribbling paint all over the helpless canvas. The sensuality of the images remains compelling, but their clarity and style have abruptly changed. In the clear and well-wrought beginning of the film, a woman (Kyoko Maya) is on a brief vacation in Kyoto when she is smitten by an innocent young photographer - he stands in sharp contrast to the erotic obsessions of her older lover, whom she is trying to jettison. She gets back to Tokyo and continues to develop her relationship with the photographer, but finds she has become hooked on the eroticism of her former lover - who keeps on interrupting her life when she least expects it. A mystifying part of their erotic pasttimes involved Persian rugs, and when her lover dies he leaves her a round-trip ticket to go load up on the carpets in Iran (before Khomeini). At this point, the story takes a flying leap and lands in Iran as she goes on her carpet hunt. Then the naive photographer shows up and drives them both into spasms of uncontrolled hilarity as he enthuses over mass-producing Persian carpets in Japan. This is where the film begins throwing sensual images around like a Pollack, but does not tie them together as in the earlier scenes. The viewers themselves will have to decide what the intent of the director (Masaki Kobayashi) might have been. ~ Eleanor Mannikka, All Movie Guide

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Starring:
Shin SaburiKinya Kitaoji, (more)
1974  
 
Add The Yakuza Papers 5: Final Episode to QueueAdd The Yakuza Papers 5: Final Episode to top of Queue
In this violent and morally ambiguous crime drama from master genre filmmaker Kinji Fukasaku, Takeda (Akira Kobayashi), a longtime leader of one of Hiroshima's Yakuza families (the Japanese Mafia), attempts to resolve the longtime war between various mob factions by reshaping his organization into a political organization that would be both powerful and legal. But not all of Takeda's men take to this new way of doing things, and a rash act by one veteran gangster (Jo Shishido) leads to a final turf war between the families. Jingi Naki Tatakai: Kanketsu-Hen (aka Yakuza Papers, Vol. 5: Final Episode) was the last film in the landmark series Fukasaku began with Jingi Naki Tatakai. ~ Mark Deming, All Movie Guide

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1974  
 
This is the third of a series of Japanese epics dealing with the exploits of a family that owns factories in Manchuria in the 1930s. The atrocities committed by Japan in China are not glossed over but become central to the story. Battles with the Chinese and the Russians are shown on a big scale in this lavishly produced picture. ~ Clarke Fountain, All Movie Guide

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1974  
 
Though a farmer and his fellow villagers in this Japanese film resist the effort to turn the unspoiled region in which they live into a land development, they are ultimately unsuccessful. ~ Clarke Fountain, All Movie Guide

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1973  
 
Add The Yakuza Papers 2: Deadly Fight in Hiroshima to QueueAdd The Yakuza Papers 2: Deadly Fight in Hiroshima to top of Queue
Bunta Sugawara returns as Shozo Hirono in this sequel to the acclaimed yakuza film Jingi Naki Tatakai (aka The Yakuza Papers: Battles Without Honor and Humanity). Hirono, now dug deep into a Japanese crime family based in Hiroshima, finds a new adversary in the person of Katsutoshi Otomo (Sonny Chiba), a ruthless killer who is willing to do anything to promote his family's interests. Meanwhile, Shoji Yamanaka (Kinya Kitaoji) is an ambitious criminal who quickly scales the hierarchy of the Muraoka family, but his fall proves as sudden as his ascent. Jingi Naki Tatakai: Hiroshima Shito Hen (aka The Yakuza Papers 2: Deadly Fight in Hiroshima) was followed only a few months later by the third film in Kinji Fukasaku's Yakuza Papers series. ~ Mark Deming, All Movie Guide

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1971  
 
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The Japanese title of Band of Assassins was Shinsengumi, which pinpointed the assassins in question. The Shinshen was a covert military organization in the employ of the 19th-century Japanese aristocracy. To protect their decadent employers, the Shinshen regularly ventured out to kill political enemies and other undesirables. Toshiro Mifune is among the participants in the film's steady (and seemingly endless) stream of bloodletting. Band of Assassins was one of the bread-and-butter pictures which Mifune made in order to afford to work in more prestigious fare. ~ Hal Erickson, All Movie Guide

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1969  
 
In this Japanese love story, a young man, the son of deaf-mute parents, is given a job by a factory owner who thinks he would make a good match for his daughter who is also a deaf-mute. The girl is already in love with a similarly afflicted man, but her father objects as he does not want her children to be deaf-mute. The despairing young lovers make a suicide pact, but fortunately, the factory worker intervenes and encourages them to stay alive. ~ Sandra Brennan, All Movie Guide

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1967  
 
In this Japanese melodrama, a youthful truck driver does all he can to keep away from hospitals and physicians. Then he meets a pretty nurse while visiting an ailing friend. Later, following a traffic accident, he reluctantly undergoes a check up and must reveal that he has terminal leukemia. The kindly nurse takes him to her home to spend the last few months of his life in peace. ~ Sandra Brennan, All Movie Guide

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