Kichijiro Ueda Movies

This landmark film is a brilliant exploration of truth and human weakness. It opens with a priest, a woodcutter, and a peasant taking refuge from a downpour beneath a ruined gate in 12th-century Japan. The priest and the woodcutter, each looking stricken, discuss the trial of a notorious bandit for rape and murder. As the retelling of the trial unfolds, the participants in the crime -- the bandit (Toshiro Mifune), the rape victim (Machiko Kyo), and the murdered man (Masayuki Mori) -- tell their plausible though completely incompatible versions of the story. In the bandit's version, he and the man wage a spirited duel after the rape, resulting in the man's death. In the woman's testimony, she is spurned by her husband after being raped. Hysterical with grief, she kills him. In the man's version, speaking through the lips of a medium, the bandit beseeches the woman after the rape to go away with him. She insists that the bandit kill her husband first, which angers the bandit. He spurns her and leaves. The man kills himself. Seized with guilt, the woodcutter admits to the shocked priest and the commoner that he too witnessed the crime. His version is equally feasible, although his veracity is questioned when it is revealed that he stole a dagger from the crime scene. Just as all seems bleak and hopeless, a baby appears behind the gate. The commoner seizes the moment and steals the child's clothes, while the woodcutter redeems himself and humanity in the eyes of the troubled priest, by adopting the infant. ~ Jonathan Crow, Rovi

Akira Kurosawa's epic tale concerns honor and duty during a time when the old traditional order is breaking down. The film opens with master samurai Kambei (Takashi Shimura) posing as a monk to save a kidnapped farmer's child. Impressed by his selflessness and bravery, a group of farmers begs him to defend their terrorized village from bandits. Kambei agrees, although there is no material gain or honor to be had in the endeavor. Soon he attracts a pair of followers: a young samurai named Katsushiro (Isao Kimura), who quickly becomes Kambei's disciple, and boisterous Kikuchiyo (Toshiro Mifune), who poses as a samurai but is later revealed to be the son of a farmer. Kambei assembles four other samurais, including Kyuzo (Seiji Miyaguchi), a master swordsman, to round out the group. Together they consolidate the village's defenses and shape the villagers into a militia, while the bandits loom menacingly nearby. Soon raids and counter-raids build to a final bloody heart-wrenching battle. ~ Jonathan Crow, Rovi

Japanese filmmaker Akira Kurosawa transferred the setting of Maxim Gorky's play The Lower Depths from Imperial Russia to his own country's Edo Period--which, like Gorky's 19th-century setting, was an era of great cultural advances, offset by the miseries of those who weren't in the aristocracy. Kurosawa's film concentrates on Toshiro Mifune, playing a crooked gambler who falls in love with the sister (Kyoko Kagawa) of his cruel landlady (Isuzu Yamada). Herself carrying a torch for Mifune, the landlady exacts a roundabout revenge by killing her own husband and pinning the blame on the gambler. As the landlady descends into madness, those whom she has treated wretchedly laugh at her plight. Originally titled Donzoko, The Lower Depths was renamed Les Bas-Fonds for its French release--the same title bestowed upon Jean Renoir's 1937 adaptation of the Gorky play. ~ Hal Erickson, Rovi

The Japanese potboiler Dangerous Kiss stars Akira Takarada as a famous prizefighter. When not dodging punches in the ring, Takarada is besieged by seemingly hundreds of beautiful young ladies. The title refers to the old adage that boxing and dames don't mix. Takarada finds this out en route to True Love. Dangerous Kiss was produced by Toho Studios, which had better luck with its many monster flicks. ~ Hal Erickson, Rovi