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Kakushi Ken-Oni Tsume (2004 - the Hidden Blade), De Yoji Yamada

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Kakushi Ken-Oni Tsume (2004 - the Hidden Blade), De Yoji Yamada 30 de novembre del 2006 Cinemes Imperial Sessions: 20.15 h i 22.30 h Kakushi Ken-Oni Tsume (2004 - The hidden blade), de Yoji Yamada Sinopsi En els darrers anys dels shogun i els samurais, les noves tècniques armamentístiques avancen, les armes de foc comencen a guanyar terreny als tradicionals catans. Les baralles pel poder del clan local continuen i els samurais estan perdent l’antiga llum i resplendor. Però un d’ells, Munezo, té altres problemes: viu enamorat en secret de la seva antiga criada i li plantegen el dilema d’haver de matar un vell amic, també samurai. Fitxa tècnica Títol original · · · · · · · Kakushi Ken - Oni No Tsume Direcció · · · · · · · · · · Yoji Yamada Guió · · · · · · · · · · · · · Yoji Yamada Fotografia · · · · · · Rokuo Naganuma Sobre Yoyi Yamada, el director Take (amb la qual es commemorava Producció · · · · · · Hiroshi Fukasawa els cinquanta anys dels estudis Shochiku Ofuna), Hope and Pain Ichiro Yamamoto i My Sons. Any · · · · · · · · · · · · · · · · · · 2004 Yoji Yamada, nascut a Osaka l’any Tot i aquest currículum, a casa Durada · · · · · · · · · · · · · 131 minuts 1931, es va llicenciar a la nostra no s’ha donat a conèixer fins Universitat de Tòquio l’any 1954; fa un parell d’anys, quan va arribar, aquell mateix any es va convertir quasi d’amagat i a poques sales en ajudant de direcció de cinematogràfiques d’art i assaig, El Shochiku. L’any 1969 va iniciar la ocaso del samurai. Però, tot i que saga de la qual, a hores d’ara, és la no va aconseguir una entrada de sèrie de pel·lícules més llarga de taquilla destacada (tretze mil Fitxa artística la història del cinema; es tracta de espectadors, segons dades del Tora-san. En total, 48 entregues en Ministeri de Cultura), Yoyi Yamada els 26 anys que va durar la sèrie. té una segona oportunitat per Masatoshi Nagase · · Munezo Katagiri Però Tora-san no ha estat l’únic presentar-nos una història amb conjunt de pel·lícules del director Takako Matsu · · · · · · · · · · · · Kie nombrosos paral·lelismes a la seva japonès, ja que des de 1993 al 2000 antecessora. Yukiyoshi Ozawa · · · Yaichiro Hazama realitza els quatre capítols que Hidetaka Yoshioka · · Samon Shimada formen Gakko. En aquesta ocasió, el veterà director Min Tanaka · · · · · · · · Kansai Toda torna a recórrer a un relat de Shuhei The hidden blade és la pel·lícula Fujisawa, un dels escriptors Tomoko Tabata · · · · · Shino Katagiri número 78 de Yamada; entre la japonesos amb més renom de la Ken Ogata · · · · Shogun Hori Unasaka llista llarga de produccions literatura de ficció en el gènere dels samurais. De fet, El ocaso del Nenji Kobayashi · · · · · · · · Ogata realitzades, bàsicament comèdies, destaquen Spring Comes Late, samurai està basada en tres relats Reiko Takashima · · · Hazama's Wife Home from the Sea, The Village, i seus: “El Ocaso del Samurai”, Chieko Baisho · · · · · · Mrs. Katagiri The Yellow Handkerchief (que va “Sukehachi el Captaire” i “Història d’una espasa de bambú”. Sachiko Mitsumoto · · · · · · Mrs. Iseya tenir molt bona acollida fora del Japó). Altres cintes destacables són: A Distant Cry from Spring, Final Sobre Japó i les castes samurais a yakuzas, s’ha comparat unes històries que tranquil·lament amb el referent americà dels es poden comparar als westerns La societat del Japó feudal estava westerns i les pel·lícules de crepusculars, un gènere que molts gàngsters i policies. consideren que va crear John Ford organitzada per castes, on amb The searchers (Centaures del l’emperador i la casta dels nobles En els darrers anys, sembla que la desert) i que es va cultivar estaven al capdamunt. Just per sota moda de mirar cap a Orient a la especialment als anys 70. Aquestes hi havia la casta dels terratinents recerca de noves filosofies i de la eren pel·lícules on els veterans i de l’aristocràcia militar, més seva saviesa ha afectat també al herois que quan tornaven a casa, coneguda com a samurais. Els cinema. Si a això se li afegeixen s’adonaven que el món havia samurais eren la casta dominant i les possibilitats infinites que han avançat i se sentien desarrelats i sense lloc en aquesta nova realitat. formaven l’elit militar de l’època. portat els efectes especials d’última generació, no és estrany veure com Era habitual que les famílies de les nostres pantalles tornen a El samurai Munezo també comença Gràcies. e començar la projecció. samurais s’unissin i s’organitzessin acollir, d’allò més bé i passant –això a veure que el seu temps ha passat, en clans, per tal d’obtenir més sí- pel sedàs de Hollywood, que les coses canvien i la seva influència política i militar. Dins pel·lícules d’art marcials (Tigre y figura de samurai no té sentit ni del clan, un samurai podia exercir Dragón o La casa de las dagas lloc en la nova societat. Però diferents tasques, com la de soldat, voladoras) i de samurais (Ghost Munezo no decideix prendre el guàrdia o, fins i tot, mà d’obra. dog, Kill Bill, El último samurai...). camí de l’exili espiritual (com faria en John Wayne), sinó que prefereix optar per la gran salvació, que és El Hagakure és el llibre filosòfic l’amor. dels samurais i on s’estableix un Ivanna V. Ortiz dels principis d’aquest col·lectiu: Sobre The hidden blade “el camí del samurai es troba en la mort”. El seu codi de conducta Però el cas de Yoyi Yamada és ben defineix el samurai com algú diferent a aquestes produccions fetes per directors americans o per FILMOGRAFIA solitari, noble, disciplinat i lleial realitzadors orientals adoptats pels al seu senyor fins a la mort. Per grans estudis. El director d’Osaka Bushi no ichibun (2006) (en aquest motiu, l’amor no és una de es mostra fidel al ritme lent i pausat postproducció) les seves prioritats i prefereixen el dels grans clàssics japonesos, així Kakushi ken oni no tsume (2004) suïcidi abans que una mort com també a la poesia visual dels The Hidden Blade deshonrosa. sentiments no verbalitzats. Tasogare Seibei (2002) El ocaso del Samurai Les aventures dels samurais foren A The hidden blade, Yamada Gakko (1993-2000) - 4 capítols - recollides, primer pel teatre kabuki presenta una societat antiga i Fifteen i més tard pel cinema. Les decadent, que veu com arriba de Tora san (1969-1995) – 48 capítols pel·lícules sobre samurais van forma imminent la seva fi. La Musuko (1991) My Sons dominar la producció modernitat s’obre pas sense remei. Dauntaun hirozu (1988) Hope and cinematogràfica japonesa durant El canvi ve molt lligat a la irrupció Pain la primera meitat del s.XX (tot i de la cultura occidental que aquí Kinema no tenchi (1986) Final que aquesta tradició va es materialitza en les noves formes Take: The Golden Age of Movies desaparèixer de la societat nipona de fer militars, amb la introducció Haruka naru yama no yobigoe a finals del s.XIX). D’aquesta època de les armes de foc i noves (1980) A Distant Cry from Spring daten les grans obres mestres del disciplines de l’exèrcit. Shiawase no kiiroi hankachi (1977) gènere, com Els set samurais The Yellow Handkerchief d’Akira Kurosawa, i les obres Però Munezo Katagiri (interpretat Harakara (1975) The Village fílmiques de cineastes com Kenji per Masatoshi Nagase, que hem Kokyô (1972) Home from the Sea Mizoguchi i Hiroshi Inagaki, entre pogut veure a Mistery Train de Kazoku (1970) Where Spring d’altes, que van tenir en l’actor Jarmusch) pertany a un altre món, Comes Late Toshiro Mifune la perfecta al món dels catans i de les Fukeba tobuyona otokodaga (1968) encarnació de la figura del samurai. tècniques mil·lenàries que es Ippatsu daiboken (1968) transmeten de mestre a aprenent, Un ga yokerya (1966) Natsukashii furaibo (1966) The Ja als anys 70 i 80, el gènere es va com l’”arpa del dimoni”, el gran as a la màniga de Munezo. Loveable Tramp modernitzant amb la substitució Baka ga tanku de yatte kuru (1964) de les espases per les armes de foc, Baka marudai (1964) i apareixen així les pel·lícules de L’estil de Yoyi Yamada és, però, Shitmachi no taiyo (1963) gàngsters o yakuzas. De fet, aquesta bastant peculiar dins el gènere Nikai no tanin (1961) evolució del gènere al Japó, de clàssic dels samurais i ens presenta d acústic abans aparell altre mòbils i qualsevol telèfons Es demana puntualitat. els Es demana als espectadors que desconnectin.
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