Ninja Filmleri

[Komutan]

Hayır, mesajlarımda bir defa samurayları öven bir şey yazmış olsam keşke. Bir önceki mesajımdan alıntı yapıyorum:

Bahsettiğim şey kurgusal eserlerde böyle bir cepheleşmenin olmadığı.

[Ninja]

Bakiniz kurgusallarin kokeni Japon olan dizileri oneriyorum bulunuz ve izleyiniz.

Hattori Hanzou Kage No Gundan. Yani Hattori Hanzou ve Golge Ekibi. Tarih ile ilgili isenizde tarihi tekrar bir arastiriniz ve herhangi bir sorunuz var ise mutlaka cekinmeden mutlaka sorunuz ben mutluluk duyarim Komutan san.

[keldron]

Ninja sen japon musun harbiden san falan kullanıyorsun merak ettim.

[Ninja]

Evet bugun olan filmimiz;







Warring Clans (orig. Sengoku Yaro) 1963

Sengoku Yarō (戦国野郎?, literally: "Sengoku Rascal")[1] is a 1963 Japanese jidaigeki period black comedy adventure film directed by Kihachi Okamoto, co-written by Shinichi Sekizawa and starring Yūzō Kayama. Masaru Sato composed the music for the film. It is known in the English version as Warring Clans.

The film also starred Ichirō Nakatani, Makoto Sato, Hiroshi Hasegawa, Jun Tazaki, Yuriko Hoshi, Tadao Nakamaru, Tatsuyoshi Ehara, Kumi Mizuno, Hideyo Amamoto (as Eisei Amamoto), Yutaka Nakayama, Masanari Nihei (as Masanori Nihei), Yoshifumi Tajima, Kazuo Suzuki, Ren Yamamoto, Naoya Kusakawa and Ikio Sawamura.

A widescreen home version of the film was released on DVD in Japan in 2006.

Japanese cinema specialist David Desser called the film "eccentric".[2]

Sengoku Yarō (Warring Clans)
Directed by Kihachi Okamoto
Produced by Tomoyuki Tanaka
Written by Kihachi Okamoto
Ken Sano
Shinichi Sekizawa
Starring Yūzō Kayama
Music by Masaru Sato
Cinematography Yuzuru Aizawa
Studio Toho
Distributed by Toho Company
Release date(s) 1963
Running time 98 minutes
Country Japan
Language Japanese



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[Ninja]

Kurama Tengu (鞍馬天狗 Kurama Tengu?) ( Ilk Ninja Filmi)







The men in power have had that power slowly wrenched from their hands, and the city is in shambles. Where there was once order there is now chaos. Justice has been replaced by lawlessness. Gangs and criminals prey on the innocent. Who will come to save the people? One man comes forward to don black robes and a mask to fight for those who can't. Who is this man? You'd be forgiven if you said Batman. With that kind of introduction who else could you expect? Well, if you were a young moviegoer in 1920's Japan you'd be thinking of another hero, one named Kurama Tengu. This hero, based on a character created by novelist Jiro Osaragi, fought for the common people (especially children) during the late 19th century, one of the most tumultuous times in Japanese history. He was also the template for a number of later Japanese superheroes such as Moonlight Mask and Seven Colour Mask. Through the mid 20's and 30's actor Kanjuro Arashi became synonymous with this black-masked samurai, portraying him in a series of features and shorts. One of those, 1928's "The Frightful Era of Kurama Tengu" is not only packed to bursting with Edo Era action, but it also shows us how the big screen has been filled with superheroes long before folks like Tim Burton, Sam Raimi and Christopher Nolan tried their hand at the genre.

In 1865 Japan is a nation divided. Some, namely the government run Shinsengumi police force, are loyal to the dying Tokugawa Shogunate who have ruled Japan through a strict 260-year policy of isolation from the rest of the globe. Others are loyal to the Emperor and to a new age of modernization for the country. Between 1853 through to 1867 the streets of the old capital of Kyoto, and other major Japanese cities, have become a literal battleground of ideologies. Everyday citizens find themselves in the midst of historic unrest, and more than a few criminals take advantage of the political and military in-fighting to take what they want from whomever they can take it from. It's in this world that we meet Kurama Tengu, a samurai who cares for orphaned children and who dresses himself head to toe in black in order to protect ordinary citizens from these turbulent times. In the case of "The Frightful Era of Kurama Tengu" our hero pledges his help when a local in is ransacked by bandits. As he pursues them through the back streets of Kyoto and Edo he comes across a cast of dasterdly villains and tempestuous women. There is Choshichi of Hayabusa (Shoroku Onoe), a man loyal to the Shinsengumi who wants only to take down Kurama Tengu. He slinks around corners following our hero with two goofy samurai in tow providing comic relief throughout the film. The one problem is that Choshichi is following the wrong Kurama Tengu. It turns out there is an evil double of Kurama Tengu roaming the streets and it's him, not our hero, who is being pursued. The real Kurama Tengu must deal with Okane (Kunie Gomi), a shady woman who at first accuses Kurama Tengu of stealing her purse, and then falls in love with him and then begins her own pursuit. The only problem is that Choshichi has his own designs on Okane.

There's enough plot-wise going on in "The Frightful Era of Kurama Tengu" to confuse the average viewer. Not everyone is going to know the ins and outs of late 19th-century Japanese history, plus all the double and triple crosses are enough for a 3-hour epic. The only thing is that director Teppei Yamaguchi, who directed a number of Kurama Tengu films starring Kanjuro Arashi , crams all of this into a 38-minute film! Add to the villains, damsels and assorted samurai a gang of child street acrobats and an underwater swim/ chase sequence and the mind begins to boggle a little. When you consider, though, that "The Frightful Era of Kurama Tengu" served the same purpose in Japanese pop culture as such classic Hollywood serials like "Buck Rogers" and "The Lone Ranger" things begin to make a little more overall sense. Also, given the fact that we have now become accustomed to our childhood heroes from Marvel and DC Comic battling it out for justice onscreen, there's something about this silent film, despite the samurai trappings, that feels very familiar. Swap out Old Edo and the katana for Gotham City and you'll see what I mean.

Not only are there narrative tropes and characters in "The Frightful Era of Kurama Tengu" that would not look out of place in a present day superhero blockbuster, but the film also provides on of the earliest examples of onscreen horror in Japanese cinema. As part of the many plots and sub-plots that screenwriter Fujio Kimura packed into "The Frightful Era" he decided to inject some actual frights in the middle of the action. In the midst for his search for the bandits who are terrorizing Edo, Kurama Tengu is picked up by two men and taken by palanquin to a haunted house, one that comes complete with worn tatami, torn shoji screens, black cats and a female ghost whose black hair trails down from the ceiling. None of this would look at all out of place in the contemporary J-Horror films of Hideo Nakata or Kiyoshi Kurosawa. It's remarkable to see that these filmmakers in no way invented this frightful iconography, but instead have simply adapted it from age old Japanese ghost stories and folk tales. As to its relevance in a historical action story... It certainly is a stretch, but screenwriter Kimura and director Yamaguchi justify this horrific interlude by having the gang of bandits, led by Kurama Tengu's evil double, hiding out in this evil abode.

"The Frightful Era of Kurama Tengu" is an object lesson for anyone who bemoans the sorry state of the film industry. It's true we live in a time when movies seems to feature endless variations of popular comic book heroes. Flashy fight scenes, stereotypical character types and open endings that lead to one sequel after another are all cobbled together in a semblance of storytelling, but Teppei Yamaguchi's silent classic shows us that this is nothing new. Batman (or Spiderman or The X-Men) or Kurama Tengu -- movies have always been peopled with larger-than-life heroes, ones who are designed to entertain, and for Japanese film fans you can't find a better example than the "The Frightful Era of Kurama Tengu". Although not easy to find (the film is available on a DVD released by Tokyo-based company Digital Meme) this is a film worth digging to take a look at.

Kurama Tengu
Directed by Teppei Yamaguchi
Produced by Arakan Production
Narrated by Shunsui Matsuda
Midori Sawato
Starring Kanjuro Arashi
Takesaburo Nakamura
Reizaburo Yamamoto
Tokusho Arashi
Cinematography Juzo Tanaka
Distributed by Digital Meme
Release date(s) Japan 1928 (Japan)
Running time 71 min.
Country Japan
Language Silent











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[Ninja]

Bugun taniyacagimiz film;





The Ninja Hunt (orig. Ninja Gari) 1964


Ninja-gari (The Ninja Hunters, Toei, 1964) was the first film directed by Tetsuya Yamanouchi (or Yamauchi), from a story by Koji Takada. It stars veteran chambara star Jushiro Konoe, with Shingo Yamashiro, Kei Sato, Takahiro Tamurai, Choichiro Kawarazaki, & Kikudo Hojo.

NinjagariWada (Jushiro Konoe) was a vassal of the Izamu clan before ninja spies, led by "Kura the Darkness," helped the shogunate topple Izamu clan & turn all Izamu samurai into ronin. Approached by a vassal of the Matsuyama clan, Wada agrees to work with a special anti-ninja unit to track down Kura for the sake of revenge.

Wada heads the group of four who strive to keep the castle from being infiltrated by ninja, or to find those who already infiltrated & falsely appear to be loyal vassals. The film portrays the excellence of ninja infiltration techniques by means of disguises as nuns, priests, or retainers, as well as by direct assault. Wada is merciless in dealing with them, even sacrificing innocent Matsuyama retainers if that it what it takes to ferret out spies.

As heros go, Wada is a cruel one, exemplified by a sequence wherein Wada tortures then slays, one by one, a group of retainers, knowing only one of them is a ninja. The second-to-last victim of Wada's harsh approach turns out to be the spy, proving it by ninjutsu leaping tactics. The final vassal, although spared the fate of the other innocents, goes mad from the experience.

NinjagariThe plot hinges on a letter written by the Shogun which recognizes the young Matsuyama heir. An official has planned a meeting to authenticate the letter & thereafter to guarantee protection of the heir as a daimyo (lord) under Tokugawa authority. The shogunate secretly wants the letter destroyed before the meeting can take place, the Shogun having written it only to give the impression of supporting the clan while actually wanting an off-shoot of his own family to take over the Matsuyama domain.

If the letter can be destroyed before the young heir is officially recognized, the clan will be ruined. Historically speaking, these sorts of machinations did take place & provide themes for many films. In The Ninja Hunters it provides a grand excuse for several duels between the special anti-ninja brigade & the spies sent by the shogunate.

Kura, the ninja leader, is a pin-spitter, famous for blinding his opponents. Of the four ninja-hunters (Wada, Hachi, Shin & Yajiro) the youngest, Yajiro, is blinded early on, & commits seppuku as a result. The art of pin-spitting is also used by Shintaro Katsu in his role as a thief in The Thieves' Who's Who (Dosobo banzuke, Daiei, 1966) & by a female spy in a version of the three-part Daibosatsu toge starring Raizo Ichikawa, who is blind in parts II & III but no less invincible. Pin-spitting-jutsu probably isn't a credible martial art, but it is very traditional in fiction.

Giving up on destroying the letter, the ninjas decimated, Kura settles on a new plan to kill the child heir, for not until the letter is read to the proper officials will the child be exempt from a government-ordered assassination. the second attempt on the child's life provides the climax of the film & takes place in a dark, sealed, & eerie tomb. This is just the right environment for mystic, sinister ninjutsu masters like Kura.









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[captiveserpil]

en sevdiğim filmlerdi hele çizgi filmlerini hiç unutamam :) mikelanjelo muydu o :)

[Ninja]

Bugun taniyacagimiz film;




The Detective Fencer (orig. Onmitsu Kenshin) 1964

Had to include this for its historical value outside of Japan. Koichi Ose‘s television hero “Shintaro the Samurai” was the first international export of the ninja boom, and caused a sensation in Australia. Generations of Aussie kids grew up on this ninja-infused small-screen serial, and the cast’s live appearances on promo tours down under drew bigger crowds than The Beatles. Detective Fencer is a theatrical chapter of The Samurai, with a dizzying array of gimmicky ninja and Shintaro’s “Tonto”-like sidekick Tonbei the Mist, played by one of Japan’s most popular ninja actors Maki Fuyukichi. (More on The Samurai and Tonbei here.)








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[DeathLord]

Ninja san var mi söyle güzel ninjali bi anime söyle de izleyek. Kenshin gibisini bulamadik valla sen Yunanlilar'in baklavaya cöktügü gibi cöktün kiz gibi oglanimizin üstüne samuray degil ninja diye ama olsun kirilmadik biz.

[antiban]

ninja san kopyala yapıştır yapacağına filmler hakkında iki satır da kendi yorumunu koysana ne bu hazırcılık kolaycılık dejenere kültür etkisi galiba bunlar hep.

[Ninja]

anlamadim?

Simdi anladim Antiban san ozur dilerim ama ben Sinema elestiri yapamam uzman degilim ama kendi fikrim yazarim bir koyunca bundan sonra. Tekrar ozur dilerim.

[antiban]

Neyse japonluğuna verdim bu seferlik affediyorum bir dahaki sefere BAN!

[Raincloud]

Nereye ban antiban? Millet olmadık yerlerde asansörde yiyişen dedeler çeviriyor onlara bir şey olmuyor da, adam burada uğraşmış etmiş alıntı olduğunu da belirtmiş. Seni kırmamış fikrimi de ekleyeceğim bundan sonra demiş. Daha ne istersin bre antiban?

[Ninja]

Bugun taniyacagimiz film;






Mission Iron Castle (aka Ninja 9, orig. Shinobi no Shu) 1970

Shinobi No Shu
Mission: Iron Castle, aka: Ninja #9
Directed by:MORI Issei
Cast:MATSUKATA Hiroki, HONGO Kojiro, FUJIMURA Shiho




When a team of ninja is sent to kidnap Lady Oichi, the wife of Shibata Katsuie, without harming her they must find a way into the fabled Iron Castle at Kitanosho, and a way out as well. Facing impossible odds, the team finds their skills tested as they risk their lives to accomplish “Mission: Iron Castle”. Featuring a remarkable performance by the great actress Fujimura Shiho as Lady Oichi.

This is the final installment in the Shinobi no Mono (Ninja Band of Assassins) series of films and introduces Matsukata Hiroki in the lead role replacing legendary star Ichikawa Raizo as the ultimate ninja.

The Shinobi-no-Mono series was so successful, it spawned seven sequels in which Raizo Ichikawa played three different lead characters. After his untimely death in 1969 (at only 37, why he’s called Japan’s James Dean), Daiei Studios dipped into the well one more time, making the best 60′s B&W ninja movie ever seen in the otherwise color-dominated year of 1970.

The boom was over, the look and tone were outdated, the choice to market this flick under the beloved Shinobi-no-Mono banner questionable… But damn is this an f’n great movie!

Issei Mori directs Hiroki Matsukata as the reluctant leader of a small band of spies charged with kidnapping a noblewoman from a heavily ninja-proofed castle. Things do not go as planned in what is possibly the darkest and most fatalistic of the already noir-ish 60′s fare. Both the decade and it’s distinctive style of shinobi cinema went out on a high note with Mission Iron Castle.




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