Zatoichi is a blind masseur and hell of a samurai swordsman. It is unknown where prints of this alternate version reside. Wong Gong and Kakuzen (01:46) 21.

The content for Zatoichi the Outlaw (1967), originally on Zatoichi Musical Journey 2 (KICA-3024), has also been added in, although La-La Land Records has thankfully broken the themes up as they were originally present as a single suite. The fact that he can’t understand Zatoichi means that he misreads the blind masseur’s intentions, with terrible consequences.

Ichi and Oyone (01:10) 20. The Zatoichi universe drew from a variety… Poor Wang Kang (Jimmy Wang, as the one-armed man of the title), on the run in a country foreign to him, is forced to use translators and negotiators for assistance.

Released 25 August 2009 on La-La Land (catalog no. This series has made no secrets about criticizing the Edo period’s feudalism and political corruption. These intermediaries, as often as not, dupe him and otherwise lead him into harm’s way. Zatoichi Meets the One-Armed Swordsman: The Invincible Chinese Sword [1:24] 19. Now its isolationism takes some licks, too.The message was worth hearing in 1971. Released by La-La Land Records in 2009 (LLLCD 1102) containing music from Zatoichi's Conspiracy (Shin Zatoichi monogatari: Kasama no chimatsuri) (1973), Zatoichi in Desperation (Shin Zatoichi monogatari: Oreta tsue) (1972), Zatoichi at Large (Zatoichi goyo … Shin Zatoichi: Yabure! Sorry, your blog cannot share posts by email. Zatoichi: The Best Cuts 1967-1973 soundtrack from 1967-1973, composed by Akira Ifukube, Sei Ikeno, Kunihiko Murai, Isao Tomita. Japan under the shogunate probably looked dimly like what we see in the Rarely, though, has the series played so fast and loose as it does in “Zatoichi” was a household word by 1970, and its star—not to mention the new production company for the series, Toho Studios—wanted to set himself apart from Daiei definitely, and maybe make “Zatoichi” known throughout the rest of the Asian world in the process. Increasingly in the film, that cultural baggage looks more damaging than productive, more alienating than connecting. Both versions were shown theatrically in Hawaii. I also have Nemuri Kyoshiro Anthology Volume 1, which includes music from Taichiro Kosugi, Ichiro Saito and (of course) Akira Ifukube! Zatoichi Meets the One-Armed Swordsman: The Tragic Chinaman/Genocide [2:12] 18. Zatoichi: The Best Cuts 1967-1973, an Album by Shigeru Ikeno / Akira Ifukube / Isao Tomita / Kunihiko Murai.

Zatoichi and Wang Kang, each from very different worlds yet heroic swordsman in their own right, at first seem to get along but a language barrier and a series of misunderstanding leads Kang to distrust Ichi. Despite his dazzling fighting technique, which everyone else in the film is puzzled by, Kang can’t protect himself, much less the people with whom he comes into contact. Zatoichi Meets the One-Armed Swordsman: Ichi And Oyone [1:10] 20. Check out the theatrical trailer for the twenty-fourth Zatoichi film, Zatoichi in Desperation: Fans of the music of the Zatoichi films should stay tuned. Tojin-ken!

Starring Shintaro Katsu (Ichi), Jimmy Wang Yu (Wang Kang), Watako Hamaki (Osen), Michie Terada (Oyone), Koji Nambara (Kakuzen), Toru Abe (Boss Toubei), Shinsuke Minami (Henoichi), Jun Katsumura Toho Company/Katsu Productions, 94 minutes Color, 2.35:1 scope ratio English-subtitled DVD and Blu-ray: Criterion But, just as westerns ain’t American history, we shouldn’t hold samurai films to the standards of textbooks, either. Sometimes, this is played for laughs. Genres: Film Score, Film Soundtrack, Soundtracks. In Japan there was a series of movies starring this character and the movies were quite popular. The actors share relatively few scenes here but those scene resonate. They create their own fires. You wish they could become friends. Directed by Kimiyoshi Yasuda, written by Takayuki Yamada and Kimiyoshi Yasuda. The fusion, however, proves to be the least exciting thing about The light sometimes seems to radiate outward from the actors, dimly but warmly illuminating the rooms around them.

Break! He’s like a bloody version of King Midas—everyone he touches becomes bruised.The film leaves a mark. Otherwise, though, this disc is mostly the same as the 1998 release. A child dies and, though it happens offscreen, it stings.

A good man is forced to make a terrible choice, because he can’t see and thus can’t read the handwriting on the wall.Through it all, Katsu and Wang stage an intervention between Japan and China’s pop cinema cultures, arguing forcefully for them to come together.

We saw this bravura with the opening of So, the Katsu/Wang union was a big deal.

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