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In this movie set on the rainy season in fudal Japan, A ronin and his wife reach a poor hotel and interact with the guests and the local lord. The character of the ronin is unique. He has fought for money and thus taints himself in the eyes of the local samurai but his heart and care for the people along with his mastery of budo, wins over the lord who is a unique character in his own right. This is not a masterpiece of filming but the characters stay with you and it is a needed diversion from the gruff men we usually meet with the elder Corosowa.

A samurai and his wife search to find happiness with themselves, their relationship, and their station as they weather the disillusion of their past and current circumstances.

Written by Akira Kurosawa and directed by Takashi Koizumi after Kurosawa's death. This is a breathtaking reflection of Kurosawa's early and later storytelling sensabilities. But it is a very complex film, one that upon initial viewing may defy the viewers expectations of the samurai genre and seem simplistic, overly long, or as one reviewer described: unexciting.

This film reminds me very much of Red Beard, another Kurosawa story that while set in feudal Japan is not necessarily a samurai film.

Rating 9/10

This movie feels like a ballade on a forgotten road... Its rythm flows like magic and holds you to the storyline which enfolds peacefully. Its inner beauty is based on simplicity, on discovering what makes our humanity and on some well chosen bits of humor. There is an allmighty feeling of pleasure that emanates from experiencing this movie where nature is breathtaking or just simply here with you. And, when the movie is over, you feel grateful to have walked this path where love still exists. Such a powerful message upon entering our next millenium.

Kurosawa was very interested in stories about older men facing their destiny. Most of his films from Kagemusha and on deal with this in some way. Ame Agaru is another story that deals with the topic.

Almost like a play at times, Ame Agaru takes it's time and is all the better for it. There are some excellent sword fights and formal duels in the film but they are not the focus of the film. There's a bit of time depicting the main character silently practicing his sword work in the woods that might bore a number of viewers.

Is this a Kurosawa film? Yes, in that I could easily see him directing this story. There are a number of similarities to his last film, Madadayo. No, in that the direction here is sort of mundane. Kurosawa's distinctive eye is missing. There's a TV movie quality that's sort of unusual for a film like this. However, the actors and the story really do carry this film over and while it's not a masterpiece, it's not a waste of time either if you know what you are getting into.

It's been raining for a while. No one can cross the river, the travelers at the inn are short-tempered and grouchy. Ronin Akira Terao comes back with a feast for everyone. He apologizes to his wife, Yoshiko Miyazaki. He fought some duels for money for the feast, and promises never to do it again. She forgives him with the loving, resigned air of the mother of a good child who gets into scrapes. When the rain stops, it will be some time before the river is passable. Terao goes for a walk and encounters half a dozen local samurai about to fight a duel. He chides them gently and disarms them. The local lord, Shiro Mifune rides up, calls them idiots, and thanks Terao. Then Mifune sends for Terao, to offer him the job of fencing master. This riles up the locals, who think the job should go to one of them.

Akira Kurosawa had written the script and finished pre-production just before he died. His heirs made the film under the direction of Takashi Koizumi, Kurosawa's regular assistant director since 1980. With its rough and kindly good humor and natural beauty, this doesn't look like any movie of Kurosawa's -- although his Capra-esque ONE WONDERFUL SUNDAY, more than half a century earlier, is cut from the same cloth. I think that after years of epics and fantasies, Kurosawa wanted to make a simple comedy about good people who smile and make jokes and laugh. I doubt it would have looked like this, but I think he would have been pleased with the result.