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It is difficult to imagine a more visually stunning film than this one. The landscapes and skies are beyond beauty, and the massive battle scenes dwarf anything I've ever seen, even perhaps Bondarchuk's "War and Peace." This is one of the first films I've seen that conveys a believable sense of thousands (rather than hundreds or dozens) of soldiers in simultaneous combat, and the color-coded armies are both amazing to consider as fighting entities and astonishing to watch as masses of moving color and light. The final half hour is one of the most amazing feats of logistics and color ever put to film. Now if only there were a story worth following. Basically, there are two armies and the two armies fight or pursue each other. There is a minor attempt at personalizing the leaders of each army, but it all seems merely a formality, and a very unsuccessful one. There are no characters such as found in the great war movies, either in small films like "A Walk in the Sun" and "Nobi" ("Fires on the Plain") or in epics like "Ran" or "The Longest Day" or "Lawrence of Arabia." No, we're just told (I repeat told; I refer to the English-narrated version) that these people have enmity one for the other and that there is reason for battle. Then we watch the battles (or more often, the planning sessions). When battle comes, it is spectacular beyond expectation. But in the end, no one, not even the filmmakers it seems, cares who won or whether anyone did.

This movie has great battle scenes--large, intense and seemingly real. The clash between the red and black colored armies is a visual treat. The problem is that for as great as these scenes are, the film lags greatly on the personal level. The dialog just seems as if it is being filmed at a great emotional distance--and OFTEN, the scenes are actually filmed at a pretty great physical distance. If the movie could have been re-edited with new writing and direction for the non-spectacular scenes, it might achieve greatness. Otherwise, it just seems a little too cold and distant to become engaging. In this sense, it looks, at times, more like a documentary on the History Channel more than a film about PEOPLE and events.

One of my favorites, despite all the historical inaccuracies. As a Canadian, I feel a certain pride watching it repeatedly.

Filmed in Alberta, Canada for its wide open space and abundance of horses. Morley Flats standing in for the Plains of Kawanakajima. 3,000 Canadian extras and 1,000 horses were used for the huge battles. During the filming, several behind-the-scenes TV documentaries were made and I was fortunate to video-tape most of them.

Alberta's superb riders, cowboys and cowgirls, and native Americans, 1,000 of them were employed to appear as mounted samurai. 2,000 other extras were transported by schoolbuses to the shooting location to appear as samurai infantry. Many were young kids, many were young girls, because they were the right height to fit into the thousands of samurai armor used for the film. These extras were trained in spear-fighting and drilled to march in unison.

To hide their Caucasian features, the 3,000 Canadian extras all wore armoured face guards. These technically made them all Samurai. One of the flaws in the film, since the bulk of actual samurai armies were composed of peasant soldiers (ashigaru), whose faces would have been exposed and unarmoured.

As a Canadian, I still get chills watching the spectacular battle scenes. Those Canadians made fine samurai.

I happened to get a chance to see Ten To Chi To or Heaven And Earth, as we knew it here, on the big screen when it debuted in Calgary in the spring of 1990. After having worked many long hours on the movie for a good part of the late summer in 1989 as one of the 2000 Samurai infantry extras, it was amazing to see the finished product on the big screen. As mentioned in one of the earlier reviews, for fans of the Samurai movie genre, this is a must see. The large battle scenes are spectacular.

Trivia note. Actor Ken Watanabe was originally cast as one of the lead actors in Heaven and Earth. While filming Ken was diagnosed with acute myelogenic leukemia, a life-threatening disease of the bone marrow, that put an end to his part in the movie. Ken had to return to Japan for treatment that kept him away acting for a few years. He came back in 1994 only to have a relapse, but once again battled back. Ken has been nominated for Best Actor in a supporting role at this year's Academy Awards for his outstanding performance as Katsumoto in The Last Samurai. I wish him all the best!

BTW, I was one of a handful of extras who worked all through the filming from July to early Sepetebmber 1989, here in Alberta. During the last few days of filming there was only about 50 or so of us left. On the final day, final scene, a Saturday afternoon IIRC, some production people came around and handed each of us a cold beer. Director Haruki Kadokawa came out and toasted us. He smiled and said, "Very long. Very hard. Thank you!"

Sometimes it feels like a disadvantage to watch as many movies as I do, and as huge a variety. I've watched revered jidaigeki classics from the likes of Kurosawa Akira and Kobayashi Masaki; I've watched middling U. S. action flicks and B-movies, including some that to one degree or another play loosely and indifferently with aesthetics lifted from Japan or China. Maybe it has something to do with the production having filmed in Canada, and I double and triple-checked to try to be sure that I wasn't missing some crucial detail - but in watching this 1990 period piece, frankly I discern as many similarities with the latter as with the former. There is a jarring discrepancy between those facets that unquestionably reflect earnest mindful care, and those that seem to have received the benefit of notably less attention or resources. The sum total is still enjoyable in some measure, but there's a clash of styles and quality throughout the whole runtime that makes me feel as if I were watching two different versions of the same film smashed together into one. It's kind of unpleasant and uncomfortable, and not in a manner that has anything to do with the ugliness of war as depicted herein. I'm glad that I watched, but how much is that really saying?

The foremost visuals and ardor of the production unmistakably belong to the cinema of filmmaker Kadokawa Haruki and his countrymen, and there was seemingly no expense spared. Epic battle scenes are rendered with countless horses and extras, thousands of props, weapons, and suits of armor, and the magnificence of enormous battlefields. The stunts, effects, choreography, and otherwise action sequences are outstanding and invigorating, and one wishes that we saw still more of them. This is to say nothing, broadly, of the terrific production design and art direction. The sets are utterly fantastic, and likewise the costume design, hair, and makeup. The filming locations are plainly gorgeous. At its best Kadokawa's direction is impeccable in orchestrating shots and scenes, and the cinematography is unfailingly smart, whether we're watching stark violence unfold or a quiet scene of dialogue between two characters. 'Heaven and Earth' is beautifully shot, and it's a sight for sore eyes that in its fundamental presentation fits right in with esteemed classics like Kurosawa's epics 'Ran,' or 'Kagemusha.'

On the other hand, this Japanese picture, that was filmed in the Japanese language, includes narration in English from a man whose timbre recalls Peter Falk narrating 'The Princess Bride,' but with a less sincere diction. The music is defined largely by so-so MIDI themes produced on a keyboard that would feel more at home in a low-grade sci-fi flick, or maybe a PC videogame from the early to mid-90s, and the drama and thrills are sadly undercut to a considerable extent. The editing and sequencing come off as a little brusque and sometimes sloppy, a far cry from the meticulous craftsmanship we expect based on jidaigeki from the previous several decades. Even if we make allowances for weak translation in subtitles to convey information in a different language, every now and again the dialogue comes off as weirdly oversimplified and dull, and the same verbiage could be applied to the scene writing. Actually, I'm not so impressed with the screenplay at all; Kadokawa, Kamata Toshio, Keynji Chogoro, and Yoshiwara Isao give us a feature that majorly emphasizes its battles, and the otherwise grandeur of the visuals, while oddly skimping on the plot that provides context for what we're watching. Case in point, Usami is treated so lightly in the script that his actions relative to Kagetora pretty much seem to come out of nowhere, and there is absolutely no weight behind what happens between the two men. In another example, a supporting character that is important to a primary one dies off-screen, but since they were barely part of the tale to begin with, their loss means nothing to the audience. The story requires these events to transpire, and so they do, but the incidence holds no water.

Further complicating matters, though Kadokawa arranges scenes in general, battle scenes particularly, and wide, sweeping vistas with a mind for that visual splendor, in the smaller, more specific instances of guiding his cast and informing the camerawork, to be honest his work comes across as halfhearted and middling. The final scene between Usami and Kagetora is executed with sloth and apparent hesitance that has nothing to do with the emotions the figures may be feeling and everything to do with how actors Enoki Takaaki and Watase Tsunehiko are moving and expressing themselves. Later, as the camera slowly revolves around Enoki in a somber moment, it is with a speed that undercuts the drama of the beat. The action sequences are truly phenomenal, and the overall excellence of the the sights to greet us no less so in a production that was accordingly massively expensive by any prior standards of the Japanese industry. So why does it seem as if the title was shortchanged with regards to the minutiae that help to bring the best value to bear? Did those involved have a very limited skill set that resulted in this dichotomy? Was the budget so pointedly devoted to the battles and visuals that all other elements were bereft, and the contributors had to make do? In one fashion or another, there are two halves that comprise the whole that is 'Heaven and Earth,' and they are not equal, identical halves.

For what it does well I want to like this far, far more than I do; I cannot overstate how superb the battle sequences are, likely among the very, very best that have ever been produced in the medium. For where it strangely falls short, sacrificing other key aspects to hyper-focus on the battles and visuals, I'm aghast, and flummoxed. The disparity is glaring, and the movie in its entirety is gravely diminished in turn. Had all components been treated with equal skill, intelligence, and care, 'Heaven and Earth' would surely be hailed as one of the greatest pictures ever made; having not received the benefit of labor applied equally across the board, my favor drops precipitously. For as great as those battles and visuals are, it's not as if we can't get similar ardor elsewhere. The number of reasons there are to watch this instead of anything else are few. I do like this feature, but I also can't help wondering if I'm being to kind in my assessment. Do check it out, by all means, and for the especial parts that I've noted - but be well aware that 'Heaven and Earth' is a title split in two, and it is in turn both stupendous and tiresome.

Visually a stunning film, Heaven and Earth lacks the character development of the later Last Samurai, and in the lead, perhaps suffers from the lack of Ken Watanabe's presence as well. The performances of the lead characters seemed wooden to me - almost stereotypes, staring, sometimes glaring at the camera as they deliver their dialog. Moments of introspection are rare and only once each are they allowed to show what might be considered a "softer side". What redeems the film is the story's pace, which is relentless, the cinematography, the narration - which ties the various segments together - and the outstanding battle scenes. One might wish for the lost minutes in the original Japanese version; perhaps they would provide what the film is missing. Even so, it was engaging and I had no difficulty keeping my attention on the film, and this fact was not due entirely to my need for the subtitles.

I had the opportunity to be an extra in this movie. It was an incredible way to spend the summer of 1989. Hours of sitting on a horse in the hot Alberta sun in the river valley near Morley. Most of the horses that were used came from the Morley Indian reservation and some were barely broken in at all. The scenery was as good as it gets with the Rocky Mountains as a backdrop and the Bow River flowing nearby. The food provided could have been a lot better but that was a minor thing compared to the magnitude of this production. Watching it for the first time on the big screen was phenomenal. It's hard to believe that it would be such a magnificent movie when you're hot, sweating and dusty in 90 degree temperatures, and that's basically all you see for the whole summer. What a glorious time it was!! I've been wanting to buy a copy for myself and never even thought of Ebay until seeing the other posts on here. Us extras should have a reunion sometime!!

This is the first big budget samurai movie from Kadokawa Movies. Lots of Kurosawa influence is obvious in its visuals. Throughout the opening scene I almost thought I was watching a Kurosawa movie.

Production quality is supremely high, and the cast of actors assembled to create this movie is epic.

That being said, i question the mind of Haruki Kadokawa for choosing Kenshin Uesugi (Kagetora) and Shingen Takeda's conflict to dump the money he did in creating this movie.

I've never seen any movie company do a good job in portraying either lives of Shingen Takeda, or Kagetora Nagao. I don't know why this is the case. They were the epitome of samurai lords, and any betting man would have placed their bet in those days for them to be the ultimate ruler of Japan.

Either man could have been the the ultimate victor in the race to unite Japan. Instead, they never did a big bet battle that would decisively turn the tide in their favor to become the Shogun of Japan.

So although, regarded highly as samurais, these guys were small frys, and attempt to make a story around them only seems to bring out this fact which ends in story that lacks a sufficient climax.

This is a nice movie, but the story is somewhat flat for the above reasons. It's a Kurosawa copy Kadokawa style which didn't succeed either as a Kurosawa movie or a Kadokawa movie.

Having just watched this movie on a whim I was quite impressed with the scope and choreography it must have taken to organize the battle scenes, which are of course tremendously filmed. I am however a prototypical american, and it's nice to see a little blood in battle scenes. I was often thinking while watching about the battle scenes in Braveheart. I wouldn't say that need necessarily be that bloody, but a war without blood seems to miss the point of war. Nothing in this movie looked painful. War just looked like a game of people riding horses in different directions.

I found the non battle scenes in the movie to be a nice balance though the charecters could have been worked on.....why are Kagetora and Nami in love???? What reason? Because she's there?

If this review is coming off negative then I'm not making myself clear. I did enjoy the film and have very little knowlege of 17th century Japan so as not to know of any historical flaws. I find it a bit amusing that it was filmed in Canada....donuts anyone, eh? But all in all pretty much any movie is cool if it has one samurai. When you have five or six hundred you're in for a good movie. I'd recommend this to people who hate black and white too much to sit through the three and a half hours of the Seven Samurai. 8/10

The strongest and most redeeming quality of Heaven and Earth is without any doubt the visual quality (reminds me of Akira Kurosawa's Ran) - the settings, costumes, armory and so on. The battle scenes are also decent. The story itself is not that captivating but if you are in the mood to immerse yourself in some samurai wonderland you may like this trip anyway.

This is one of the prettier films I've seen with some wonderful cinematography and beautiful scenery. It's the reason I kept the film for quite a while, because the story was uninvolving. All the characters sound the same with a lot of the grunting macho male voices. The Japanese seem to show this in a number of films and is so foreign to our culture, it's hard to relate.

This is a story about two warriors - one shown in orange and the other in black, but it really wasn't good guy-versus-bad guy, just two people battling over land. Boy, that sounds familiar, as you know. Countries do the same, unfortunately.

This movie, according to critics, was supposed to have some fantastic action scenes. Well, let's just say that's not the case; the action scenes are very overrated.

Great visuals are the attraction here; not much else. Still, it's a shame something this beautiful is not available on DVD.

Without knowing the actual history behind the movie, I watched this film with little expectations and received much in return. The pageantry of the battle scenes, along with the serene nature shots wowed me. But, perhaps the nicest thing about the movie is the depth of emotion portrayed by the main actors in the movie. Nothing seemed strained, or rehearsed, it looked real. The story itself may not be complete or accurate, but I enjoyed the color, the passion, and the depth.

You're in for an action packed treat if you rent this tonight..that is if you can find it. Hey it's a Japanese movie about 2 warlords. One noble and defensive, forgoing all worldly pleasures to protect what he rules. The other, ambitious, ruthless, and even more powerful. The clashes of over 10,000 samuri on the battlefield is breathtaking. Forget historical accuracy...after all wasn't Tombstone just a bit better than Wyatt Earp?

Takeda Shingen, a very important figure in Japanese history, has been portrayed with as much accuracy as can be expected from what is known of him from the available historic records in such excellent movies as Kagemusha and Furin Kazan (Samurai banners). This movie (except for the costumes) is a very poor reflection of the historical reality and of the spirit of the man Takeda. The plot is totally unrealistic in the context of feudal Japan and shows the writer's ignorance of these matters. They could have dispensed with the elaborate costumes and battle scenes. The proponents could have worn T-shirts and jeans, the results would have been, at a lesser cost, the same: a mediocre B-movie.

This is one of the best samurai films I have ever seen, the screen images are out standing and the plot line is solid, this film is truly a hidden gem and should be seen. I have seen this film a few times and have enjoyed watching it each time, which is the mark of a good film. I enjoyed the large battle scenes which rival any scenes from the best Hollywood can produce. It is truly refreshing to see such films from non Hollywood sources. I would have to say that this was the best samurai film in its decade and possibly one of the best films I have ever seen. I would suggest this film to any samurai buff or anybody who enjoys a visually stunning film.

The Samurai are great material for films, and some of the finest films ever made have been Samurai films (I'm thinking Kurosawa rather than Tom Cruise). But some Samurai films, I have found, are *really* boring. Heaven and Earth is one of the boring ones. Although the production values are high and the battle scenes with thousands of extras are very impressive, the film completely fails to provide an interesting story. It's like reading a very academic history text, completely void of character or drama. The story is told very drily and none of the characters are remotely interesting. Some of this may be due to cultural differences between Japan and the West, since Japanese society does not traditionally encourage individuality. Indeed, it's said that Kurosawa's films with their very strong characterisation were rejected by Japanese audiences at first because they were "too Western" - perhaps this is what they meant. Ironically, Japanese cinema *does* produce some of the most individualistic cinema in the world (Takashi Miike, I'm looking at you now), but Heaven And Earth is as far from Miike as it is from Kurosawa.

By the mid point in the film I'd almost totally stopped paying attention to the story, as it hadn't engaged my interest in the slightest. I really didn't care who was fighting or why, and sadly this meant that the technically amazing battle scenes were robbed of the emotional weight they could have had, which rendered them far less enjoyable than a 1 on 1 fight in a Jackie Chan film, for instance. All in all, I'd say the time and money that must have gone into the film was rather wasted.

I'm sure it would have been a lot more impressive on the cinema screen or a decent DVD though - the lousy VHS dupe I saw really didn't do the visuals justice.

This movie has been one that I've been searching for years. It has left that kind of impression on me. The story and historical value of this movie has allowed me to visualize a better understanding of those feudal times.

The only problem is that I'm still searching to obtain a copy. If you have any ideas where to look, it would be greatly appreciated.

No one does spectacular battles like the Japanese; especially when it comes to Samurai. The pageantry, the color, the sound, all frame a battle that is more like a chess match than war.

Tsunehiko Watase (Usami) provides outstanding support to Takaaki Enoki (Kagetora) and Masahiko Tsugawa (Takeda Shingen), warriors who are battling for control of Japan in the 16th Century.

Ken Watanabe was supposed to been one of the leads according to a source, but had to drop out because of illness. It does not suffer any for his absence as the others do an outstanding job.

Some may like their war with blood and guts, but if you like to see war not only as an art of battle, but as an art form, then this is the best you can see.

the movie was about japanese relationships, warriors or otherwise. the cinematography was great, not just the ficitious battle scenes, but scenes showing us the japanese sense of reflectiveness, cherryblossoms and the snowfall, a moment to reflect on one's life and how trancient it is. when the battle is over and all the soldiers have gone home, the snow is still there in winter and the blossoms have fallen from the trees in spring. a protrayal of a historical person is best seen on PBS and not in a movie made for entertainment. by the way, i could call myself doctor floyd or hurricane floyd, but the former sounds pretensious, the later is more fitting, but i prefer to be know as my daughters father. again this film IS worth another viewing, from the perspective of a japanologist or just a avid

This film is like a poor man's Ran but what it lacks in Ran, it is made up with amazing battle sequences. Its basically battle upon battle and it would make for a brilliant DVD. If you ever wanted to see tactical battles about honour and betrayal then this is the movie for you!