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Shura

  • 1971
  • 2h 14min
VALUTAZIONE IMDb
7,9/10
3248
LA TUA VALUTAZIONE
Shura (1971)
Orrore popolareDrammaOrrore

Aggiungi una trama nella tua linguaAfter being robbed by a geisha, a ronin warrior carves a bloody path to seek revenge.After being robbed by a geisha, a ronin warrior carves a bloody path to seek revenge.After being robbed by a geisha, a ronin warrior carves a bloody path to seek revenge.

  • Regia
    • Toshio Matsumoto
  • Sceneggiatura
    • Nanboku Tsuruya
    • Shûji Ishizawa
    • Toshio Matsumoto
  • Star
    • Katsuo Nakamura
    • Jûrô Kara
    • Yasuko Sanjo
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    7,9/10
    3248
    LA TUA VALUTAZIONE
    • Regia
      • Toshio Matsumoto
    • Sceneggiatura
      • Nanboku Tsuruya
      • Shûji Ishizawa
      • Toshio Matsumoto
    • Star
      • Katsuo Nakamura
      • Jûrô Kara
      • Yasuko Sanjo
    • 18Recensioni degli utenti
    • 13Recensioni della critica
  • Vedi le informazioni sulla produzione su IMDbPro
  • Vedi le informazioni sulla produzione su IMDbPro
  • Foto84

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    Interpreti principali12

    Modifica
    Katsuo Nakamura
    Katsuo Nakamura
    • Gengobei
    Jûrô Kara
    Jûrô Kara
    • Sangorô
    • (as Juro Kara)
    Yasuko Sanjo
    Yasuko Sanjo
    • Koman
    Masao Imafuku
    Masao Imafuku
    • Hachiemon
    Kappei Matsumoto
    • Ryôshin
    Tamotsu Tamura
    • Yasuke
    Hideo Kanze
    Hideo Kanze
    • Takubei
    Shinji Amano
    • Inosuke
    Hatsuo Yamaya
    Hatsuo Yamaya
    • Chôhachi
    Yusuke Minami
    • Kankurô
    Takashi Ebata
    Takashi Ebata
    • Torazô
    • (as Kanji Ebata)
    Atsuko Kawaguchi
    Atsuko Kawaguchi
    • Kikuno
    • Regia
      • Toshio Matsumoto
    • Sceneggiatura
      • Nanboku Tsuruya
      • Shûji Ishizawa
      • Toshio Matsumoto
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti18

    7,93.2K
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    Recensioni in evidenza

    9Last_Few_Days

    Brooding, suffocating vision of Hell on Earth...

    A stark, desperate tale of vengeance, Shura examines the plight of Gengobe - a Ronin (Samurai without Master) - and his quest to right the wrongs done unto him. This is basically the whole plot in a nutshell, but this isn't any kind of action adventure story or pulp fiction Samurai epic, rather a philosophical and meditative examination of manipulation and a misguided affection which blinds a man from his duty and true quest. True this is a staple of Japanese cinema - but it is one which has rarely been examined quite this painfully and as unflinchingly as it is in this film.

    The theatrical origins of Matsumoto's film are very evident from the onset of this bleak piece, an extremely minimalist affair, but this only adds to the feeling of entrapment and claustrophobia. Daylight is glimpsed only once (the first shot as the sun sinks from the blood-red sky - also the only shot in colour) and the story plays out over the course of several nights.

    As with his previous film 'Funeral Parade of Roses' Matsumoto employs many times a 'dual reality' device replaying scenes first as the protagonist imagines, and then as it actually happens, constantly keeping the viewer unsettled, with shocking - though never gratuitous - spurts of violence which one is torn between finding sympathy with and being repulsed by.

    This is a film which is easier to admire than to actually like, but it's forlorn, doomed and - literally - lightless vision means it could only be truthfully recommended to those who are fans of truly downbeat cinema. A viciously dark night of the Soul.

    9/10. 1 point deducted for not showing even the slightest glimmer of hope.
    8hrkepler

    What Goes Around Comes Around

    'Shura' also known as 'Demons' or 'maybe even better known as 'Pandemonium' is second feature by great experimenter Toshio Matsumoto. It is one of the most experimental samurai films I have ever seen, and one of the most disturbing revenge stories. The film begins with colorful sun setting to transform into bleak black and white cinematography. After a geisha deceives a samurai and robs him together with her husband, the samurai starts the bloody and twisted path of revenge that unravels many secrets and treats the viewer with such twists that makes M. Night Shyamalan go green with jealousy. The film is cool mixture of classic samurai movies and film-noir with the tasty sauce of Matsumoto's experimental techniques. More straightforward and less surreal than the director's better known 'Funeral Parade of Roses'.
    8reelreviewsandrecommendations

    Samurai Film Noir

    It is sometime during the Edo period, and Soemon is a Ronin living under the assumed name of Gengobe in Fukugawa, Tokyo. Indebted and unable to acquire the necessary funds to join the 47 Ronin in their quest of vengeance, he spends his days drinking sake and his nights with geishas. One geisha in particular: Koman, who pledges her eternal love for him. This love proves to be fickle, for Koman is a married woman. After his servant Hachiemon acquires 100 Ryo for Soemon to join the Ronin, he is quickly swindled by Koman and her husband Sangorô. Left penniless once more, Soemon descends into a bloody spiral of insanity and violence from which he may never return.

    Written and directed by Toshio Matsumoto- and based on the Kabuki play 'Kamikakete Sango Taisetsu' by Nanboku Tsuruya and Shûji Ishizawa- 'Shura' is a strikingly photographed tale of revenge and madness that plays like a samurai film noir. Containing hard-hitting violence, a cynical anti-hero and a duplicitous femme fatale, the film bears many of the hallmarks that informed the noir movement of the 40's and 50's. Told in a non-linear fashion, the narrative incorporates flashbacks, alternative scenarios and repetition, challenging and confusing the viewer. The story is a gritty, dark one, maintaining a bleak and fatalistic tone, which is only heightened by the striking cinematography from Tatsuo Suzuki.

    Shot in black and white, Suzuki makes excellent, evocative use of light and shadows, creating a startling contrast that adds a sinister sense of despair and claustrophobia to proceedings. His usage of dissolves, super-impositions, angled shots and zooms heightens the narrative tension, whilst also lending the film a surreal, eerie quality that strengthens the narrative impact. Suzuki also utilises the minimalist sets- a nod to the film's origins in Kabuki theatre- masterfully, making the most of the limited spaces in an artful and imaginative way.

    A frequent collaborator of Matsumoto's- working on at least three of his films, including the acclaimed 'Funeral Parade of Roses'- Suzuki was at the forefront of Japanese experimental cinema. Working alongside a variety of independent directors, Suzuki made a name for himself as an innovator in terms of cinematography and its capabilities. His avant-garde work could very well be seen as influential on, or as a forerunner to, the work of Shinya Tsukamoto, or even David Lynch. Here, he leaves the audience wide-eyed in wonder at the eerie, noiresque imagery- be it of apparent floating lamps chasing our central character or the beautiful visage of a geisha, highlighting the torment in her eyes. Throughout 'Shura,' Suzuki's efforts don't just bolster the narrative and its tone- they leave you spellbound.

    As do the intense performances from the cast, most notably Katsuo Nakamura as Soemon. A former Kabuki actor, Nakamura displays his character's complex emotions and inner turmoil fantastically, utilizing expressive gestures, movements and facial expressions. He interacts with the rest of the cast convincingly, painting a compelling portrait of a man driven to madness and violence by the actions of others. Alongside him, Yasuko Sanjo delivers a masterclass in understatement as the geisha Koman. She brings much grace and elegance to the role, perhaps accrued from her years as a dancer, leaving an indelible impression on the viewer. Masao Imafuku also does fine work as the servant Hachiemon, the only real honorable one in the film; stealing every scene he's in.

    Although those who shy away from violent films might not appreciate the amount of gore in 'Shura', anyone who enjoys Samurai movies, or a good revenge story, will likely be most pleased by the film. Beautifully shot by Tatsuo Suzuki and featuring commendable performances from all in the cast, there's a lot going for it. A strong narrative, deft direction- 'Shura' may be one of the best Samurai film noirs you'll ever see.
    8SpelingError

    A stylistically impressive samurai film.

    I don't know that there's anything in this movie which blew me away, but there was also nothing which bothered me either. I suppose the plot is a fairly straightforward revenge story, but the stylistic elements of the film were more than enough to save the film. For instance, I liked the usage of darkness and shadows in several scenes. I don't know if I can quite put my finger on why those elements work, but something about seeing various characters appear/disappear from the shadows gives the film a dreamy aesthetic. I also liked how certain scenes were repeated. Through these scenes, you get a sense of Gengobei imagining how he wants to behave in certain situations or how some of the violence he commits or witnesses it etched into his head. These scenes also cause the film to become a subjective experience which puts you in Gengobei's headspace really well. Finally, the high level of violence also surprised me. While certain elements like the slow motion and the (relatively) high levels of blood help in this regard, that most of the deaths are prolonged gives them even more staying power. All things considered, this is definitely the most violent classic samurai film I've seen. As I said at the start of this review, I wouldn't say this film blew me away, but I do have a lot of respect for the film's technical qualities. It's a stylistically impressive take on the revenge film which is so unique with its craft that you eventually stop caring about its somewhat barebones plot.
    8XxEthanHuntxX

    Diaboliques

    Demons is an adaptation of Tsuruya Namboku's play Kamikakete Sango Taisetsu, a kabuki theater classic based on an episode of the 47 rônins. It goes deeper, darker and crueler, than any other samurai movies I've seen. its pure malice. And thrives on diabolical suspense. Its a mans journey through hate and revenge, and his descent into madness, it is slow, painful and bloody. A remarkable exercise in cynical nihilism that is so breathtakingly grim that it becomes undeniably compelling. Along with Katsuo Nakamura's haunting performance in the lead role.

    The story is not realistic. The setting and the intruducing course of action is undoubtly surreal, and almost every character in Demons is unsympathetic and devious with the possible exception of Hachiemon, who is so selfless in his sacrifices for his master that he becomes annoyingly obsequious. But thats part of the films appeal.

    Matsumoto adopts an expressionist aesthetic similiar to the theatrical- play. And the editing accumulates false starts and several scenes are repeated almost identically, first dreamed then in real life. This can be very confusing and it creates incessant ruptures which breaks the narrative fluidity.

    Demons is not perfect but its appeal is one you rarely see in cinema, and, of course, it has an extrodinary story and directing which thus class thus as one of world-cinemas timeless gems.

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    Dettagli

    Modifica
    • Data di uscita
      • 13 febbraio 1971 (Giappone)
    • Paese di origine
      • Giappone
    • Lingua
      • Giapponese
    • Celebre anche come
      • Demons
    • Aziende produttrici
      • Toho
      • Art Theatre Guild (ATG)
      • Matsumoto Production Company
    • Vedi altri crediti dell’azienda su IMDbPro

    Specifiche tecniche

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    • Tempo di esecuzione
      • 2h 14min(134 min)
    • Colore
      • Black and White
      • Color
    • Mix di suoni
      • Mono
    • Proporzioni
      • 1.37 : 1

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