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Streaming A Film By Hiroyuki Nakano: Samurai Fiction Online. Movie Title: A Film By Hiroyuki Nakano: Samurai Fiction Average customer review: A Film By Hiroyuki Nakano: Samurai Fiction is available for streaming or downloading. Click Here to Stream or Download A Film By Hiroyuki Nakano: Samurai Fiction

The MTV adds in Asia sold this movie as ‘Cool, Funky, Peace’ which heavenly worthy sums up what makes this movie worthy.

Samurai movies are a dime a dozen, and the quality of these films varies widely. Everyone likes films for different reasons, so there is probably a perfect Samurai film for every different kind of person. This would have to be the perfect one for me.

Some people like ‘cult classic’ movies, and try to get the cheesiest, worst-made or gorriest films. The Samurai genre is ripe with these, but I am not of this school, so for a long time I had a awful impression of the genre.

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In fact, I am of the trusty oposite type: I gawk for haunting visual beauty, artistic vision, and deeply philosophical idea, and if possible - some rock & roll. As such, my loyalties in Japanese film lie with Kurosawa and Kobayashi, and it is in these film makers that I peep the roots of Samurai Fiction.

Akira Kurosawa, in films like The Hidden Fortress and Yojimbo, produced very subtle films mocking the macho ethos of Samurai culture, and ultimately fascinating towards the distinguished message that violence and conflicts are not solutions, but in fact objective greater problems. When it comes to humanism and wit, Samurai Fiction, with it’s anti-Samurai non-violent message, is the smart heir to Kurosawa. It is also, at least to me, distinguished more accessible. Kurosawa’s humor was very, very, very subtle and philosophical, and although I can luxuriate in it, it seems very dry and formal.

Samurai Fiction, on the other hand, is unusualy straightforward for a Japanese film, which adds to it’s hip, young feel. It also embodies the Japanese thought of ‘Okashii’ which sort of translates as ’silliness’ but it might as well objective mean fun, or light-hearted, or humorous. The sincerity of this kind of humor contrasts vividly with grand of the bitter cynicism that has saturated comedey these days that one can’t back but like it.

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Masaki Kobayashi, on the other hand, who directed “Kwaidan” and “Samurai Rebellion” is perhaps the most visualy pleasing of Japanese filmakers. His films are genraly brooding and dismal, but tragicaly beautifull, where every shot is very carefully constructed as a work of art. Samurai Fiction is also the unusual heir to this legacy, providing a film that is singularly visualy oriented. Some directors notion the camera as merely a mechanism and the visual section of a film as simply a device of telling the yarn, but as a photographer myself, I disagree. Light, color, composition and even sound all strike emotional nerves. The elegance of the filming, the fluidity and dynamism of the actors’ movements, and the overal visual experience is as improbable all the draw through the film as it is in the dramatic conceal photo.

In all of this, there is a deliberately recent, rock & roll feel to the movie, through which it not only mocks the pompisity and violence of the Samurai, but also the pompisity and traditionalism of the Samurai film makers.

In the raze, this is to Japanese Martial arts films what Zhang Yimo’s latest film (”Hero” - only marginaly available in America) is to Chinese Martial arts movies: A soulfull and handsome portrayal of the beautiful and peacefull core of martial arts.

I’m not certain why this movie is as far under the radar as it seems to be, but here’s hoping it doesn’t finish there.

I bought this film sight-unseen, which is shapely rare. Like most people, I like to have some conception of what I’m plunking down my money for. For some reason, though, this movie sort of snuck off the shelf, took the twenty-five bucks out of my pocket, and came home with me before I’d even realized it. Maybe it was the wintry, minimalist hide, or maybe I was level-headed coming down off my “Demolish Bill vol. 1″ kick and wanted a Samurai film, I don’t know. Either device, I found myself watching it last night, and I was floored by what I was seeing.

You know those delighted coincidences, where you realize you hurt up with a lot more than you understanding you were going to accumulate? Like when you go to a recent sushi station and realize they’ve got the best stuff around for less money than that other position you’ve been going to for years, plus you bag more maki roll for your money? This movie brings a similar feeling to mind; “This is gigantic! I’m delighted I took a chance here.”

The tale revolves around a young Samurai named Heishiro Inukai, who is on a quest to retrieve a clan like stolen by a wandering, steely-eyed Ronin by the name of Rannosuke. It’s classic Samurai fare through and through, and for a Japanese film is remarkably straightforward, though it’s never insensible. Quite the opposite, actually.

Director Hiroyuki Nakano uses the relative simplicity of the legend as a blank canvas, and paints in a masterfully blended portrait of a classic Akira Kurosawa Samurai narrative lovingly clothed in a hip, MTV Asia-style update. The achieve sounds overwrought on paper, but Nakano pulls it off without seeming to bastardize the source material. In fact, it’s one of the more respectful homage films to date, cinematography wise.

Kurosawa film buffs (and I’ll unprejudiced gain this out of the device suitable now, I am a MASSIVE Kurosawa fan) will instantly hold out the lifted scenes, from the busy, always-moving village shots of Seven Samurai to the shadowy, packed-earth barren landscapes of Throne of Blood. There’s even some subtle references to Kurosawa’s editing style, with extremely longs shots arranged horizontally, reverse-field cuts, and even a single (and therefore very determined, and also very laughable if you net it) horizontal wipe. Of course, it goes without saying that the movie is almost completely shot in dismal and white.

Because really, why would one accomplish a color Samurai Film?

The best section about the movie, however, are the characters in it. Every cast member turns in a improbable performance, and the people they recount are as memorable as you could want in a film. We’ve got your headstrong young Samurai on a quest for honor and glory with his two friends (one of whom is actually named Kurosawa, go figure) and along the device they arrive up against a conniving brothel mistress, a retired master fencer, his ridiculously splendid daughter, and the super-powerful, taciturn, skilled, very spacious, and possibly contented antagonist. We also score an customary master ninja who steals every scene he’s in, and his two bumbling ninja students who manage to seem like they know what they’re doing…Most of the time.

It all blends in a expansive map because the movie doesn’t buy itself too seriously. It’s not goofy or comic, and the fighting is quite realistic, but it’s also a very amusing movie. Heishiro’s aptitude to spring nosebleeds at inopportune moments (and his admire interest’s apparent ignorance as to what that means) made me chuckle, and the movie’s playfulness over the sexual orientation of Rannosuke is hysterical — but you have to be posthaste or you miss some of it. The former ninja master is my personal favorite; you can’t beat a guy who makes his first appearance by basically falling out of a hole in the ceiling.

I don’t want to demolish any more of the movie than I already have, but suffice to say that nearly everyone can savor Samurai Fiction on whichever level they like. It’s simple and comic enough that even young kids can explore it (provided they don’t mind subtitles - there is no dub, thankfully) but there’s plenty of depth here to satisfy veterans of the genre.

On a final, technical brand, the DVD transfer is very estimable, though there is no surround sound, only Stereo Japanese. No matter, however, since the stereo mix is perfectly positive. One of the best things about the disc is actually the subtitles; they absolutely nailed it. My Japanese is admittedly quite abominable, but it’s suitable enough that I can purchase out poorly-translated subtitles from a mile away. Thankfully, no such problems exist here. The titles run well and preserve the budge of the movie to moral where it should be.

There are a few extras that arrive with the film, one of which is inexplicably on Disc 1 while the rest are regulated to Disc 2. The main plan here, called “Samurai Non-Fiction”, appears to be a location shown on Japanese television regarding the making of the film. It’s worth watching, and rounds out a nice package that is of considerable higher quality than a film like this would normally win with a U.S. release.

Grab a copy of this film as soon as you can. This is one of those rare movies that has blanket appeal without diluting it’s core plan, and looks gargantuan in any collection.
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