Sanshiro Sugata Download Di Film Mp4
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Sanshiro Sugata (Japanese: 姿三四郎, Hepburn: Sugata Sanshirō, a.k.a. Judo Saga) is a 1943 Japanese martial arts drama film and the directorial debut of the Japanese film director Akira Kurosawa.[1] First released in Japan on 25 March 1943 by Toho film studios, the film was eventually released in the United States on 28 April 1974. The film is based on the novel of the same name written by Tsuneo Tomita, the son of prominent judoka Tsunejirō Tomita. It follows the story of Sanshiro, a talented though willful youth, who travels to the city in order to learn Jujutsu. However, upon his arrival he discovers a new form of self-defence: Judo. The main character is based on Saigō Shirō.[2]
The film is seen as an early example of Kurosawa's immediate grasp of the film-making process, and includes many of his directorial trademarks, such as the use of wipes, weather patterns as reflections of character moods, and abruptly changing camera speeds. The film itself was quite influential at the time, and has been remade on no fewer than five occasions. It spawned a sequel, Sanshiro Sugata Part II, which was released in 1945 and also directed by Kurosawa.
Following five years of second unit director work on films such as Uma and Roppa's Honeymoon, Kurosawa was finally given the go-ahead to direct his first film, even though he himself claimed that, in films like Uma, "I had been so much in charge of production I had felt like the director". After hearing of a new novel from the writer Tomita Tsuneo in an advertisement, Kurosawa decided the project was for him and asked film producer Iwao Mori to buy the rights for him. Kurosawa, told that Toho wouldn't be able to buy the rights until it was published, eagerly awaited its release, to the point where he stalked bookstores night and day until he found a copy; he quickly read the book and wrote an screenplay for it. Despite his enthusiasm, Masahiro Makino was first asked to direct, but he declined.
According to Japanese cinema scholar Donald Richie, the reason Kurosawa was allowed to direct the film was because he had had two film scripts printed, including one of which had won the education minister's prize. However, his work was too far away from the government requirements for a wartime film. Tomita's novel, on the other hand, was considered "safe", dealing, as it did, with a Japanese subject such as the martial rivalry between judo and jujitsu; being a period piece; and having a popular subject. Kurosawa deliberately went out to make a "movie-like movie", as he knew he would not be able to insert any particularly didactic qualities in the film.
When he went to the board of censors (which he likened to being on trial), the film passed on the basis of recommendation by Yasujiro Ozu, who called it an important artistic achievement despite other voices claiming it was too "British-American". After the initial release, Japanese censors reportedly trimmed the film by 17 minutes. Some of this footage was later recovered and added to a DVD release, and the original script with the missing material still exists; intertitles are included in the release that describe what occurred in the missing parts.[3] The 1952 re-release (from which the 2009 Criterion DVD is made) opens with (translated from the original Japanese text): .mw-parser-output .templatequoteoverflow:hidden;margin:1em 0;padding:0 40px.mw-parser-output .templatequote .templatequoteciteline-height:1.5em;text-align:left;padding-left:1.6em;margin-top:0
"This film has been modified from the original version of Akira Kurosawa's debut film, which opened in 1943, without consulting the director or the production staff. 1,845 feet of footage was cut in 1944 to comply with the government's wartime entertainment policies."
Paul Anderer emphasized Kurosawa's attention to the character of Gennosuke Higaki in the film. Higaki, created by Tsuneo Tomita for the novel and inspired by real life jujutsu master Mataemon Tanabe, is the film's central villain. Anderer stated:
"Kurosawa would later call Higaki his Mephistopheles and insist that he is the most interesting character in this film. Given the heightened drama of every scene he invades, the visual association between him and the shadow, as well as the sound of his voice -- cued as it is to the raging wind -- Higaki does spur Kurosawa to deviate from the path of a conventional wartime 'spiritist' film. The director's focus shifts away; from a wholesome story of a guileless youth, perfecting his skill along with his pure Japanese heart. He stays strangely fixed on Higaki and conveys an unmistakable sympathy for the devil, no matter the moral consequence."[4]
The central theme of the film is the education and initiation of Sugata and the way in which, whilst learning the ways of Judo, he also learns about himself. The film's central scene concerning this theme is when, after being accosted by Yano for getting involved in a streetfight, Sugata leaps into the cold waters near Yano's temple and stays there in order to show his master his dedication, and the fact that he is neither afraid to live nor to die. However, the resident monk chides him for this self-serving display, and he emerges from the pond a humbler man after witnessing the blooming of a lotus blossom, a Buddhist symbol of purity.[5]
David hosts the Criterion Reflections podcast, a series that reviews the films of the Criterion Collection in their chronological order of release. The series began in 2009 and those essays (covering the years 1921-1967) can be found via the website link provided below. In March 2016, the blog transferred to this site, and in August 2017, the blog changed over to a podcast format. David also contributes to other reviews and podcasts on this site. He lives near Grand Rapids, Michigan and works in social services. Twitter / Criterion Reflections
I am planning on watching and reviewing every Kurosawa film, in chronological order. I've already seen more than half of them already, but it's been quite a while (over 10 years for the most part). I'd like to capture and share my thoughts as I (re)watch each film. In college, my local library had many Kurosawa films on DVD available, so that's where I first got exposed to his movies. I can't remember what the first one I watched was, but Seven Samurai, Madadayo and The Idiot were some of the first, as I recall. I do generally prefer his color films, since his colors are so vibrant and unique. I am looking forward to watching these movies on a hi-def TV (65") and I do have some on BluRay so it will be interesting to see how the transfers are. I should also note that I am following along with The Films of Akira Kurosawa, Third Edition by Donald Richie, so I'll be learning about each film as I watch.
It also might be worth pointing out that I'll be watching each film with English subtitles (I would have liked to also watch Horse, which is on Youtube, but I only found a version without subtitles).
This is one I hadn't previously seen, and knew nothing about. After reading the chapter in Richie's book, I was looking forward to seeing a few things, Kurosawa's first use of wipe transition in particular. I was also expecting the quality of the film to look worse than it did, considering it was made in wartime Japan so long ago. In another Kurosawa book I read a while back, I remember stories about things like major food shortages, equipment breaking and not having replacements, and a general sense of chaos and uncertainty, with some actors/crew having to leave so they could try to find food for their families or being so malnourished they couldn't work -- although these issues were probably more apparent as the war progressed and I will probably start to notice in the later wartime films. Maybe at this point in Japan the war was still going well and these issues weren't affecting Sanshiro Sugata.
I was watching the Criterion 2009 DVD version, which was based off the 1952 version with the opening text explaining how a portion of the film was lost after being removed by Japanese censors. In the middle of the film there is an awkward portion where the story is interrupted by onscreen text explaining what happens over a period of time, so I am assuming this is where the missing footage would have been. I was surprised how short the film was (69 minutes I believe). Even with the 17 minutes of missing footage, it would be Kurosawa's shortest film (at least of the ones I've seen).
Richie points out how striking it is that Kurosawa is so mature in his directorial debut, and I completely agree. His first wipe, which is sort of his trademark, occurs at the end of the very first scene. The film also features heavy "Kurosawa wind" at the climax. Even the message itself is very humanitarian which will continue throughout Kurosawa's career.
Overall, my impression was that it was a good film, maybe not great, but was still impressive to see how fully formed Kurosawa was even in these early years. The story was definitely watchable, even today, but was limited (I'm sure the censorship issue played a large factor here).
So after watching the original Sanshiro Sugata (which surpassed my expectations considering it was Kurosawa's first* film as director, and made during wartime so long ago), I was now expecting each film after to at least be as good as Sanshiro Sugata, and get progressively better. Unfortunately, this is not the case. Sanshiro Sugata II is a bad film. I would not recommend watching it unless you are a die hard fan of Kurosawa. The only redeeming scene is perhaps the final fight in the snow, which has some interesting visuals and anticipates some later fight scenes. It is relatively short, though, at 82 minutes in length.
Kurosawa apparently didn't want to make this film, but was pressured by the studio. I was wondering on the timeline of production, if the film was filmed before or after the war ended. From what I can tell, it was filmed during the war, but upon release "there were few theaters left to show it that had not been bombed."
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