In the Sixteenth Century, in Japan, Tahei (Minoru Chiaki) and Matakishi (Kamatari Fujiwara), two rascals and greedy peasants, are trying to return to the city of Akizuki through Hayakawa, after an unsuccessful attempt of making money with the war between the clans of Yamana and Akizuki. While warming themselves in a fire, they find gold with the symbol MT. Suribachi of the Akizuki hidden in the firewood, and they decide to search for other branches. Tahei and Matakishi meet General Rokurota Makabe (Toshirô Mifune), who is secretly protecting Princess Yukihime (Misa Uehara), and without knowing their identities, they accept to escort and help them in the transportation of the gold through the enemy lines to Akizuki."Kakushi toride no san akunin" is a delightful movie, indeed another masterpiece of master Akira Kurosawa. The screenplay is amazingly wonderful, having action, comedy and code of honor. Toshirô Mifune is perfect in the role of the samurai that is assigned to protect his princess no matter the cost of the life of his young sister; Minoru Chiaki and Kamatari Fujiwara are hilarious in the role of two greedy rascals, ready to betrayal, cheat and risk their miserable lives for gold, and responsible for the funniest moments along the story; the very gorgeous Misa Uehara is stunning in the role of a princess, showing personality and a very noble behavior. Summarizing, it is a perfect movie, with fantastic locations and costumes and magnificent choreography of fights. I intended to use the saying "Hide stones among stones, men among men" said by Makabe to the peasants as the title of my review, but I noted that another IMDb user had the same idea. I read on the cover of the DVD that George Lucas inspired his franchising "Star Wars" in this movie. This was the first time that I watched "Kakushi toride no san akunin", which was unknown for me, and I really recommend it to any audience. My vote is ten.Title (Brazil): "A Fortaleza Escondida" ("The Hidden Fortress")
What a wonderful movie! In my top 5 Kurasawa movies for sure alongside Seven Samurai, Ran, Throne of Blood and Yojimbo. As always it is superbly directed, and looks amazing especially in the once again epic scenery and use of CinemaScope. The music score is suitably lively(though my favourite score of any of Kurasawa's movies is still Ran), the script is literate and amusing and the story compels. The action sequences are beautifully choreographed and exciting and the comedy puts a smile on my face. The acting is just as accomplished as ever, with Toshiro Mifune giving yet another charismatic lead performance, and Minoru Chiaki and Kamatari Fujiwara match him just as effectively. Through his camera and directorial techniques you can see Kurasawa paying debt to John Ford's western, and you can also see with the galaxy far far away idea especially the major influence it had on Star Wars. The Hidden Fortress was said as well to be Kurasawa's own personal favourite of his work, and while not quite mine(Seven Samurai) I can definitely see why, and it is perhaps his most accessible(I have often seen Throne of Blood criticised for its dramatic structure and one-dimensional characters and I know people were deterred by the length of Seven Samurai). In conclusion though, a truly great film. 10/10 Bethany Cox
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Dwelling on period details, Living feels distant from the textures of today's fast-paced, Brexit-battered, multicultural London where a 2022 Mr. Williams might well be of East Asian or Caribbean descent. The messiness of life never busts in. As with too many British dramas, the action takes place in a safely-stylized England, a museum diorama in which even life and death can't really touch us. Low-key and muted, Hermanus' direction doesn't catch the desperation and sadness that gave Kurosawa's original film its emotional power, especially in its transcendent finale set in the snow, one of the most beautiful and moving climaxes in movie history.
Another technical innovation was using slow motion at key moments to intensify the action. To many this will not seem all that unique, since hundreds of movies and television episodes have utilized slow motion in the same way. But this is one of the reasons why Stephen Prince, in the quote noted at the beginning of this essay, called this one of the most influential films ever made. What Kurosawa originated has been used again and again. When Kambei mortally wounds the kidnapper who then he runs out of the hut, we watch a series of cuts of the kidnapper running in slow motion spliced with reaction shots of Kikuchiyo filmed at normal speed. The effect is impressive. Later, when Kyûzô kills his opponent in a duel, we watch the dead man fall slowly over onto the ground. 2ff7e9595c
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