Samurai Wolf II Page #2

Synopsis: The second and final installment in Gosha's Samurai Wolf carries on many on the hallmarks as the original: the same freeze-frame battle cry opening montage, the same awesome harmonica theme music, another title sequence in which Kiba is enjoying a snack. Kiba's trademark scissors are once again employed as a key plot device, and Kiba continues to demonstrate his honesty and honor in a corrupt and dirty world.
 
IMDB:
7.2
Year:
1967
72 min
40 Views


- Father!

Father!

- Oteru!

Who did this to you?

- I did it.

Oteru was out of control.

She went out today and came back

in only her underwear...

- Moron!

He always screams at us,

but not Oteru, she's spoiled...

- Mind your own business!

She's your sister!

If you do this to her again,

I won't forgive you!

Listen,

we can't waste any more time!

If Magobei reaches Arakawa,

we can't do anything.

Jirota, this time you go!

Somehow, you must send him to Hell!

Why are you worried about me?

Have we met before?

Maybe we did.

You resemble my father a lot.

Your father?

Do I look so old?

I was just a child

when he was killed.

Was he a samurai?

A ronin.

Then, you are a Second

generation ronin, aren't you?

For sure, I don't want a Third...

My father specialized in

Dojo yaburi (Dojo breaking)

To make a living.

If I am not wrong,

it was right after his Dojo yaburi

in Koshu -

I was only Seven years old...

Sixth Year of Tenpo

(1835), late Autumn.

After that fight,

he became a wanted man.

And...

... he ended his life

like seaweed in the ocean.

I see... but I am not like

your father who was so nave...

Oddly, as I listened to your story,

I felt as if I knew him.

I'm sure that you know what

I am thinking now, don't you?

Let's be partners!

I'll pay you a lot of money.

And if I refuse?

Do you want to be a poor ronin forever?

Magobei, I'm following you

so I can see

how you free yourself from this cage.

What are you mumbling about?

Just keep your eyes...

Withdraw! Withdraw!

Kiba, we came here to get you!

The men who left were my students.

I don't want them to get hurt.

Come on!

Wait!

Get ready, Kiba!

Wait!

Please wait until tonight!

to guard these cages

and they paid me in advance.

Are you trying to run...

- Wait!

Is he telling us the truth?

Yes, he is.

If they leave now, they can arrive

by tonight in Arakawa-juku

and his duty will be over.

All right!

I'll be meet you around

Do you agree?

I promise, I will be there!

Thanks!

Listen to me!

Stay alive until then!

We heard what happened on your trip.

Thank you for your effort.

Let's take care of your injury.

First let me see the Magistrate...

I'm sorry, the Magistrate

and the others aren't here.

They can't cross the river

because of this heavy rain

Kaga-sama helped us get back,

but we couldn't return for the others.

We only have these

Right here.

Please get some rest!

My duty is done!

I want to say that

everything will be alright,

but I sense that it will not.

Sir Samurai!

Please don't let them kill me!

I don't want to die!

Hey, what's with you?

You're a 'big time' robber!

I am not a 'big' timer,

just a 'small-time' thief!

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Hideo Gosha

Hideo Gosha (五社 英雄, Gosha Hideo, February 26, 1929 – August 30, 1992) was a Japanese film director. Born in Arasaka, Tokyo Prefecture, Gosha graduated from high school and served in the Imperial Navy during the Second World War. After earning a business degree at Meiji University, he joined Nippon television as a reporter in 1953. In 1957 he moved on to the newly founded Fuji Television and rose through the ranks as a producer and director. One of his television shows, the chambara Three Outlaw Samurai, so impressed the heads of the Shochiku film studio that he was offered the chance to adapt it as a feature film in 1964. Following this film's financial success, he directed a string of equally successful chambara productions through the end of the 1960s. His two most critical and popular successes of the period are Goyokin and Hitokiri (also known as Tenchu), both released in 1969 and both considered to be two of the finest examples of the chambara genre. During the 1970s Gosha abandoned pure chambara and turned his productive energies toward films in the yakuza genre but he still produced period sword films such as The Wolves (1971 film) (1972), Bandits vs. Samurai Squadron (1978), and Hunter in the Dark (1979). His films Three Outlaw Samurai and Sword of the Beast (1965) have been released by Criterion.By the early 1980s, Gosha began making period films that featured prostitutes as protagonists that were renowned for their realism, violence, and overt sexuality. They were critically panned for those very reasons, but they were also all box office successes. In 1984 he was awarded the Japan Academy Prize for Director of the Year for The Geisha.Gosha’s films have influenced directors including Chang Cheh, Takashi Miike, and Yoshiaki Kawajiri. more…

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Submitted on August 05, 2018

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