After the Rain Page #4

Synopsis: Ihei Misawa and his wife Tayo, stranded by rains at a country inn, bring a great deal of happiness to the other residents of the inn by means of Ihei's generosity and good spirit. Ihei is a masterless samurai and fencing expert. Ihei comes to the attention of Lord Shigeaki, who hires him as fencing instructor for Lord Shigeaki's men. But Ihei's expertise causes friction and jealousy in Shigeaki's castle and his future there comes into doubt.
Genre: Drama
Director(s): Takashi Koizumi
  14 wins & 6 nominations.
 
IMDB:
7.8
Year:
1999
91 min
477 Views


The master of the school of the unity.

Tsuji Gettan!?

Nobody ignores that master over there!

So you entered and did you defy him?

Yes.

But no... you can't go about

defying a man like him...

It's unthinkable.

Precisely...

It's just this 'unthinkable'

that happened.

Master Tsuji,

accepted my challenge

without being begged about it.

Truth and subject are one.

I asked myself...

at what moment I would throw down

my sword and declare myself defeated...

I renounce!

I don't understand!

What happened to him?

I was also surprised.

Without understanding his reasons,

I had revealed my secret intention.

and, Master Tsuji...

I understand now.

To this day,

I have fought

with an uncountable amount of men.

But you were different.

Though you gave the impression

of being badly prepared,

You stayed calm and showed

no desire to win.

I didn't understand you.

I didn't know what to do.

That's why

I lowered my sword.

I am truly beaten, today!

That's cool!

What a nice story!

And then, what did you do?

Master Tsuji took me on

as an apprentice.

He treated me with great affection

and I succeeded in becoming

an instructor.

Thanks to him, I was able to be

engaged in the service of a fief,

But it didn't last.

I really couldn't make it there.

My reputation deteriorated.

I had to leave the fief.

After that,

I've served two other fiefs...

and now, I have no master.

My wife says

that I wasn't made to serve a lord

and expects nothing more of me.

Another thing, I would like to take

a closer look at your sword...

Can I?

I beg you.

Gon, where is the sword of our host?

In the sword-depository.

To say the truth, he's called 'Gonnojo',

but 'little Gon' fits him better.

And now,

let us have a look at the garden.

With all this rain,

It's been a long time

since I set foot in there.

With your permission.

The forging of fine grain...

delicately moistened...

very well drawn groves...

a proud blade

has the freshness

of a spring breeze.

and the perfume.

It's not signed.

But no less admirable because of it.

Where did you buy it?

It's master Tsuji

who gave it to me.

They say the sword

is the soul of the warrior...

It's really a splendid piece!

Anyway,

it must be hard to be a ronin.

Sometimes it's hard and even painful,

but sometimes it not that bad

and even fun.

You meet all kinds of people

in all kinds of situations.

In comparison,

serving a lord is tiresome.

The officers are all,

without exception, arrogant and blunt.

Their conversations

are uninteresting and spiritless.

They provoke only boredom.

Our lord loves slander.

He also loves to give nicknames.

silence!

This being said,

I also gave you a nickname.

Rate this script:4.7 / 3 votes

Akira Kurosawa

After training as a painter (he storyboards his films as full-scale paintings), Kurosawa entered the film industry in 1936 as an assistant director, eventually making his directorial debut with Sanshiro Sugata (1943). Within a few years, Kurosawa had achieved sufficient stature to allow him greater creative freedom. Drunken Angel (1948)--"Drunken Angel"--was the first film he made without extensive studio interference, and marked his first collaboration with Toshirô Mifune. In the coming decades, the two would make 16 movies together, and Mifune became as closely associated with Kurosawa's films as was John Wayne with the films of Kurosawa's idol, John Ford. After working in a wide range of genres, Kurosawa made his international breakthrough film Rashomon (1950) in 1950. It won the top prize at the Venice Film Festival, and first revealed the richness of Japanese cinema to the West. The next few years saw the low-key, touching Ikiru (1952) (Living), the epic Seven Samurai (1954), the barbaric, riveting Shakespeare adaptation Throne of Blood (1957), and a fun pair of samurai comedies Yojimbo (1961) and Sanjuro (1962). After a lean period in the late 1960s and early 1970s, though, Kurosawa attempted suicide. He survived, and made a small, personal, low-budget picture with Dodes'ka-den (1970), a larger-scale Russian co-production Dersu Uzala (1975) and, with the help of admirers Francis Ford Coppola and George Lucas, the samurai tale Kagemusha (1980), which Kurosawa described as a dry run for Ran (1985), an epic adaptation of Shakespeare's "King Lear." He continued to work into his eighties with the more personal Dreams (1990), Rhapsody in August (1991) and Maadadayo (1993). Kurosawa's films have always been more popular in the West than in his native Japan, where critics have viewed his adaptations of Western genres and authors (William Shakespeare, Fyodor Dostoevsky, Maxim Gorky and Evan Hunter) with suspicion - but he's revered by American and European film-makers, who remade Rashomon (1950) as The Outrage (1964), Seven Samurai (1954), as The Magnificent Seven (1960), Yojimbo (1961), as A Fistful of Dollars (1964) and The Hidden Fortress (1958), as Star Wars: Episode IV - A New Hope (1977). more…

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Submitted on August 05, 2018

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