Produced by DAIEI STUDIOS,



General Producers - YASUYOSHI




He's coming!

All rise.


Be seated.

Someone's been smoking.

Smoking is forbidden

in the classroom.


that just makes you want

to do it all the more.

When I'm

in the faculty room...

and I hear the bell

and begin heading to class,

I suddenly

feel the urge to smoke.

I light a cigarette.

Then, despite myself,

I light another, and another.

So I'm always

20 to 30 minutes late.

But Professor,

what happened today?

It's been more than 30 years

since people began

calling me "professor."

During that time,

like water running

from an open faucet

onto a dirt floor

and into a ditch,

students have drifted away

before my eyes, year after year.

It's impossible to remember

each and every face.


there's one among them

that I remember vividly.

That face belongs to a boy

who slept through class

with his eyes open.


that master snoozer

was your father.

By the way, gentlemen...

today's the last day

for me to be called "professor."

As of today...

I am resigning

my professorship.


my writings

have found a market.

I can make a living off them.

That's not to say...

that I dislike teaching.

But as they say, "He who chases

two hares catches neither,"

so I'm quitting teaching.


Even if you quit,

you'll still be our professor.

My dad graduated from this school,

and so did his friends.

To this day

they still call you Professor.

They also say you're pure gold.

Pure gold?

A lump of gold

with no impurities.

I guess they mean

you're a true professor.

You're our German professor,

but I feel you've taught us

a lot of other

very valuable lessons.

TOKYO, 1943

From a distant island

Whose name I don't know

A lone coconut

Drifts ashore

You left the shore of your home...

This is the house

our professor moved into

after he quit teaching.

Ma'am, put the professor

away somewhere.

He's in the way.


Put that in the front hallway.

I plan to turn the hallway

into my study.

While I work

I'll also be the gatekeeper,

protecting the house

from invasion

by riffraff like you gentlemen.





I wonder if it'll be all right.


The rent here is cheap

for such a nice house.

I knew something was fishy.

When I went to buy these noodles,

the shop lady told me

that this house

gets broken into a lot.

Nobody lives here for long.

It stood vacant

for quite a while.

Who cares about burglars?

There's nothing

worth stealing here.

Still... I'm a bit frightened.

Don't worry.

Nobody will break in.

I'm certain of it.

I've been afraid of burglars

ever since I was a child,

so I've tried to find ways

to keep them out.

I've devised a sure-fire method.

Really, sir?

Yes, really.

One o'clock.

The dead of night,

when burglars come out.

I'll go over this wall

and open the wicket.

You go in through there.

Wait a minute.

Aren't we acting like burglars?

I thought we were worried

about what his wife said,

so we're here to check

his precautionary measures.

How can we check them

unless we really try to break in?

Look at that.

What a joke!

"Don't worry," he said.

"Just leave it to me," he said.

It's unbelievable.




BURGLAR'S EXI Score one for him.

I stole this to get even.

Isn't that his hat?

He wore this as an army instructor.

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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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"Madadayo" STANDS4 LLC, 2020. Web. 4 Aug. 2020. <>.

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