Madadayo Page #2

Year:
1993
181 Views


I thought it would be

a good idea

to knock back a drink with you

over some venison.

We pitched in

for some beer and sake.

I appreciate that.

By the way,

how many of you are there here?

Sixteen, sir.

I wonder if we have

enough pots and stoves.

If not, we'll go buy some.

Oh, sorry.

Gentlemen.

Happy birthday!

Please make yourselves

comfortable.

I sit this way because

it's most comfortable for me.

Please start cooking

your venison.

Ma'am, please join us.

Don't worry about her.

Actually, she can't.

She's never eaten horse meat.

Horse meat, sir?

Isn't this venison?

We got a whole lot of venison,

more than

the two of us could eat,

so I decided to invite you.

But considering

how big your stomachs are,

I realized it was quite

a meager amount.

Venison stew

is a rare delicacy,

but adding horse to the stew

adds a nice linguistic twist.

The characters for "horse"

and "deer" together mean "stupid."

I get it, sir.

You're calling us stupid.

Don't get me wrong.

Beef, pork, and chicken

are hard to come by now.

I happened to hear

that horse meat was available.

How "dear"

I thought it would be

to garnish the venison stew

with some horse.

I set out for a butcher's

quite far from here

and bought this horse meat.

What a tale of heroism!

For his beloved students,

an aged man whipping

his old bones to buy horse meat.

Just picture it.

Like the graduation song:

"We stand in awe

of our teacher's kind favor."

Gentlemen...

what's more, I found myself

in an awkward situation

at the butcher's.

That horse

was a charger

I had known quite well

at the military academy

where I taught.

It stared at me

with narrowed eyes as if to say...

"What in the world

are you buying there, sir?"

I was so ashamed.

I wished the ground

would open up and swallow me.

By the way, gentlemen...

horses have big eyes,

don't they?

Well, let's eat.

The meat should be ready.

Professor, your odd tale

made me lose my appetite.

Just imagine it's all venison.

Besides,

the two meats are all mixed up.

You can't tell which is which.

Bon appetit!

It's good.

It really is delicious!

If the lights go out

in an air raid,

this "stupid stew" will turn

into a "blind stew."

I hate air raids.

I don't like turning off the lights.

I've been afraid of the dark

since I was little.

I even have to sleep

with the lights on.

- Even now, sir?

- Yes.

Aren't you afraid of the dark?

- Of course not.

We aren't kids anymore.

What's so scary about the dark?

You gentlemen are impossible.

Why's that?

Anyone not afraid of the dark

is a deeply flawed human being.

You lack imagination.

Take a proper human being.

He can't see

anything in the dark,

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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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