Madadayo Page #3

Year:
1993
183 Views


so he imagines

that there's something there.

He doesn't know

what's lurking there.

It might pose a threat.

That's why he's afraid.

It's quite obvious.

In my case...

if I hear there are

raccoon dogs somewhere,

everyone I meet there

begins to look like a raccoon dog.

Or rather, I suspect

the raccoon dogs have disguised

themselves as humans.

It's only natural

for a normal person with imagination.

It may be natural for you

because you're pure gold,

but for us -

To the pure gold professor!

Cheers!

We stand in awe

Of our teacher's kind favor

How quickly

the years have passed

In this garden of learning

How quickly they've passed

The months and years

And now we say...

Our professor's house

was one of those burned down

in the air raids.

This was the professor's

next house.

It won't all fit in.

Thanks for coming.

My, my.

The most important thing of all.

Indeed, like rain in a drought.

May I put this bag there?

You coming inside?

There are too many people.

- Are you all right?

- I can't budge.

Now I know

how canned sardines feel.

- Anything to pass over here?

- Yes, this.

- Watch your head.

- Don't worry about that head.

Would you take this too?

Ma'am, if you need anything,

please let us know.

Thank you very much, everyone.

We're always such a bother.

Not at all.

I want an umbrella.

Keep that one, sir.

Our washroom

is that new building over there.

It has no roof.

So on rainy days like today,

we can't use it.

Listen...

this place is a little -

We have to find them

another place.

No.

It's a miracle this place

didn't burn down.

Finding it was an unexpected

stroke of good luck.

Besides, the owner's

an acquaintance. A baron.

- What's a "baron"?

- A nobleman.

- He lived here?

- Don't be an idiot.

This was...

the shack for the baron's

elderly groundskeeper.

His mansion and our house

burned down at the same time.

That morning,

when we fled our home,

we found this shack

and decided to rest here.

The baron came

to inspect the remains.

I asked him if we could rent it.

"Absolutely," he replied.

We were very lucky.

You're familiar with this, aren't you?

HOJOKI:

Yes, sir.

Books are so heavy.

I fled with this one book,

my favorite.

The author, Kamo no Chomei...

lived in the capital

during the Heian Era.

He experienced many calamities

such as war, fire and famine.

He grew weary

of the impermanence of worldly things

and secluded himself

in a hut in the mountains.

Recently, I must say,

I've come to understand

exactly how he felt.

For the time being,

I intend to settle down here

and think of it

as a hut like his.

Well, gentlemen,

I wish I could invite you in,

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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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