Samurai Wolf II Page #3

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


My name is not 'Black cat'!

I lied to you!

This is the first time in my life!

- Shut up!

Hey, thank you!

I will take over, so you can go now.

It's almost 11:
00 O'clock...

- Hey Kiba!

Won't you change your mind?

Can't you stay here until morning?

Kiba!

Stop it!

Even if you beg him,

it's not going to change anything!

Let's give up and see if God will help us...

Officer,

you better nail up this door!

Nail it up?

If they get killed here,

it will be your responsibility

and it's Hara Kiri for you.

So you better take care of them

until everybody returns.

Wait!

You disappoint me. You're

a dirty dog! Just a Guard dog!

No wonder, you are the son of a ronin!

Where are your fangs?

Calm down!

You ingrate!

You're alive only because

I protected you until now!

From now on,

you're on your own!

So long!

And also take care of

Kihachi and Oren-san, too!

Here comes Okaminosuke.

As I promised.

I was looking forward for this moment.

Don't rush to your death!

If you're trying to get me angry,

it won't work!

Let's finish this next time!

Damn it!

Hey officer,

please let me have

some of your sak!

Please let me have

just one sip before I die.

It's against the rules.

I have money.

What?

I see?

I have it to pay the

toll for the bridge to Heaven.

It's sewn into my collar.

Where?

Lower.

Here.

Here, drink it!

Sir,

let me use my hands

to take a drink, please!

You're too much!

Just while you take a sip.

Wait!

Oren!

Oren!

Let go!

Quickly!

What's wrong?

Open up!

Nagira-san, what's going on?

Let me get out of here too!

If you don't let me out,

I am going to tell about

your secret gold mine!

Let me out!

Set me free!

Hurry!

Hurry!

Kihachi!

Damn it!

Wait!

I'll make him really suffer!

Take him to the "Valley of the crows".

Mago-san, wait for me!

Mago-san...

Mago-san.

I'll cross the mountain

and go to Bushu.

Oren, you're a good woman.

Live well!

Wait, please!

I am not going to leave you,

so please take me with you!

How many men have you deceived?

What are you saying?

My work has just started.

I don't have the time for you!

Damn you!

Who wants to fall love with a man like you!

Animal!

Murderer!

Heartless fool!

You're probably from

the Higasa family, aren't you?

You're looking for someone else!

What's your name?

My name is Oni-Azami Oren.

You guys scared me

when I was in the cage.

I am sure that you escaped with Magobei.

Where is Magobei?

Wait a minute!

Don't rush to conclusions!

I have a grudge against him, too!

I want you to chop

him up right in front

of my eyes!

Please!

Come with us!

This is revenge for

our men you killed!

You enjoy it!

The crows will pick your bones clean!

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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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