Tasogare Seibei (2002)

Calificación de los usuarios:

8.2/10   

Director:

Yôji Yamada

Escritores:

Shûhei Fujisawa (novels)
Yôji Yamada (screenplay) ...

Fecha de Lanzamiento:

2 noviembre 2002 (Japan)

Género:

Drama | Romance

Plot:

A 19th-century samurai tries to protect a battered wife.

Plot Keywords:

Samurai | Widower | Duel | Sheath | Seppuku

Premios:

Nominated for Oscar. Another 37 wins & 6 nominations

Comentarios de los usuarios:

Great Impressionist Film-making

Reparto

Hiroyuki Sanada	...	Seibei Iguchi
Rie Miyazawa	...	Tomoe Iinuma
Nenji Kobayashi	...	Choubei Kusaka
Ren Osugi	...	Toyotarou Kouda
Mitsuru Fukikoshi	...	Michinojo Iinuma
Kanako Fukaura
Hiroshi Kanbe	...	Naota
Miki Itô	...	Kayano Iguchi
Erina Hashiguchi	...	Ito Iguchi
Reiko Kusamura	...	Iguchi's Mother
Setsuko Tanaka
Kii Mizuno
Yuuki Natsusaka
Astushi Maeda
Tsukasa Sugawara

También conocida como:

The Twilight Samurai (UK)
El crepúsculo de un samurai (Argentina) (cable TV title) [es]

Duración:

Germany:129 min | USA:129 min | Argentina:129 min

País:

Japan

Idioma:

Japonés

Color:

Color

Sonido:

Dolby Digital

Clasificación:

Argentina:13 | Brazil:14 | Finland:K-11 (DVD rating) | South Korea:15 | Hong Kong:IIB | Australia:M | Netherlands:16 | Singapore:PG | Sweden:11 | Switzerland:12 (canton of Geneva) | Switzerland:12 (canton of Vaud)

Locaciones de Filmación:

Japan

Compañía:

Hakuhodo

Citas:

Kayano Iguchi: Father, If I learn to do needlework someday I can make kimonos. But what good will book learning ever do me?
Seibei Iguchi: Well, it probably won't ever be as useful as needlework. But you know, book learning gives you the power to think. However the world might chagne, if you have the power to think you'll always survive somehow. That's true for boys and for girls. All right?
Kayano Iguchi: Yes.

Conexiones de Película:

References Apocalypse Now (1979)

Great Impressionist Film-making

I saw this film last night with my nephew, and chose it simply because the title was interesting and it was playing at the local art house, so I gave it a shot. As I am a bit disillusioned by the Oscars these days I don't pay much attention to them, I was unaware that this film was a huge success in Japan and received a Best Foreign Film nomination. What I received in return for my curiosity was one of the best foreign films that I have seen in a long, long time.

The crux of the film is the relationship between personal honor and social honor. Iguchi is indeed a most honorable man. He truly loves his children and his senile mother, and sacrifices his dignity and station to care for them. He works from dawn to dusk, attending his duties with the court by day and working on his farm by night, somehow finding time to also sell handmade insect/bird cages just to help his family get by. He does all this even though it soon becomes apparent that he has no equal as a swordsman, and in that right alone deserves the respect of those who deride him. We come to understand that selfless sacrifice is the single greatest act of honor, especially when one can still consider himself a blessed man. However, the personal honor that Iguchi wields even more skillfully than his sword becomes at odds with the social honor that his status as a samurai calls for. This conundrum is the heart of almost every scene in the film, and reaches its peak as the story moves toward its climax. Though Iguchi tells his best friend that he would gladly surrender his status as a samurai to become a simple farmer, he finds himself unable to resist his call to duty under the code of the samurai. He knows that to be honorable in his duty as a samurai, he must compromise his honor as a man. How can he kill a man to fulfill the unjust motives of his clan, especially when the man he is fighting is so much like himself?

The direction of the film is beautifully impressionist. Yamada crafts pictures of everyday life which gives us an inherent understanding of the life of Iguchi. In one scene, he sits dejectedly on his doorstep after coming home in the rain, lamenting the holes in his socks while his squire stands outside in the downpour. In another, he quietly applies his perfectionism to the construction of his cages in his dark and dirty living room while his family sleeps. In yet another, he shares a meal with his family as they laugh and enjoy each other's company. Yamada's eye for imagery, in combination with his patient and subtle storytelling, are reminiscent of great impressionist directors such as Ozu, Tarkovsky, and Malick. There are many other memorable images in this film, many of which depict the duality of nature. In one scene we see soldiers learning to fire rifles under the spring buds of a lotus tree. In another we see men fishing along a sapphire blue river, with golden fields behind them and a stunning, snow-capped Mount Fuji on the horizon-- and the bodies of starved peasant children floating down the river.

This is a great film. See it.