47 Ronin


2h 12m 1994

Brief Synopsis

Based on Shoichiro Ikemiya's 1748 kabuki play, "Kanandehon Chushingura," the story of clan revenge in 18th-century feudal Japan.

Film Details

Genre
Action
Adaptation
Foreign
Historical
Release Date
1994
Production Company
Toho Company Ltd.
Distribution Company
Toho Company Ltd.

Technical Specs

Duration
2h 12m

Synopsis

Based on Shoichiro Ikemiya's 1748 kabuki play, "Kanandehon Chushingura," the story of clan revenge in 18th-century feudal Japan.

Film Details

Genre
Action
Adaptation
Foreign
Historical
Release Date
1994
Production Company
Toho Company Ltd.
Distribution Company
Toho Company Ltd.

Technical Specs

Duration
2h 12m

Articles

Kon Ichikawa (1915-2008)


Kon Ichikawa, the acclaimed Japanese director whose best work such as The Burmese Harp, Ototo and the documentary Tokyo Olympiad earned him international awards and further elevated the strength of post war Japanese cinema, died on February 13 in Tokyo of pneumonia. He was 92.

He was born on November 25, 1915, in Ise, Japan. Ichikawa built on a long standing fascination with art and animation when, after formal schooling, he moved to Kyoto to work at the animation department of J.O. Studios. Working his way up the studio ladder, he eventually made his first film, a 20 minute short called A Girl at Dojo Temple (1946) using a cast of puppets.

He spent the next few years working on small, but well-received features such as Endless Passion (1949), Stolen Love (1951) and Mr. Poo (1953) before scoring a breakout hit with his moving, sweeping epic The Burmese Harp (1956). The film, about a Japanese soldier (Shoji Yasui) who becomes a Buddhist monk and devotes himself to burying his dead comrades, was acclaimed for its strong humanity and meditative tone. It won the San Giorgio Prize at the Venice Film Festival and put Ichikawa on the map as a major talent.

Ichikawa would continue his solid streak throughout the '60s: the devastating, often horrific war drama Fires on the Plains (1959), the moving family drama Ototo (1960); a fascinating look at Japanese male virility in Kagi (1960, a Golden Globe and Cannes Festival winner); the strong social document The Outcast (1962); the gender bending An Actor's Revenge (1963); and his stunning observations of the 1964 Tokyo Olympics for Tokyo Olympiad (1965) which won a BAFTA winner for Best Documentary.

Although he would never quite scale the same artistic heights of the '50s and '60s, Ichikawa, ever the consummate filmmaker, would continue to have domestic hits in his native Japan in a variety of molds: social satire I Am A Cat (1975); the pulsating period piece The Firebird (1979); the sentimental, but beautifully photographed domestic drama, The Makioka Sisters (1983); and arguably, his last great film, the samurai epic 47 Ronin (1994).

Ichikawa was still directing theatrical and television movies well into his 80s and never officially retired. His last film was The Inugamis (2006). He was married to screenwriter Natto Wada from 1948 until her death in 1983. He is survived by two sons.

by Michael T. Toole
Kon Ichikawa (1915-2008)

Kon Ichikawa (1915-2008)

Kon Ichikawa, the acclaimed Japanese director whose best work such as The Burmese Harp, Ototo and the documentary Tokyo Olympiad earned him international awards and further elevated the strength of post war Japanese cinema, died on February 13 in Tokyo of pneumonia. He was 92. He was born on November 25, 1915, in Ise, Japan. Ichikawa built on a long standing fascination with art and animation when, after formal schooling, he moved to Kyoto to work at the animation department of J.O. Studios. Working his way up the studio ladder, he eventually made his first film, a 20 minute short called A Girl at Dojo Temple (1946) using a cast of puppets. He spent the next few years working on small, but well-received features such as Endless Passion (1949), Stolen Love (1951) and Mr. Poo (1953) before scoring a breakout hit with his moving, sweeping epic The Burmese Harp (1956). The film, about a Japanese soldier (Shoji Yasui) who becomes a Buddhist monk and devotes himself to burying his dead comrades, was acclaimed for its strong humanity and meditative tone. It won the San Giorgio Prize at the Venice Film Festival and put Ichikawa on the map as a major talent. Ichikawa would continue his solid streak throughout the '60s: the devastating, often horrific war drama Fires on the Plains (1959), the moving family drama Ototo (1960); a fascinating look at Japanese male virility in Kagi (1960, a Golden Globe and Cannes Festival winner); the strong social document The Outcast (1962); the gender bending An Actor's Revenge (1963); and his stunning observations of the 1964 Tokyo Olympics for Tokyo Olympiad (1965) which won a BAFTA winner for Best Documentary. Although he would never quite scale the same artistic heights of the '50s and '60s, Ichikawa, ever the consummate filmmaker, would continue to have domestic hits in his native Japan in a variety of molds: social satire I Am A Cat (1975); the pulsating period piece The Firebird (1979); the sentimental, but beautifully photographed domestic drama, The Makioka Sisters (1983); and arguably, his last great film, the samurai epic 47 Ronin (1994). Ichikawa was still directing theatrical and television movies well into his 80s and never officially retired. His last film was The Inugamis (2006). He was married to screenwriter Natto Wada from 1948 until her death in 1983. He is survived by two sons. by Michael T. Toole

47 Ronin - Kon Ichikawa's 47 RONIN on DVD


One of Japan's defining national parables arose from a 1702 feudal incident that embodied the predominant cultural values of duty and honor, and the saga of the "47 Ronin" has been recounted in no less than 80 film and television productions since the inception of the country's cinema industry. For all that, a mere handful of these adaptations have been widely available to Western audiences. AnimEigo has chosen to fill this gap with its recent release to DVD of 47 Ronin(Shijushichinin no shikaku) (1994), a detail-driven feature take on the legend by the estimable director Kon Ichikawa (The Burmese Harp, Fires on the Plain). While handsomely mounted, the production focuses to a fault on the particulars of a vengeance quest that had gestated for a year-and-a-half. As a result, the going is frequently ponderous, but the pay-off is satisfying and the viewing experience worthwhile.

A few quick historical notes: In the spring of 1701, the clan leader Asano Takuminokami was receiving needed instruction in court etiquette at the emperor's castle in Edo (now Tokyo). This mentoring came at the hands of a high-ranking, and unfortunately quite arrogant, shogunate official named Kira Kozukenosuke, whose incessant insults ultimately provoked Asano into a physical attack. Though Kira's resultant injury was minor, commission of the personal assault on palace grounds warranted an order from on high for Asano's ritual suicide.

Asano's lands and holdings were thereafter forfeited to the government, and his retinue of 300-plus samurai declared masterless. Asano's chief lieutenant, Oishi Kuranosuke, ostensibly complied with these decrees, but covertly recruited the most loyal of the disbanded clan to avenge their master. In December 1702, Oishi led 46 warriors in a successful raid on Kira's fortified homestead. The ronin killed their intended target, and then quietly surrendered to the fate at the hands of the authorities that they knew would surely follow.

Ichikawa, understandably, treats the audience's familiarity with these circumstances as a given, and the narrative picks up in the fall of 1702, where Oishi (Ken Takakura) has obtained the blueprints of the targeted mansions. The subsequent flashbacks are purposefully vague in describing the fateful encounter between Kira (Ko Nishimura) and Asano. The "news blackout" regarding the incident, as well as Kira's continued safety and the requisite surveillance of the Asano ronin, have been entrusted by the Shogunate to Irobe Matsuhiro (Kiichi Nakai), the first officer of a large rival clan.

Unlike other renditions of the story, The 47 Ronin spends little time focusing on the individual samurai pledged to avenge Asano--none beyond Oishi are limned any more than sketchily. Rather, in often numbing detail, Ichikawa's primarily concerned with the blow-by-blow as Oishi contrives and deliberately implements his master plan, and fends off the prying insinuations of Irobe. The film therefore gives a lot to Takakura, "Japan's Eastwood," to shoulder with his performance, and he's very much up to the task. From Oishi's single-mindedness beyond reason in the pursuit of vengeance, to his guilt at putting his family in harm's way, to his shame over the consequences of his dalliance with a brushmaker's flighty young daughter (Rie Miyazawa), the actor delivers empathetic, compelling work. Nakai is also fine in the only other role of any particular heft, as the opposing chess master whose bids to stay a step ahead of Oishi ultimately prove futile.

AnimEigo provided a cleanly mastered presentation in 16:9 anamorphic widescreen, and the multi-color-coded subtitles utilized when multiple characters are onscreen prove particularly helpful given the film's fact-heavy scenario. The highlights of the extras package come in the form of AnimEigo's characteristically thorough and helpful program notes regarding the production, the basis and breadth of the 47 Ronin legend, and the period culture captured on-screen. Rounding out the presentation is a still gallery, as well as the theatrical trailers for the film and Ichikawa's Dora-heita (2000).

For more information about 49 Ronin, visit AnimEigo. To order 49 Ronin, go to TCM Shopping.

by Jay S. Steinberg

47 Ronin - Kon Ichikawa's 47 RONIN on DVD

One of Japan's defining national parables arose from a 1702 feudal incident that embodied the predominant cultural values of duty and honor, and the saga of the "47 Ronin" has been recounted in no less than 80 film and television productions since the inception of the country's cinema industry. For all that, a mere handful of these adaptations have been widely available to Western audiences. AnimEigo has chosen to fill this gap with its recent release to DVD of 47 Ronin(Shijushichinin no shikaku) (1994), a detail-driven feature take on the legend by the estimable director Kon Ichikawa (The Burmese Harp, Fires on the Plain). While handsomely mounted, the production focuses to a fault on the particulars of a vengeance quest that had gestated for a year-and-a-half. As a result, the going is frequently ponderous, but the pay-off is satisfying and the viewing experience worthwhile. A few quick historical notes: In the spring of 1701, the clan leader Asano Takuminokami was receiving needed instruction in court etiquette at the emperor's castle in Edo (now Tokyo). This mentoring came at the hands of a high-ranking, and unfortunately quite arrogant, shogunate official named Kira Kozukenosuke, whose incessant insults ultimately provoked Asano into a physical attack. Though Kira's resultant injury was minor, commission of the personal assault on palace grounds warranted an order from on high for Asano's ritual suicide. Asano's lands and holdings were thereafter forfeited to the government, and his retinue of 300-plus samurai declared masterless. Asano's chief lieutenant, Oishi Kuranosuke, ostensibly complied with these decrees, but covertly recruited the most loyal of the disbanded clan to avenge their master. In December 1702, Oishi led 46 warriors in a successful raid on Kira's fortified homestead. The ronin killed their intended target, and then quietly surrendered to the fate at the hands of the authorities that they knew would surely follow. Ichikawa, understandably, treats the audience's familiarity with these circumstances as a given, and the narrative picks up in the fall of 1702, where Oishi (Ken Takakura) has obtained the blueprints of the targeted mansions. The subsequent flashbacks are purposefully vague in describing the fateful encounter between Kira (Ko Nishimura) and Asano. The "news blackout" regarding the incident, as well as Kira's continued safety and the requisite surveillance of the Asano ronin, have been entrusted by the Shogunate to Irobe Matsuhiro (Kiichi Nakai), the first officer of a large rival clan. Unlike other renditions of the story, The 47 Ronin spends little time focusing on the individual samurai pledged to avenge Asano--none beyond Oishi are limned any more than sketchily. Rather, in often numbing detail, Ichikawa's primarily concerned with the blow-by-blow as Oishi contrives and deliberately implements his master plan, and fends off the prying insinuations of Irobe. The film therefore gives a lot to Takakura, "Japan's Eastwood," to shoulder with his performance, and he's very much up to the task. From Oishi's single-mindedness beyond reason in the pursuit of vengeance, to his guilt at putting his family in harm's way, to his shame over the consequences of his dalliance with a brushmaker's flighty young daughter (Rie Miyazawa), the actor delivers empathetic, compelling work. Nakai is also fine in the only other role of any particular heft, as the opposing chess master whose bids to stay a step ahead of Oishi ultimately prove futile. AnimEigo provided a cleanly mastered presentation in 16:9 anamorphic widescreen, and the multi-color-coded subtitles utilized when multiple characters are onscreen prove particularly helpful given the film's fact-heavy scenario. The highlights of the extras package come in the form of AnimEigo's characteristically thorough and helpful program notes regarding the production, the basis and breadth of the 47 Ronin legend, and the period culture captured on-screen. Rounding out the presentation is a still gallery, as well as the theatrical trailers for the film and Ichikawa's Dora-heita (2000). For more information about 49 Ronin, visit AnimEigo. To order 49 Ronin, go to TCM Shopping. by Jay S. Steinberg

Quotes

Trivia

Miscellaneous Notes

Released in United States 1994

Released in United States on Video July 17, 2007

Released in United States September 1994

Shown at Tokyo International Film Festival (in competition) September 24 - October 2, 1994.

Shown at Venice Film Festival (Venetian Nights) September 1-12, 1994.

"47 Ronin" marks the 70th feature for veteran Japanese helmer Kon Ichikawa.

Released in United States 1994 (Shown at Tokyo International Film Festival (in competition) September 24 - October 2, 1994.)

Released in United States on Video July 17, 2007

Released in United States September 1994 (Shown at Venice Film Festival (Venetian Nights) September 1-12, 1994.)