New review: Miyamoto Musashi 31.07.2017

This kinosternidae adventure Miyamoto almost not known to the audience outside the country of origin, i.e. Japan. But, it seems, and in Japan a wide audience circles do not appreciate this motion picture.

And the product, however, is a curious example of a historical samurai movie shot, on the one hand, Neoclassicism and nedolovili manner. In this case, the prefix under – is negative and is, in my opinion, fair. After all 1973 was dictated by the urgent need to depart from the canons 50’s and 60’s, but cemented through the monumentality of the story dragged all the attempts of the Director to stand out in the very — well practiced and honed schemes that massive audience has become boring over the past two decades.

For starters, determine the interpretation of the image Miyamoto — he is not noble or wise. The closest that comes to mind — bully, lucky and cunning.

Regarding the lack of generosity, we can recall the episode without the slightest hesitation Miyamoto purposefully pierces a boy 8-10 years in fear covers his face with her little hands, yelling, “Scary!”, but that does not stop, and “pile up” happily demolishes him with the sword along with the head.

In fairness, it should be noted that most rivals Miyamoto generosity does not Shine and come to the place of duel, surrounded by faithful vassals, trying to catch Miyamoto somewhere on the way or to stab from the back thereof.

As a consequence of such “noble” style, the duel might look like this: Miyamoto is incident on the opponent from some bushes (to get around the ambush vassals), quickly cuts the poor guy with the sword, and skipping the “is” while the vexed vassals like a herd of monkeys screaming been running around not knowing whether to give first aid to Mr, whether to take revenge on Miyamoto for the damage.

The main romantic line in the movie (and all of them can be divided into two) was just a miracle as “good”. In the first quarter of the film, the main character decided to ignore the old Japanese saying: “If he is a samurai, don’t break, and let” and set out a little wrong when Miyamoto started to lust for the female body. Well, bastard, got her back for it — throughout the remaining screen time the poor girl ran for our hero to resume “relations”, but at every meeting heard only iron samurai — “No!” As they say: “Such is the love they have…”

Now about some interesting details of the directing and camera work. Well, if you read the reviews about the picture of the Japanese themselves, the love of the Director/operator to shoot with the “low angle” is not said just lazy, I should note I would add that the limits for this “low angle” is, quite frankly, was not, i.e. the operator in a couple of cases was able to move right on to 180 degrees under the subject. However, it was” the place”.

Also of note is the elaboration of the plans. Several times I caught myself thinking that watching characters in the background much more interesting than the characters on the front. I especially want to mention curiously built a multi-faceted episode, where the operator managed to shoot straight out of the cage with the chickens. Total in the foreground (near the lens), we see chickens in the background, the bars of the cage and fell to her fresh corpse, and the third term a couple of of the main characters of the story leads the conversation.

In General, I can say that the film makes a little strange and “blurry” impression. To determine its rating, I personally wasn’t easy. My final opinion I was only a couple weeks after actually viewing.

And here is my assessment:

7 out of 10

New review: Miyamoto Musashi 31.07.2017

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