Kagemusha (1980) 1080p YIFY Movie

Kagemusha (1980) 1080p

Kagemusha is a movie starring Tatsuya Nakadai, Tsutomu Yamazaki, and Ken'ichi Hagiwara. A petty thief with an utter resemblance to a samurai warlord is hired as the lord's double. When the warlord later dies the thief is forced to...

IMDB: 8.02 Likes

  • Genre: Drama | History
  • Quality: 1080p
  • Size: 2.89G
  • Resolution: 1920*1080 / 23.976 fpsfps
  • Language: English  
  • Run Time: 160
  • IMDB Rating: 8.0/10 
  • MPR: Normal
  • Peers/Seeds: 8 / 20

The Synopsis for Kagemusha (1980) 1080p

When a powerful warlord in medieval Japan dies, a poor thief recruited to impersonate him finds difficulty living up to his role and clashes with the spirit of the warlord during turbulent times in the kingdom.


The Director and Players for Kagemusha (1980) 1080p

[Director]Akira Kurosawa
[Role:]Tatsuya Nakadai
[Role:]Jinpachi Nezu
[Role:]Ken'ichi Hagiwara
[Role:]Tsutomu Yamazaki


The Reviews for Kagemusha (1980) 1080p


perhaps the most visually stylistic in the plethora of films by the greatest Japanese director and one heck of a motion pictureReviewed byTheUnknown837-1Vote: 7/10

Akira Kurosawa (1910-1998) was one of the true masters of the cinema. It was he and people like him that proved to the audience that film-making is not merely a gallimaufry of the various forms of entertainment, but art. Film-making is art inside as well as out. And Kurosawa's dark and brilliant 1980 film "Kagemusha" qualifies without fault. Though the art is more apparent on the outside, there is plenty of it inside as well.

"Kagemusha" translates in English as "Shadow Warrior": the alias given to the unnamed protagonist of the film. The "Kagemusha" is a condemned bandit who is saved from the gallows when the brother of daimyo Takeda Shingen discovers that he bears a striking resemblance to the bloodthirsty dictator. The bandit is promised freedom if he impersonates the war-mongering lord for three years in order to confuse his enemies. However, when the real Shingen is shot and killed by a sharpshooter, the Kagemusha is forced to take all responsibilities of the lifestyle of the lord such as commanding his armies, outwitting his enemies, and serving as a father-figure to his grandson.

The Kagemusha is played by veteran actor Tatsuya Nakadai, whom fought against Toshiro Mifune in both "Yojimbo" and "Sanjuro" and would later work on Akira Kurosawa's highly acclaimed 1985 film "Ran." He also plays the real Takeda Shinge in the opening portion of the film and Nakadai is utterly brilliant in the way he switches between both roles even though these two men are, in a way, identical. It's the way Nakadai acts that we can sense a character difference between the two. An enormous deal of credit is also due to the writers (one of whom is director Kurosawa) who made the brilliant decision of never revealing the actual name of the Kagemusha. And strangely enough, because the writing is so good and Nakadai's acting is so pure, though we don't know the man's name, we can identify and sympathize with him, which is exactly what we do in the last third of the movie. The most brilliant element of the film's human level is the way Nakadai bonds with the grandson of the man whom he is impersonating and the way he discovers that he is not only a better father figure, but a better person, than the actual ruler.

Regardless of your opinion on the movie, there is one thing everybody agrees on: there is beauty painted all over the screen. There's not a badly-lit or badly-composed frame in the entire film. We get a surreal, array-flooded nightmare sequence, gorgeous landscape shots, majestic views of the ocean, and much more. Kurosawa always storyboarded his films using painting as opposed to sketches and here he just let loose an array of passion and colors that undoubtedly mirror what he did while trying to sell the story to distributors. Like he would do with "Ran", although not quite to the same extent, Kurosawa graphically re-enacts violence with an artistic, but harrowing nature that is completely foreign to the glorified, stimulating duels of "Yojimbo." Blood is let loose in torrents throughout the film, but Kurosawa does not overdo it to the point where it might condescend into some kind of an unintentional comedy. The climax of the movie, a recreation of the 1575 Battle of Nagashino brilliantly generates a reaction from the audience and the famous four-minute montage of death and suffering that follows is truly gripping. Like the final showdown of Sergio Leone's "The Good, the Bad, and the Ugly" very little happens and this may sound like a premise for an overdrawn sequence, but every second of it is overwhelmingly strong. Perhaps the reason why Akira Kurosawa had such a difficult time getting backers was because he wanted absolute control over his films. Well, he hardly got support and in this case he needed financial assistance from Western admirers George Lucas and Francis Ford Coppola, but when he did have the money and the control, Kurosawa was relentlessly brilliant.

The running time of "Kagemusha" will question the full extent of its audience as will the scenes where very little happens for a while, but for those who appreciate a good movie and have three hours to spare, this is a tremendously enthralling experience. "Kagemusha" boasts a lot of exterior display, but unlike a great many other movies that have the same accolade of looking good, Kurosawa's movie shows beauty beneath as well, on the human level, encompassing the audience with a heck of a story. It had me drawn in right from the very beginning. This is the definition of a motion picture.

Footnote: keep an eye out in the film for Takashi Shimura, one of Kurosawa's veterans ("Seven Samura", "Ikiru", "Yojimbo", etc.) in one of his last performances.

"The shadow of a man"Reviewed bySteffi_PVote: 9/10

Akira Kurosawa, acclaimed Japanese film writer and director, is probably best known in the west via his influence on many notable new wave era filmmakers. Here two of those Kurosawa acolytes, George Lucas and Francis Ford Coppola, repaid the debt as it were by helping to finance the Japanese veteran's most ambitious and stupendous epic yet. In spite of its grandeur, Kurosawa would later dismiss Kagemusha as a mere "dress rehearsal" for Ran, his even vaster epic of 1985. But when watching this earlier picture's awesome pageantry and historical re-enactment, one's likely response is "some rehearsal!" Kagemusha takes Kurosawa back to his biggest hits of the 1950s, being set in war-torn feudal Japan. However the focus is very different, moving away from the peasants, bandits and disgraced warriors as protagonists and small-scale human relations as his themes, now looking at the machinations of the highest echelon of that society, with an often cold and distant eye. Since his 1971 suicide attempt Kurosawa seemed to become more cynical and detached from human affairs, not just as a writer but also in his technical style as a director. Kagemusha contains very few close-ups, with even key dialogue scenes filmed with vast gaps between camera and actors, and objective god-shots for the busier scenes.

And yet there are similarities here with Kurosawa's much earlier pictures, especially in the director's aesthetic use of movement and stillness within the frame. Check out the scene in which the soldiers hear an enemy playing a flute from across the lines. The men are completely motionless, and the only movement is a flickering fire in the background and the occasional twitch of a flag in the breeze. It makes for a considerably mystical moment. But this approach has a function beyond the aesthetic. The opening scene, filmed all in one shot, shows Lord Shingen, the impersonator (both played by Tatsuya Nakadai) and Nobukado (Tsotomu Yamazaki) all sat in the throne room. The impersonator does not speak until near the end of the scene, but our eyes are drawn to him because of his movements – the occasional change in posture or flash of the eyes – and the comparative stillness of the other two. This long unbroken take means the room, with its great floral crest, is imposed into our minds, and resonates later on when we see Nakadai in the same room, now instated as the lord.

And despite the distances between camera and cast, the colourful costumes against plain backdrops really puts an emphasis on the people in Kagemusha, allowing them to express themselves through body language more than facial expression. Lead man Tatsuya Nakadai is really adept at this, putting so much feeling into a shrug of his shoulders or a turn of his head. When you see, in this picture, the complex vocal arrangements and stylised movements of the Noh troupe, or the drummers who are able to make two strikes a fraction of a beat apart, you see examples of precise co-ordination in many formal rituals of Japanese culture. Nakadai has that same precision and control over his body, and turns them towards both theatrical gesture and realist reaction. And in those one or two cases in which we get to see his face close-up we see his talent there too, an ability to display a real look of emotional injury.

So far there is very little I have said about Kagemusha that one could not also say about the later epic Ran, with the exception of Ran being a little an even bigger production and a little more stylised. So perhaps Kurosawa was right to think of the earlier picture as being a lesser forerunner to the later one. And yet, Kagemusha has the edge over Ran in one aspect. Whereas Ran is a totally dismal and inhumane affair, Kagemusha retains the heart and humanism of Kurosawa's older pictures. Composer Shinichiro Ikebe provides a rousing orchestral score, shot through with a touch of melancholy, and this beautifully matches the tone of the whole piece. It may lack the hopeful message of Seven Samurai or Rashomon, but it has the same warm regard for its characters that, even with a more objective eye, Kurosawa allows us to share in.

Not very interesting...Reviewed bywinstonsmith_84Vote: 8/10

I have understand Kurosawa is a great director who has made some masterpieces in his lifetime. However, I fail to see the masterpiece in Kagemusha.

The story is very bland, and most of it revolves around a thief who has taken the position of a great Lord, due to the Lord's death. That could be an interesting scenario, but for some reason, it does not work in this film: could it be because the entire film pays too much attention to that? I don't know what this movie does wrong, but for a first time viewing, it is not the first to pick from Kurosawa's work. It seems a bit boring, perhaps. Maybe I am missing something, but this film lacks originality, plot, and the stunning sequences most Akira fans are used to. The film is not as visually stunning as some of his others, and could have included more interesting shots.

Why should we make such a big deal out of a lookalike? Big woop.

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