Kagemusha (1980)

Director:

Akira Kurosawa

Writers:

Masato Ide (writer)
Akira Kurosawa (writer)

Release Date:

6 October 1980 (USA)

Genre:

Drama | History | War

Plot:

When a powerful warlord in medieval Japan dies, a poor thief recruited to impersonate him finds difficulty...

Plot Keywords:

Japan | Double | Warrior | 1570s | Rites

Awards:

Nominated for 2 Oscars. Another 19 wins & 3 nominations

Cast

Tatsuya Nakadai	...	Shingen Takeda / Kagemusha
Tsutomu Yamazaki	...	Nobukado Takeda
Kenichi Hagiwara	...	Katsuyori Takeda
Jinpachi Nezu	...	Sohachiro Tsuchiya
Hideji Ôtaki	...	Masakage Yamagata
Daisuke Ryû	...	Nobunaga Oda
Masayuki Yui	...	Ieyasu Tokugawa
Kaori Momoi	...	Otsuyanokata
Mitsuko Baisho	...	Oyunokata
Hideo Murota	...	Nobufusa Baba
Takayuki Shiho	...	Masatoyo Naito
Kôji Shimizu	...	Katsusuke Atobe
Noboru Shimizu	...	Masatane Hara
Sen Yamamoto	...	Nobushige Oyamada
Shuhei Sugimori	...	Masanobu Kosaka

Also Known As:

Kagemusha (The Shadow Warrior)
Kagemusha the Shadow Warrior
Shadow Warrior
The Double

Runtime:

180 min | Argentina:162 min | USA:162 min

Country:

Japan

Language:

Japanese

Color:

Color (Eastmancolor)

Aspect Ratio:

1.85 : 1

Sound Mix:

Dolby

Certification:

Iceland:12 | South Korea:12 (1998) | Portugal:M/12 | Australia:PG | Sweden:15 | Argentina:13 | Chile:14 | Finland:K-12 | UK:PG | USA:PG | West Germany:12 | Singapore:PG

Filming Locations:

Gotemba, Shizuoka, Japan

Company:

Kurosawa Production Co.

Trivia:

Much of the film recounts actual historical events, including Shingen's death and the two-year secret, and the climactic Battle of Nagashino in 1575. Those scenes are also modeled closely on detailed accounts of the battle.

Goofs:

Revealing mistakes: Obvious bald caps on nearly every adult male character in the film.

Quotes:

Nobukado Takeda: I know it is difficult. I was for a long time the lord's double. It was torture. It is not easy to suppress yourself to become another. Often I wanted to be myself and free. But now I think this was selfish of me. The shadow of a man can never desert that man. I was my brother's shadow. Now that I have lost him, it is as though I am nothing.

Movie Connections:

Referenced in Seven Samurai: Origins and Influences (2006) (V)

Better than Shakespeare

I saw the director's cut about twenty years after I first saw the film. Kagemusha is as magnificent now as before, but what has changed in the meantime is my appreciation of the meaning of Shakespeare's plays. The history plays and most of the tragedies were about the political dilemmas facing the new Tudor state. The Elizabethan audience sat on the edge of their seats waiting to see how political order might be restored once it had been set in disarray. The Wars of the Roses sequence culminates in the late political tragedies -- Julius Caesar, Macbeth, Hamlet and Lear. The question is always the same. How is an impersonal modern state possible when its leader is a person, the King? Or is rule by office compatible with the human flaws of the person occupying it? Shakespeare was the client of a conservative aristocratic faction, no rabble-rousing democrat he. But he went so deep into this political question in the course of writing all his plays that he dug deeper into this core issue of modern politics than anyone since.

Kurosawa approaches the same question through the notion of a double,"the shadow of a warrior", Kagemusha. Here the contrast between the office of the political leader and its personal incumbent is brought vividly to life in so many ways. The period is the Japanese equivalent of England's War of the Roses, the transition from feudalism to the beginnings of the modern state. The losing side in this case is the one that tries to resolve the contradiction of personality and office by a subterfuge, a thief masquerading as a lord. The winning side and founder of the Japanese state is the Tokugawa clan. The climactic battle symbolises the passage from traditional to modern warfare, as the horses of the losers are mown down by fusillades of gunfire. The credits run as the corpse of the double crosses a submerged flag whose abstract symbolism shows us which aspects of feudalism the modern state will borrow. Personality is vanquished.

The aesthetic vision animating this movie is incredible. There is so much to look at and admire, perhaps interpret. One striking feature for me was the persistent strong breeze ripping through the banners, a symbol of the winds of change running through 16th century Japan, contemporary to Shakespeare's period. Because this drama was made by and for the modern cinema, in many ways Kurosawa's masterpiece is better than Shakespeare.