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No. 32113 ID: 963c4b
  The fine line between discipline and sadism.
The Hill (1965) - Sean Connery, Ian Hendry & Harry Andrews
The Hill is a 1965 film directed by Sidney Lumet, set in a British army prison in North Africa in World War II. It stars Sean Connery, Harry Andrews, Ian Bannen, Ossie Davis, Ian Hendry, Alfred Lynch, Roy Kinnear and Michael Redgrave.

In a British Army "glasshouse" (military detention camp) in the Libyan Desert, prisoners convicted of service offences such as insubordination, being drunk whilst on duty, going AWOL or petty theft etc. are subjected to repetitive drill in the blazing desert heat.
The arrival of five new prisoners slowly leads to a clash with the camp authorities. One new NCO guard who has also just arrived employs excessive punishments, which include forcing the five newcomers to repeatedly climb a man-made hill in the center of the camp. When one dies a power struggle erupts between brutal Staff Sergeant Williams (Ian Hendry), humane Staff Sergeant Harris (Ian Bannen), Regimental Sergeant Major Wilson (Harry Andrews), and the camp's Medical Officer (Michael Redgrave) as they struggle to run the camp in conflicting styles.

Roberts (Sean Connery) is a former Squadron Sergeant Major from the Royal Tank Regiment, convicted of assaulting his Commanding Officer - which he explains to his fellow inmates was because he was ordered to lead his men in a senseless suicidal attack. Roberts openly scorns Williams brutality and serves as challenge to his authority. The RSM is a career soldier who sees his vital task as breaking down failed soldiers, then building them back up again, in his words, "into men!"

Staff Sergeant Williams is new to the prison, and his ambition is matched only by his cruel treatment of the prisoners; he seeks to use their suffering as means for promotion. "And what are you supposed to be," Roberts asks him when he is accused of cowardice in battle, "a brave man in a permanent base job?" The RSM seems to agree; in another scene, he slyly mentions the fact that the Germans were bombing the UK (including the civilian prison Williams worked at) just as Williams was volunteering for prison duty in Africa.

Staff Sergeant Harris is the conscience of the prison who sympathises with the men, too closely, according to the RSM. The officers of the piece, both the CO (Norman Bird) and the Medical Officer, take their duties casually and, as Roberts points out, "everyone is doing time here, even the screws."

In the finale, the camp's Medical Officer and Staff Sergeant Harris decide to report the abuses at the camp. Sadistic Staff Sergeant Williams goes to administer one final, perhaps fatal, beating to Sergeant Major Roberts, when two prisoners intervene and appear to beat Williams to death while Roberts pleads with them to stop.
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>> No. 33680 ID: cfe73e
  Bushido - The Cruel Code of the Samurai https://youtu.be/Gj2QqwqwdTs
Bushido, a.k.a. The Way of the Warrior is the chivalrous code of the samurai that has influenced the Japanese way-of-life for centuries. This epic film spans several generations of a typical samurai family, and illustrates the intricate system of loyalty, honor and sacrifice which bound the samurai in ages past, and which, in many ways, persists to this very day.
Bushido, a.k.a. The Way of the Warrior is the chivalrous code of the samurai that has influenced the Japanese way-of-life for centuries. This epic film spans several generations of a typical samurai family, and illustrates the intricate system of loyalty, honor and sacrifice which bound the samurai in ages past, and which, in many ways, persists to this very day.

Starring Kinnosuke Nakamura, directed by Tadashi Imai. Winner of the Golden Bear award at the 1963 Berlin International Film Festival.
>> No. 33681 ID: cfe73e
File 145205485227.jpg - (0.98MB , 2034x2925 , Bushido - The Cruel Code of the Samurai (1963) 1.jpg )
Bushido - The Cruel Code of the Samurai was an interesting film of terrible things happening to a family, cataloged in their records over 350 years and read by their descendant. Low-ranking samurai families having to endure horrendous acts of officials abusing their power.
>> No. 33682 ID: cfe73e
  Another good samurai period drama of unfortunate events is Hara-Kiri (1962)
Following the collapse of his clan, an unemployed samurai (Tatsuya Nakadai) arrives at the manor of Lord Iyi, begging to be allowed to commit ritual suicide on the property. Iyi’s clansmen, believing the desperate ronin is merely angling for a new position, try to force his hand and get him to eviscerate himself—but they have underestimated his beliefs and his personal brand of honor. Winner of the Cannes Film Festival’s Special Jury Prize, Harakiri, directed by Masaki Kobayashi is a fierce evocation of individual agency in the face of a corrupt and hypocritical system. https://www.criterion.com/films/743-harakiri
HARAKIRI https://youtu.be/gBxnOKPprsM
>> No. 33684 ID: cfe73e
  Rashomon directed by Akira Kurosawa (1950) https://youtu.be/OgsEa2Em3wg
In 12th century Japan, two travelers attempt to discover the truth about an am- bush/rape/murder. They get four completely different versions of the incident from the three people involved in the crime and the single witness. An insightful masterpiece that established Kurosawa and Japanese cinema as major artistic forces. Fine performances, particularly Mifune as the bandit. Visually beautiful and rhythmic.
>> No. 33685 ID: cfe73e
  Ugetsu Monogatari by Kenji Mizoguchi (1953). https://youtu.be/A7wPfRk-qps
In the beginning of the springtime in the period of the Japanese Civil Wars of the Sixteenth Century in Lake Biwa in the Province of Omi, the family man farmer and craftsman Genjurô travels to Nagahama to sell his wares and makes a small fortune. His neighbor Tobei that is a fool man dreams on becoming a samurai, but he can not afford to buy the necessary outfit. The greedy Genjurô and Tobei work together manufacturing clay potteries, expecting to sell the pieces and enrich; however, their wives Miyage and Ohama are worried about the army of the cruel Shibata that is coming to their village and they warn their ambitious husbands. Their village is looted but the families flee and survive; Genjurô and Tobei decide to travel by boat with their wives and baby to sell the wares in a bigger town. When they meet another boat that was attacked by pirates, Genjurô decides to leave his wife and son on the bank of the river, promising to return in ten days. Genjurô, Tobei and Ohama raise a large amount but Tobei leaves his wife to buy the samurai outfit and seek fame and fortune. Meanwhile the female aristocratic Lady Wakasa and her servant ask Genjurô to bring her shopping to her fancy Kutsuki House. Sooner Genjurô and Tobei discover the price they have to pay for their ambition. http://www.imdb.com/title/tt0046478/
>> No. 33687 ID: cfe73e
  Not to be confused with
Chikamatsu Monogatari, aka The Crucified Lovers (1954), directed by Kenji Mizoguchi https://youtu.be/A4-kjHrIobg
Ishun is a wealthy, but unsympathetic, master printer who has wrongly accused his wife and best employee of being lovers. To escape punishment, the accused run away together, but Ishun is certain to be ruined if word gets out.
>> No. 33692 ID: 8aa34f
Great movie but the ending sucked.

Poor guy doesn't even get his revenge.

I liked Kiru a lot better.
>> No. 33693 ID: cfe73e
I just saw that movie, Kill! (1968). Another classic in the Criterion Collection.
In this pitch-black action comedy by Kihachi Okamoto, a pair of down-on-their-luck swordsmen arrive in a dusty, windblown town, where they become involved in a local clan dispute. One, previously a farmer, longs to become a noble samurai. The other, a former samurai haunted by his past, prefers living anonymously with gangsters. But when both men discover the wrongdoings of the nefarious clan leader, they side with a band of rebels who are under siege at a remote mountain cabin. Based on the same source novel as Akira Kurosawa’s Sanjuro, Kill! playfully tweaks samurai film convention, borrowing elements from established chanbara classics and seasoning them with a little Italian western. https://www.criterion.com/films/763-kill

One of the first samurai movies I ever saw was Shogun Assassin (1980), a combination of the first two films in the 1972 Lone Wolf and Cub 6-movie series, using 12 minutes of the first film, Lone Wolf and Cub: Sword of Vengeance (Kozure Ōkami: Kowokashi udekashi tsukamatsuru or Wolf with Child in Tow: Child and Expertise for Rent), and most of Lone Wolf and Cub: Baby Cart at the River Styx (Kozure Ōkami: Sanzu no kawa no ubaguruma or Wolf with Child in Tow: Perambulator of the River of Sanzu). These in turn were based on the long-running 1970s manga series, Lone Wolf and Cub, created by the writer Kazuo Koike and the artist Goseki Kojima.

That got me interested in the original series and in Japanese films in general.

SHOGUN ASSASSIN HD Trailer https://youtu.be/ZxAPEyzcCtU
>> No. 33694 ID: cfe73e
  Lone Wolf and Cub: Sword of Vengeance (1972) Trailer https://youtu.be/x2eMNC9E6dc
>> No. 33695 ID: 963c4b
  Sansho the Bailiff (1954)
Another period piece of corrupt officials abusing their power, misfortune, degradation and woe. Virtue is punished, wickedness rewarded, and ethical but powerless common people are crushed under misfortunes.

While on a journey to visit their father, a banished governor, Zushio (Yoshiaki Hanayagi) and Anju (Kyoko Kagawa) are attacked, separated from their mother, Tamaki (Kinuyo Tanaka), and sold as slaves to an estate managed by the brutal Sansho (Eitaro Shindo). The children grow up as slaves on the estate, but when Anju hears a newly acquired slave singing song that mentions their names, they realize their mother may still be alive and make plans to find her.

Sansho the Bailiff / 山椒大夫 (1954) https://youtu.be/YbBC4wK3YKU
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