Sachiko is on the run from the law after being implicated in the murder of her mistress. In her travels, she comes across the charming, squeaky-voiced Yoko who offers her refuge in her candle-lit inn. She can’t believe her luck. But of course, things are never that easy. Yoko calmly informs her that her husband, Ryûnosuke, is a cruel and violent man. Upon meeting him, it becomes clear that Yoko’s claims were not unfounded – though she has left out the part about how she enjoys cruelty and sexual deviance just as much as her significant other. The couple blackmails her and threatens to deliver her to the police. Sachiko has no other choice but to obey them.

Woods.Are.Wet.1973.BDRIP.576p.x264.AC3.KJNU.mkv

General
Container:  	Matroska
Runtime: 	1 h 5 min
Size: 	1.45 GiB
Video
Codec: 	x264
Resolution: 	1024x418 
Aspect ratio:  	2.450
Frame rate: 	23.976 fps
Bit rate: 	3 000 kb/s
BPP: 	0.292
Audio
#1:  	Japanese 2.0ch AC-3 @ 192 kb/s

https://nitro.download/view/5992C4A625D0420/Woods.Are.Wet.1973.BDRIP.576p.x264.AC3.KJNU.mkv

Language(s):Japanese
Subtitles:English

The post Tatsumi Kumashiro – Onna jigoku: Mori wa nureta AKA Woods Are Wet (1973) first appeared on Cinema of the World.

Quote:
Set in 1937, this is the story of Asakichi, who is played by Shiuntaro Katsu, best known as being Zatoichi in 26 films. Asakichi has been disowned by his father for gambling, so he heads off to make his living in cockfighting. He, in quick order, wins some money, takes up with a fallen geisha and quickly comes in conflict with the yakuza. Besting their top man, Asakichi, is drawn into the life of a yakuza despite his efforts to remain outside of it.

1.01GB | 1h 46m | 496×368 | avi

https://nitro.download/view/56A87D0ECECF460/Masumura.Yasuzo.Akumyo.shima.arashi.1974.avi

Language(s):Japanese
Subtitles:English hard subs

The post Yasuzo Masumura – Akumyo: shima arashi AKA Bad Reputation: Notorious Dragon (1974) first appeared on Cinema of the World.

Quote:
…
Peter High: Your war films seem to fall into two categories – those large, epic productions you did for Toho like Gekido no Showa-shi Okinawa kesen (The Battle of Okinawa, 1971) and the low-budget, personal ones financed by yourself, like Nikudan (The Human Bullet, 1968) and Tokkan (Batle Cry, 1975).
Okamoto Kihachi: Yes, the ones at Toho were expensive o the time, about 400,000 US-Dollars. The budget for my personally financed films was one tenth of that. Of course, Japanese cinema simply can’t compete with the budgets of American films like The Longest Day. We’re forced to suggest entire battle scenes by showing small parts of the whole. Okinawa kessen is a good example, since the entire Japanese Army had ot be represented by fifteen actors and the American side by another fifteen – so even at Toho I was restricted to a rather puny scale. In Nikudan I worked with only one character and in Tokkan, I had only two. Again I was trying to convey the whole by portraying a mere part. So actually the budget in Japan doesn’t make very much difference after all.
Peter High: Did Toho lay down any rules or guidelines about how you should portray the war?
Okamoto Kihachi: No, there really weren’t any at all. They simply wanted to insure a financial success – or rather, avoid losing money on a flop. That was their sole concern. The company made the big decisions about the kind of film to be made. Once in production, I had a fairly free hand. Of course, as time went on, their decision became a real headache. Kiru (Kill!, 1968) – the samurai film with Mifune – was my last Toho film where I was free to choose the subject myself. After 1968, all my films were dictated totally by the company hierarchy. Both Nikudan and Tokkan were written while I was still a director for Toho. I submitted both these scripts and negotiated with Toho about Nikudan for three years. Needless to say, nothing happened and I need up financing it myself. The same for Tokkan. Financing films on my own was a nightmare, but emotionally liberating.
…
Peter High: If you had made Japan’s Longest Day by yourself, would it have turned out differently?
Okamoto Kihachi: Actually, the issue goes deeper than that. If I’d been in complete control, my real problem would have been with the theme itself. I’d rather do a film about the opening days of the war than about the final days.
Peter High: But, wouldn’t doing a film about the beginning of the war inevitably put you in the position of implicating someone with war-responsibility?
Okamoto Kihachi: I suppose so. But that’s not necessarily an ideological problem. For example, at the beginning of the war the Emperor couldn’t control the events which led us into conflict. But in the final phase, he did press for a decision to prevent the total extinction of Japan. Without his decisive action, I myself might not be alive today. So, you might say its the tale of how I personally survived the war. Still, this in now way explains how the war began. I believe the roots of the war can be uncovered only by looking all the way back to the period of a hundred years ago. Therefore, I set Tokkan in precisely that period.
(Peter B. High, ” An Interview with Kihachi Okamoto”, in: “Wide Angle”, Vol. 1, No. 4 (1977), pp. 25-26)

1.37GB | 1h 32m | 720×560 | avi

https://nitro.download/view/D91B84736FF8DF0/Okamoto_Kihachi_-_Tokkan_(1975).avi
https://nitroflare.com/view/441CD7ED5F6CF3E/Tokkan.1975.DVDRip.XviD-MOC.EN.srt

Language(s):Japanese
Subtitles:English

The post Kihachi Okamoto – Tokkan AKA Battle Cry (1975) first appeared on Cinema of the World.

– Sachiko has just committed a crime. She is helped by a couple to whom she grants her confidence. Quickly this couple blackmails her and threatens to deliver her to the police. Sachiko has no other choice but to obey them. –

592MB | 1h 5mn | 704×336 | avi

http://nitroflare.com/view/61FA4591DD058F7/Onna.Jigoku-Mori.Wa.Nureta._Tatsumi.Kumashiro.1973_.english.subs._k_.avi
http://nitroflare.com/view/77B438233640BA5/Onna.Jigoku-Mori.Wa.Nureta._Tatsumi.Kumashiro.1973_.english.subs._k_.srt

Language(s):Japanese
Subtitles:English (srt)

The post Tatsumi Kumashiro – Onna jigoku: mori wa nureta aka Woods are wet (1973) first appeared on Cinema of the World.

Plot:
When a mountain man (Lone Wolf and Cub’s Tomisaburo Wakayama) kills a man and steals his wife (Shima Iwashita), he bites off more than he can chew. Rather than being a submissive victim, the beautiful woman soon browbeats her murderous husband into total compliance, convincing him to murder all but one member of his harem of dirty mountain women. She soon becomes his wife, and convinces him to take her (and the one girl she spared, now a maid) to the capital, where the mountain man begins his new vocation: collecting heads for his wife, who uses them as props in her own personal melodramas. Soon, Wakayama (his character has no name) becomes a feared figure in the city, and his wife’s collection of heads grows and grows. But how long can it last?

Review:
Beauty and horror combine in equal measures in this mid-70s outing by Masahiro Shinoda. Under the Blossoming Cherry Trees begins with gorgeous images of cherry trees (you guessed it, blossoming) in a modern landscape. As people go about their day, and young voice tells us that it was once believed that those who walked under the blossoming cherry trees would lose their minds. And with that brief prelude, the film takes us back, into the past, where Wakayama attacks an entourage and takes by force the woman who will be his wife.

You can’t help but feel sorry for Wakayama, despite the fact that he plays a wild, unkempt, and murderous mountain man. In fact, there’s something cute about his rustic life, his shaggy looks, and the way his stocky little body sprints around the forest, causing mayhem. It’s a clear example of a bad character being made to look good by the presence of a truly evil character–in this case, his wife.

You know Wakayama is in for it almost immediately: when he tells his new wife that he’s abducting her, and taking her to his home, she makes him carry her. Surely, if he’s such a tough man, he can carry his wife up a mountain, right? And Wakayama, eager to show off his manliness, does just this, even though it entirely exhausts him. When he gets to his hovel, he introduces his new wife to six or seven others, which he’d probably accumulated in much the same way he got this new one. She asks him to kill them–all but one, to be her maid–and he does so. The mountain man clearly represents a sort of bestial, alpha male badness, but she represents something else altogether. Soon she henpecks him out of his comfort zone, forcing him to move to the capital. And then he is murdering for her, cutting off people’s heads so that his wife can put on bizarre, pornographic plays, with them as props.

Perhaps the wife is some sort of demon, or hungry ghost. It’s certainly a possibility. She seems strangely detached from the rest of the world–though she longs to leave his mountain cabin, when the mountain man takes her to the city, she remains indoors, hidden away with her grisly toys. Only the maid sees her, and perhaps her ready compliance to her mistress’s wants speaks to her awareness of her lady’s evil nature. Certainly this touch of the supernatural would not be out of place in a film where falling cherry blossoms are shown to drive people completely and utterly mad. And it is this madness, this mindless insanity, that the mountain man begins to crave, perhaps as the only escape from the trap that his wife has left him in.

Under the Blossoming Cherry Trees.1975.1080p.WEB-DL.AAC2.0.H.264.KG.mkv

General
Container:  	Matroska
Runtime: 	1 h 35 min
Size: 	2.45 GiB
Video
Codec: 	x264
Resolution: 	1792x1080 
Aspect ratio:  	5:3
Frame rate: 	23.976 fps
Bit rate: 	3 541 kb/s
BPP: 	0.076
Audio
#1:  	Japanese 2.0ch AAC LC @ 137 kb/s

https://nitro.download/view/DAA7595B9062F37/Under_the_Blossoming_Cherry_Trees.1975.1080p.WEB-DL.AAC2.0.H.264.KG.mkv

Language(s):Japanese
Subtitles:English Hardcoded

The post Masahiro Shinoda – Sakura no mori no mankai no shita AKA Under the Blossoming Cherry Trees (1975) first appeared on Cinema of the World.