A few years after his breakthrough, Sanshiro resumes his path to judo mastery—testing his discipline against an American prizefighter and later facing vengeful karate brothers. As rival schools and public spectacle push him toward violence, he must reconcile strength with restraint and the true spirit of his art.

Story of a bandit king.

Young men endure challenging flight training in the Yokaren, a program feeding new pilots into the Army and Navy. By the time of the filming, the pressure of the war had led the government to shorten the training and expand the age range of the recruits. Yokaren was highly selective, and thus an object of great fascination and desire for boys and young men. In this Navy–sponsored film, Setsuko Hara plays the daughter of a family that often entertains recruits on their days off—a surrogate sister to many trainees. Her fragile younger brother aspires to join the program, but is rejected. With perseverance and much support from Hara and their mother, he surmounts his weaknesses and becomes a flier.

The Color Print of Edo is a 1939 black and white Japanese silent film with benshi accompaniment directed by Kazuo Mori. It is a cheerful period drama, sprinkled with comical scenes and tells the story of a loyal and handsome Edo period servant who fights to help his older brother marry the woman he loves. The star of this film, Utaemon Ichikawa, gained enormous popularity for his portrayal of a cheerful and chivalrous man.

Stalwart soldiers of the Japanese Empire – Japanese and Korean alike – stand in defense of a military outpost threatened by "bandits."

Another adaptation of Tange Sazen.

The tale of Nakayama Yasubei’s duel is famous, even if he in reality probably did not cut down 18 opponents. The story has been related in film, rakugo, kodan and on stage many times, in part because Nakayama later joined the famous 47 Ronin (Chushingura) as Horibe Yasubei. But Makino and Inagaki’s version gives no hint of this more serious future, playing up the thrills and the comedy with Bando’s bravura performance. The multiple pans of Yasubei running to the duel are an exemplar of the experimental flourishes of 1930s Japanese cinema and the final duel, performed virtually like a dance number, is a marker of Makino’s love of rhythm and one of the best sword fights in Japanese film history. The film was originally released under the title Chikemuri Takadanoba (Bloody Takadanobaba) with a length of 57 minutes, but suffered some cuts and a title change when it was re-released in 1952.

Story of a bandit king part 2.

During the Warring States era, Hozoin Kakuzenbo and Yagyu Tajima-no-kami, being best friends, spend their days acquiring skills of the spear, sword and martial arts. Hozoin loses a series of matches with master swordsman Kozumi Ise-no-kami. Bitterly ashamed, Hozoin embarks on a journey, trying to perfect his skills. A few years later, Hozoin is ready and it's time for the ultimate showdown with Ise-no-kami!

Mt. Norikura's natural fortress, the phantom castle. A white-clad iron mask, offering prayers to the eerie triple-faced deity of the Sennjogadake Rocks - the lord of the phantom castle, scheming to overthrow the Tokugawa shogunate that destroyed his lord. Sent by the shogunate to infiltrate Hida, Kigurumi Tsukinosuke's cover is blown... (Existing version. Please excuse any deterioration in image quality due to original conditions.)

It is 1921 and a town has a newspaper which prints urgent bulletins as required. The Washington-based CITES treaty, in which Japan participates, puts a limit on the number of warships any country can possess. As a result, Japan has to decommission a ship to its makers' disappointment. An institute of technology's laboratory designs a new ship. Due to less ships, sailors have to retire and are also disappointed. The laboratory's manager and an admiral are visiting a patient at a hospital and meet coincidentally. The former has a daughter who worries about her father's workload. She asks him to accompany her to a concert. Father has little time, but is convinced for her sake. He is inspired for a ship's design at the performance. The film is inspired by the life of Jo Hiraga.

The undercover agent Tsukinosuke Kigurumi successfully escapes with Kirisaku, who possesses the coveted Shinshu Mountain map targeted by the phantom gang, but loses the key to unlocking it. The one who picks up the key is Osumi, a female courier. (Existing version. Please excuse any deterioration in image quality due to original conditions.)

In the midst of the depression, two ronin rack their brains to come up with a dishonest scheme. Taking a man from the countryside, they fashion him into Ise Isenokami, the finest swordsman under the sun. Pretending to be his followers, they visit various sword fighting dojo. Out of fear upon hearing the name Isenokami, they pay him off and do not let him enter their training halls. The impostor eventually comes face to face with the real Isenokami after rescuing his daughter, Oyae, who is caught up in a minor incident.

A representative film directed by Masahiro Makino, son of Shozo Makino ("the father of Japanese film"). This film lent status to ensemble casts that did not rely on famous stars. The unique setting of the samurai town, exquisite camera work and fast-paced sword fighting scenes all have an original appeal that audiences can related to even today.

Second part of director Hiroshi Inagaki's 1940 adaptation of the story of Musashi Miyamoto.

Jirokichi the Rat is wanted in Edo for robbing the mansions of the rich. While on the run, he falls for Osen, a girl who has been sold to a brothel by her criminal brother, Nikichi. When he goes to find Nikichi, Jirokichi immediately falls for Okino, a poor girl who is also under threat from Nikichi.

Forty-seven Ronin of the Ako clan are waiting for the right moment to avenge the insult and death of their master. The film tells the story of one of them named Akagaki Genzo.

An actor, hit on the head, dreams that he has become legendary one-eyed gangster Mori no Ishimatsu.

Matsugoro is a poor rickshaw driver whose animated spirit and optimistic demeanor make him a favorite of the town. Matsu helps an injured boy, Toshio, and is hired by the boy's parents.

Miyamoto Musashi is challenged by a series of opponents in this follow up to Miyamoto Musashi's Kongoin Ketto (1942, also called Nitoryu Kaigen) also directed by Ito Daisuke.

Tsukinosuke narrowly misses capturing the lord of the phantom castle by a hair's breadth. The mountain map was with Kirisaku at the Ashiwara residence, belonging to the phantom gang. Tsukinosuke heads to the Ashiwara residence to rescue Kirisaku, but in the meantime, the Matsudaira residence is attacked by the phantom gang... (Existing version. Please excuse any deterioration in image quality due to original conditions.)

Bored Hatamoto film #9

Kageboshi, based on the screenplay by Rokuhei Rokuhei Susukita, depicts the life of the ‘jovial thief’, Kageboshi.

All that remains of the first Samurai Town Story is the concluding battle.

A train conductor goes about his duty. All the characters are animals in human form. Hippo ladies in dresses try to jam into cars and other passengers pull jokes and cause havoc.

Set in the Edo period, the film deals with two brothers falling in love with the same girl. Sadly, only 12 minutes of footage survive.

Early Japanese three-part samurai / fantasy serial.

Bored Hatamoto film #8

The film is about a protest provoked when the university decided to restrict access to sports facilities to athletes, cutting out all other students. This is, strictly speaking, not a Prokino film. It was produced by the Waseda University Film Circle, which was organized by Kawazoe Shiro. Feature film directors Yamamoto Satsuo and Taniguchi Senkichi were apparently students at Waseda at the time and participated in the production.

Ito Daisuke's wartime retelling of the Miyamoto Musashi story.

Kurama Tengu is a 1928 black and white Japanese silent film with benshi accompaniment directed by Teppei Yamaguchi. It is a film which is a part of the series depicting the bold and daring hero Kurama Tengu. The popular series comprises numerous films based on the original novel written by Jiro Osaragi, but those featuring Kanjuro Arashi are considered to be the most valuable. Of note is the last scene in which the main character takes on numerous foes with a sword in each hand.

Japanese noir.

This is the story of a samurai who falls on hard times due to misunderstandings and follows the plots of his enemies.

Bored Hatamoto film #6

In old Edo, Kakunojo (Chiezo), a dandy about town, falls in love with Oichi (Isuzu Yamada), whose merchant family is much beyond Kakunojo's status. He nevertheless pursues her until her initial disgust breaks down into fondness, then romantic feelings, inducing her to abandon her fiance on their wedding day.

Bored Hatamoto film #7

Bored Hatamoto film #3

Bored Hatamoto film #1

Bored Hatamoto film #4

A reel of the Noh drama Momiji-gari, in which Danjuro Ichikawa played opposite Onoe Kikugoro V as an ogress who has disguised herself as the Princess Sarashina. Filmed by Shibata Tsunekichi in the open air on a windy day in November 1899, Danjuro would allow only the one take, so that when his fan blew away in mid-performance the scene had to stay. The film re-emerged at the Kikikan theatre in 1907 where it was a great success and inspired a wave of fiction filmmaking based on traditional Japanese narratives.

Bored Hatamoto film #5

Bored Hatamoto film #2

An important silent film survives, Kumahiko Nishina's Umon torimonocho rokuban tegara jinenji kidan (The Samurai Detective, aka The Detective Records of Umon, aka Detective Umon Diary: Exploit Number Six, 1930). Umon on his shining white horse stops a conspiracy against the Shogun. Umon was played by Kanjuro Arashi in this early film, & long after in the post-Occupation jidaigeki revival he reprised the role in Kajiro Yamamoto's Muttsuri Umon torimonocho (1955), helping to launch the renewed interest in such films.

A lost film considered one of Japan's first Tokusatsu films. The effects were done by Fuminori Ohashi, who claims to have been a modeling consultant for Godzilla 1954 (this claim is disputed by modeler Eizo Kaimai and art staff member Shinji Hiruma). The film's synopsis published in the March 1938 issue of Kinema Junpo indicates that the "Kong" featured in this film was not actually a giant monster.

In medieval Japan, a brutal and corrupt magistrate is planning to kill the child who is about to become the heir to the estate and position of the local lord and substitute his own "heir", an orphan, in order to get control of the late lord's estate and rule as the impostor's "regent". However, a mysterious stranger appears and sets out to thwart the magistrate's plans and free the people from his oppressive rule.

The Ryueis and the Tenmokus fight over gold bullion secretly stored away in Osaka Castle. A dramatization of a popular novel - three competing studios also produced their own versions of the story.

A film on the life of Shibukawa Bangorō, the founder of the Shibukawa-ryū school of jūjutsu. To paraphrase Satō Tadao’s blurb on the back cover of the video, this is an important film for three reasons. 1. it is an almost perfectly well preserved copy of one of only a few full-length movies still available of the first superstar in Japanese cinema history, the very famous Onoe Matsunosuke. 2. it uses a method that was common in the silent era, the dyeing/tinting of film to mark given moments of day (for ex., blue for night-time) or given situations (for ex., red for fire) – and even though most films that used this technique have been redeveloped in straight b&w, this one is available in its original form. 3. it is an early SFX (special effects) movie that uses the basic tools of the trade - a great action movie full of swordsmanship and monsters (bakemono).

Chiezo Kataoka plays a cowardly samurai, whose honor is on the line when it becomes necessary to avenge the murder of his father. The culminating duel takes place on a night of fireworks.

The movie begins with a mysterious murder and Umon Kondo, a Doshin, so called drag-ass Umon, who dallies away lying sprawled all day long, launches an investigation.

Jiraiya is some sort of super-ninja with superpowers. He can fly, he can avoid detection by turning himself into a toad, and he has some sort of ability to vanish.

Tokutaro is an orphan child who becomes a street candy vendor. He sells candies, humming a song he learned long ago from his mother. One day he met with thieves along the way and this encounter changes their lives in ways they cannot imagine.

Among the many famous 16th-century samurai who made the leap from myth and ukiyo-e to early cinema screen was sword-master Miyamoto Musashi, previously depicted in prints by Kiniyoshi Yoshitoshi and others slaying an array of grotesque creatures including giant bats, giant lizards, and the mythical tengu. This imagery informed his first screen depiction in Miyamoto Musashi Taiji No Ba, which showed him combatting the mythic white ape of the mountains.

A Japanese silent film

A short Japanese animation film from 1934.

Araki Mataemon was a very strong warrior, and his feud against the samurai Kawai Matagorō is one of the most famous in Japan. Matagoro killed Gendayu, the little brother of Mataemon's brother in law, Watanabe Kazuma. Becoming a murderer out of jealousy for a childhood friend, Matagoro fled in another domain, using friends of his father and his lineage linked to Tokugawa Ieyasu. It was somehow a complicated matter, as it seems at that time, a law from Toyotomi Hideyoshi allowed a little brother taking revenge for his elder brother, but not the reverse. After some years, the lord of Kazuma and Mataemon found a way, and they were allowed to take revenge for the murder. They fought and killed Matagoro and just one other samurai who was helping the culprit. It seems at that time, Kazuma was Mataemon's only assistant.

Edo-period samurai Araki Mataemon and his brother-in-law Watanabe Kazuma seek revenge on Kawai Matagoro. Paper film produced using celuloid from Araki Mataemon: Master Swordsman (Kumahiko Nishina, Japan, 1935)

Pre-war jidaigeki film from 1936, produced by Uzumasa Hassei Eiga studios