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Show The Newspaper Thursday, February 5, 1981 Page 17 ft "1 by Rick Brough II tYYW I : I I i c. VVAM'7 '18$ r ...... $ lJ i-' .v ; Forget the spurting arteries, Kurosawa's epic works in grand, poignant style A Classic Recommended Good Double feature material , Time-Killer Formasochists only '2 Kagemusha The sleazy fun of a picture like "Shogun Assassin" has more plot in 15 minutes than in one hour of "Kagemusha," and certainly cer-tainly more bloodletting in five minutes than the entire three hours of Akira Kurosawa's latest epic. It would have trouble holding an audience's interest, in-terest, yet it is vastly superior to something like "Shogun," whose chop-socky chop-socky action can be duplication by innumerable hacks. Only a great director, however, could bring off a massive story with the wit, understanding, and epic sweep that you find in the best sequences of "Kagemusha." The film is playing in in major movie nouses (instead (in-stead of an art theater, where most foreign films are shown), thanks in part to the influence of the American executive producers, Francis Ford Coppola and George Lucas. Audiences will have a large theater screen before them, as they watch the epic story of a warlord's death and the downfall of his empire, seen through the eyes of one man a petty thief who happens hap-pens to be the lord's look-alike. look-alike. The power in 16th-century Japan is held by three warlords, and the most formidable for-midable is Shingen (Tatsuya Nakadai). After he is mortally mor-tally wounded, Shingen realizes his enemies will close in on his empire when his death is known. So he orders or-ders his generals to install the thief as his stand-in ("kagemusha'-literally "Shadow "Sha-dow of a warrior") for three-years. three-years. The double has no identity, so he slides, with childlike awe, into the role of the noble. His best friend in the new role as his lord's grandson, grand-son, who says, "He's different. dif-ferent. I'm not afraid of him any more." At his grandfather's grand-father's knee, the youngster young-ster learns from his elders el-ders the meaning of the clan's crest. "Wind, forest, fire, mountain" represent different elements of the clan's invicnible army: "Swift as the wind, silent as the forest, fierce as the fire, immovable as the mountain." moun-tain." The boy doesn't notice that his "grandfather" is listening with open-mouthed fascination, too. The lord himself represented represen-ted "the immovable mountain," moun-tain," and the thief plays the role with difficulty. At one point, he is required to preside over a fierce battle, seated for hours in a camp chair overlooking the combat com-bat from a bluff. The double presents an easy target for enemy snipers, and the thief barely suppresses his shudders shud-ders as the younger soldiers shield him and are willingly blasted down in his place. Ironically, the thief absorbs ab-sorbs the late Shingen's lessons better than the lord's own son, Katsuyori, who ignores his father's dying instructions instruc-tions about guarding one's own territory. The son (Kenichi Hagiwarai hates to be immovable. When the thief finally is exposed, Katsuyori Kat-suyori leads his troops far afield into enemy territory and into disaster. The double, now returned to rags, witnesses the slaughter in anguish. And director Kurosawa's heart goes out to him as much as to the gallantly massacred army. ar-my. Kurosawa parallels the large tragedy the extinction extinc-tion of a mighty clan against a smaller one the plight of a man who is given an identity, a loyalty to something larger than himself, for the first time in his life and then has both taken away from him. The movie has subtitles, but that doesn't mean you'll read yourself to sleep, even over three hours. The images overpower the written writ-ten dialogue. Kurosawa's camera trots along with triumphant armies (it's rare nowadays to show an aesthetic appreciation for the military unit), climbs over enemy battlements with them, silhouettes them against flame or sunset, and sometimes simply rests in contemplation at a council of war. My favorite scene in the movie is one of these still, prolonged scenes. Three men sitting cross-legged face the camera from various angles. Lord Shingen sits between the thief and the lord's brother, who looks a great deal like the lord and has served as his "kagemusha" in the past. While the look-alike sits in obvious discomfort, the two brothers carry on a conversation, unconsciously echoing each other's gestures. And ul! are dressed in exactly the same Wntlu-s. It is a marvelous p c-'ni- uf identity called into iii rile with irony and humour. Even a director like Kurosawa might be hard-pressed hard-pressed to match that for three hours. He succeeds, with the help of a superb crew. The photography by Takao Saito and Shoji Ueda is sumptuous. And the case is superb, led by Tatsuya Nakadai, who plays both general and thief. He is especially good as the double, torn between dignity and anguishing doubts that flicker across his face like candlelight. I have doubts myself that the epic works entirely. Kurosawa lingers over scenes that have no point, either for plot or dramatic effect 'a long bit. for example, exam-ple, where an enemy sniper explains how he wounded Shingen). It's also not too clear how the double's feelings of loyalty toward the clan develop. Nevertheless, those who call the Kurosawa film a masterpiece are not far wrong. In his appearance at the U.S. Film Festival, critic Roger Kbert said 'Kagemusha'' was advertised adver-tised in some cities with the line. "In the great tradition of 'Shogun'!" He continued, "II they had said. Infinitely more subtle, intelligent, and beautiful than Shogun," nobody would go to see it." Beauty often must be appreciated ap-preciated over time; it sneaks up on you. Kurosawa's rolls over you in long, slow waves. It requires a different experience from the movies that work on you like hot tubs. Cast lining up for 'Bus Stop' "Bus Stop The Intermountain Actors' Ensemble is pleased to announce its cast for the upcoming production of "Bus Stop." Appearing in the three-act comedy are Lydia Norton as Elma, the waitress; Robin Kaari as Grace, the owner of the restaurant; John Lehmer as Will, the sheriff; Leslie Luyken as Cherie, the chan-teuse; chan-teuse; Chuck Folkerthas Dr. Lyman, the professor; Spence Nelson as -Carl, the bus driver; Cyrus Thubeault as Virgil, the ranch hand; and Clayton Maw as Bo, the cowboy. The production, directed by Jean Fiatt, will open Thursday, Feb. 19, and will run Feb. 20, 21,26,27, 28. Anyone interested in helping help-ing on (tie production can drop by rehearsal in the Memorial Building Monday through Thursday nights, or can leave a message for Jean or Annie at 649-8093. ki-n -i -i-m th -si -vt. t t- -y -y fy- rvrvrv v v .-j jy THE MOUNTAIN STATES COMPANIES Specializing in REAL ESTATE & ENERGY INVESTMENTS Park City: 649-80 03, Salt Lake: 355-0333 Insured by S.P.I.C. mm KPCW Memorial Bldg. Park City 649-9004 4WL4NCHE 942-4059 INFORMATION Utah Avalanche Forecast Center Catering S ervices Due to many requests we have decided to expand our restaurant service to the corr, tmunity by offering complete catering sei rvices. Weddings, luaus, film showings, lunche ons, cocktail parties, gourmet dinners, office parties, aw. ards banquets, Christmas parties. We Can Do It AH! Your House or Ours 649-6800 PARK CITY -A we. cove you Here 's your Cortboy "Bar Discount Card (for Cocal Tolks only!) 268 Main Street 0 Name A is entitled to $1.00 off dinner or nightly cover charge at the Cowboy Bar. ('cept for concerts & benefits) expires March 31, 1981- j ''''''' j j j I Restaurant 1 ii Seafood Beef Oyster Bar Set Sail For Park City's Finest Restaurant SERVING DINNER NIGHTLY FROM 5:00 At the Resort 649-7778 J |