Podcast appearances and mentions of Akira Kurosawa

Adam and Josh continue Filmspotting’s Dissident Cinema Marathon with Akira Kurosawa’s 1946 drama No Regrets for Our Youth. Released in the immediate aftermath of WWII, the film stands out as a blatantly political entry in Kurosawa's catalog — and notably, his only film featuring a sole female protagonist.See omnystudio.com/listener for privacy information.

Hace 50 años, el 6 del 6 del 76, una fecha muy apropiada, tenía lugar en Londres el estreno mundial de “La profecía”, uno de los grandes clásicos del cine de terror que revisamos en este episodio. También nos ocupamos de otro clásico en nuestra sección de cine de aventuras: 'Los siete samuráis' de Akira Kurosawa, uno de esos títulos que siempre aparecen en los primeros puestos de las listas de las mejores películas de la historia. Charlamos con la directora Laura García Alonso sobre cine y atletismo y sobre su nueva película, 'Corredora', y le damos un repaso a la trayectoria de uno de los mejores músicos de cine de las últimas décadas que cumple 75 años: James Newton Howard

Cap

En este nuevo Par-Impar la conversación se centra en El Tren del Infierno, un thriller de 1985 con guion del mismísimo Akira Kurosawa. En esta nueva entrega del podcast de cine de esRadio, Par-Impar, Juanma y Dani comentan la película de Andrei Konchalovski El tren del infierno, un thriller norteamericano sobre dos presos que se fugan de un penal de Alaska y acaban donde no deberían: siendo los únicos pasajeros a bordo de un tren descontrolado que amenaza con descarrilar a cada momento.

En esta primera parte dedicada a la relación entre cómic y cine, Alberto Azcueta nos guía por una fascinante selección de novelas gráficas y biografías ilustradas sobre los grandes nombres del séptimo arte. Desde pioneras como Alice Guy hasta leyendas como Charles Chaplin, Fritz Lang, Bela Lugosi, Orson Welles, Akira Kurosawa o Fellini, descubrimos cómo el cómic se convierte en una herramienta única para narrar la historia del cine y sus sombras. También hablamos de expresionismo alemán, Hollywood clásico, true crime, Pasolini, Metrópolis y obras imprescindibles como Filmish, el ensayo gráfico que analiza el lenguaje cinematográfico. ️ Una conversación imprescindible para amantes del cine, el cómic y la cultura visual. ☕ Hazte socio/a de El Café de la Lluvia y forma parte de nuestra comunidad: https://elcafedelalluvia.com/hazte-socio-a-de-el-cafe-de-la-lluvia/ Escúchanos y léenos en nuestra web: https://elcafedelalluvia.com/ ▶️ Suscríbete a nuestro canal de YouTube: https://www.youtube.com/c/ElCafédelaLluvia Recibe nuestros contenidos en tu correo: https://elcafedelalluvia.com/suscripcion-newsletter/ Síguenos en redes sociales: Twitter: https://twitter.com/cafelluvia Instagram: https://www.instagram.com/elcafedelalluvia/ Facebook: https://www.facebook.com/Cafedelalluvia Tu apoyo nos ayuda a seguir dando voz a la cultura, la literatura y el pensamiento crítico. Gracias por acompañarnos ☕✨

Diese Woche bei Oscars & Himbeeren:“Marty, Life Is Short” ist eine wunderbar herzliche Dokumentation über einen der unterschätztesten Entertainer Hollywoods, die nicht nur den Humor von Martin Short feiert, sondern auch die leisen Zwischentöne seines Lebens sichtbar macht; “Legends” wiederum verbindet klassischen britischen Crime-Thriller mit überraschend viel Atmosphäre und Figurenstärke und zeigt, dass Netflix immer noch Serien produzieren kann, die spannend und stilvoll sind; “Nuklearer Notfall” schafft das Kunststück, aus einer realen Katastrophe eine intensive, menschliche Miniserie zu machen, die gleichermaßen erschüttert und fesselt; und “Ran” (1985) von Akira Kurosawa bleibt ohnehin eines der größten Kinoepen aller Zeiten, ein visuell überwältigendes, emotional tiefes Meisterwerk, das bis heute nichts von seiner Kraft verloren hat.Oscars & Himbeeren - wie immer: schonungslos auf den Punkt gebracht.Hört rein!Wenn euch der Podcast gefällt und ihr tiefer einsteigen wollt, findet ihr auf Substack weitere Texte, Porträts und Filmkritiken vonRonny Rüsch – Filmkritiker. Lasst gern ein Abo da.Und wenn ihr unsere Arbeit unterstützen möchtet, freuen wir uns über eine kleine Kaffeespende via PayPal.Streaming-Plattformen, die die Inhalte dieser Episode anbieten (Stand: Mai 2026):“Marty, Life Is Short” - Netflix“Legends” - Netflix“Nuklearer Notfall” - Netflix“Ran” - Prime Video Get full access to Ronny Rüsch - Filmkritiker at hausmeisterronny.substack.com/subscribe

Ceux qui sont en âge d'avoir connu l'année 1986 ont toutes les chances d'être allés au cinéma en ce mois de mai. Tout d'abord parce que ces dernières semaines sont sortis des films dont tout le monde parle quel que soit le genre auquel on est attaché : les salles ne désemplissent pas.On est allé chercher une irrésistible envie de safari africain avec Out of Africa pour Robert Redford et Meryl Streep, 7 Oscars au mois de mars, quelle récolte ! Oh on en a beaucoup parlé, hein, parce que c'était mérité tout d'abord, et puis aussi parce que La couleur pourpre de Steven Spielberg, nommé 11 fois, n'en a reçu aucun. Chacun a sa théorie sur le sujet.Donc à voir ! Comme Highlander. Je me rappelle encore la grande salle de l'Eldorado à Namur pleine à craquer pour ce film britannique présenté comme un blockbuster américain.Déjà le héros est incarné par Christophe Lambert. Ah on ne voit que lui ! Récemment, il a été un Tarzan tout-à-fait inattendu et novateur dans Greystoke et aussi un marginal flamboyant errant dans le métro parisien. Qui n'est pas allé voir le déroutant et enthousiasmant Subway.Et puis il y a Pretty in pink, le nouveau film du gars qui a fait Breakfast Club. De celui-là aussi, on va en parler après l'avoir vu car ce n'est pas du tout le teen movie auquel on s'attendait.Le thème est plutôt plombant, l'atmosphère aussi, et pour cause. Et pourtant immense succès et surtout une bande originale qui va enfin lancer aux Etats-Unis le son de la new wave britannique avec les Psychedelic Furs, New Order et Orchestral Manoeuvres.Oui, même si 1986 est l'année où les vidéoclubs commencent à s'installer dans toutes les villes y compris les petites communes, le cinéma attire toujours autant de monde qui aime ces films projetés en dolby stéréo. Oh on ne sait pas exactement ce que c'est sauf que ça sonne super bien dans la salle comme si le son nous enveloppait. Loin le temps où il était diffusé par deux gros baffles placés derrière l'écran.C'est vrai que le monde du cinéma redoute cette cassette VHS à louer, il craint qu'elle ne détourne les gens des salles obscures au profit du divan du salon. Alors pour le moment, vous n'y trouverez que des films du genre Atomic Cyborg, sous produit nanar italien, et non les films d'action à gros biceps et gros budgets qui commencent à s'imposer avec deux figures majeures : Sylvester Stallone qui aligne les Rocky et les Rambo, et Arnold Schwarzenegger qui est sorti de sa première époque barbare avec tout d'abord Terminator, puis ce printemps incarne un tueur à gages pas comme les autres dans Commando. C'est pas fute fute comme film même si on voit que le réalisateur a cherché à faire quelque chose de plus ambitieux.Et quelle meilleure vitrine que Cannes pour le souligner avec, à la surprise générale, un film d'action présenté en compétition. Pas le genre, ça ! Et pourtant Runaway Train, cette histoire de train fou lancé sur les rails à travers l'Alaska avec à son bord comme seul espoir, un détenu réputé dangereux, a tout du film de genre, sur le papier. Il est pourtant signé Kontchalovski, réalisateur russe, déjà primé à Cannes et récemment réfugié aux Etats-Unis. Mais là où l'histoire devient folle, c‘est que le scénario est signé Akira Kurosawa, Palme d'Or à Cannes et réalisateur emblématique des Sept Samuraïs. On est allé le voir, bien sûr, loin de nous douter qu'il inspirera un gars pour signer dans les années 90 un énorme blockbuster nommé Speed, avec Keanu Reeves. Non, vraiment, en 1986, le cinéma est partout, même dans les clips vidéos.

"I've seen people as they are, without pretense. I've seen their beauty and their ugliness with my own eyes." At long last, Film Junk is finally showing legendary director Akira Kurosawa a little love with a review of his 1958 epic adventure film The Hidden Fortress. Is it one of his all-time masterpieces? Many would argue not. But it is a pretty fun watch that served as a loose inspiration for Star Wars, which was our excuse for digging into it. Is Toshiro Mifune one of the manliest actors who ever lived? How do you hide gold inside wood? Should older movies be held up to the same level of plot scrutiny as modern ones? Does every fire festival serve terrible sandwiches? Grab your yari and meet us on the battlefield for the latest episode of Film Junk, you shitworm.

We close House of Kurosawa with Kagemusha (1980), where a thief becomes body double for a dying warlord and learns pretending to be powerful is harder than having it. Made with support from George Lucas and Francis Ford Coppola, Kurosawa crafted a meditation on identity and performance. The color is stunning, the battle sequences are chaos, and the film asks whether anyone can tell the difference between a real leader and a convincing fake. It's slow, beautiful, and punishing cinema about impostors and power.

Dana and Tom with guest, Myke Emal (Host and Creator of the Cinemusts podcast), discuss Yojimbo (1961) for its 65th anniversary: written and directed by Akira Kurosawa with Ryūzō Kikushima and Hideo Oguni, cinematography by Kazuo Miyagawa, music by Masaru Sato, editing by Akira Kurosawa, starring Toshiro Mifune, Eijirō Tōno, Tatsuya Nakadai, and Daisuke Katō.Plot Summary: In a small, lawless town divided by two rival gangs, Toshiro Mifune plays a wandering ronin who sees an opportunity. Pretending to work for both sides, he tricks each gang into fighting the other, hoping to wipe them out and bring peace to the town. As his plan unfolds, the violence grows, and innocent people are caught in the middle.The ronin must rely on his intelligence and sword skills to survive as both gangs begin to suspect his true intentions. In the end, he faces the consequences of his dangerous game while trying to restore some sense of justice.Guest:Myke EmalHost and Creator of the Cinemusts podcast@cinemusts on Twitter, Letterboxd, Facebook, and IGPreviously on Anatomy of a Murder (1959), Sabotage (1936)Chapters:00:00 Introduction, Cast, and Background for Yojimbo05:59 Welcome Back, Myke Emal!06:46 Getting Into Yojimbo10:48 Is the Divided Town Symbolic of Anything?12:55 Endorsement of Violence?18:05 Dana's War Stories19:48 Plot Summary for Yojimbo20:37 What is Yojimbo About?21:39 Did You Know?27:35 First Break28:18 What's Happening with Myke Emal?29:49 Best Performance(s)42:17 Best Scene(s)48:51 Second Break52:18 In Memoriam55:36 Best/Funniest Lines57:57 The Stanley Rubric - Legacy01:04:56 The Stanley Rubric - Impact/Significance01:09:16 The Stanley Rubric - Novelty01:16:13 The Stanley Rubric - Classicness01:22:36 The Stanley Rubric - Rewatchability01:26:39 The Stanley Rubric - Audience Score and Final Total01:29:54 Remaining Questions for Yojimbo01:37:29 Thank You to Myke and Final Thoughts01:42:56 CreditsYou can also find this episode in full video on YouTube.You can now follow us on Instagram, Twitter, Bluesky, Threads, YouTube, or TikTok (@gmoatpodcast).For more on the episode, go to: https://www.ronnyduncanstudios.com/post/yojimbo-1961-ft-myke-emalFor the entire rankings list so far, go to: https://www.ronnyduncanstudios.com/post/greatest-movie-of-all-time-listKeywords:Yojimbo, Kurosawa, Samurai Films, Cinematography, Film Influence, Western Adaptations, Film Analysis, film legacy, cinema influence, Japanese cinema, film analysis, rewatchability, film impact, classic films, film discussionRonny Duncan Studios

Quick everyone, imagine John Cena's entrance theme in your mind. Got it playing? Great, because we're pulling a Remake Rumble out of the Hiatus Vault - this week, it's time for a three way match covering all things Magnificent Seven! This episode covers the Akira Kurosawa's original Seven Samurai (1954), The Magnificent Seven (1960), and The Magnificent Seven (2016), as well as a brief detour into A Bug's Life (obviously). There's complaining, appreciation for attractive actors, love of some good movies, and bad math. Put in your bets for the winner of the Rumble before you listen, and let us know if you disagree after you listen! We always love a spirited debate (as if that was obvious after 135 episodes of podcasting) .There's also a special guest on this episode: Matty's cat, Mortimer. If you listen closely, you can hear him scream in this episode. If you can give us the timestamp of the kitten yelling I don't think we have something to send you but you'll get to hear a cute kitten sound, so that's nice!

New Episode — Full WatchTwo masters. Two radically different ways of seeing cinema.In this episode of The Artists Podcast, we explore the worlds of Akira Kurosawa and Yasujirō Ozu with renowned film scholar David Desser—a leading voice in Japanese cinema studies.How do artists form a way of seeing the world?And what shapes their stories, styles, and cinematic language?From cultural influences and philosophy to audience, failure, and ambition—this conversation looks at what made Kurosawa and Ozu two of the most influential filmmakers in history.

[Note: Episode recorded in 2024] Tokyo, 1952.Seven years after World War II, Japan's public sector is in shambles: inadequate funding, multi-layered corruption, and bureaucratic apathy have left the people desperate for systemic change. Amidst this turmoil is one man, Watanabe, who has been a civil servant for close to thirty years, busying himself thoughtlessly and monotonously to the point of dehumanisation. However, unbeknownst to anyone, there is something special about him: in less than a year, Watanabe will be dead.Work. Service. Meaning. What is it all for? Are work and labour the same thing? How have we historically envisioned the importance of work as a social and cultural phenomenon? Under the umbrella of state-capitalism, how do workers become Subjects; what are the tensions between community-oriented and nationalist work; fundamentally, by what processes and associations do we ascribe "value" to certain individual and social projects?Ikiru, Akira Kurosawa's daring and dioramic critique of the relationship between individual and community, community and nation, and nation and morality is oft-considered one of the greatest films of all time. Its relevance cannot be understated in a time of growing communal tensions, increased global shifts towards the far-right and jingoism and, of course, the further fragmentation of work and labour.This latest episode is in two parts: the first, on Ikiru, and the second, on a surprisingly similar film by Wim Wenders: Perfect Days. We had a fantastic time thinking through both stories' impact, and hope you gain as much from our discussion as we did from the films! As always, we would love to hear your thoughts, so please don't hesistate to reach out to us on Instagram, e-mail, or using a voice note on Spotify!References:1) Ikiru screenplay and Donald Richie2) The Farewell (Chinese film), directed by Lulu Wang3) Louis Althusser - Ideology and Ideological State Apparatus4) Shin Godzilla, directed by Hideaki Anno5) Living, directed by Oliver Hermanus6) A Christmas Carol by Charles Dickens7) Off/Screen article: A Study of Kurosawa's IkiruNote: At one point, Shrish refers to Donald Richie as Donald Richardson; we just wanted to apologize for that oversight!

This week on ClapperCast, Hillary White joins Carson Timar to finally discuss the work of Akira Kurosawa on the podcast with a review for Sanjuro! Subscribe on Patreon for Bonus Episodes & Early Access: https://www.patreon.com/clappercastpodEmail us at ClapperCast@gmail.com- Social Media Links -Twitter: https://twitter.com/ClapperPodcastLetterboxd: https://letterboxd.com/clappercast/Carson Timar: https://bsky.app/profile/carsontimar.bsky.socialHillary White: https://letterboxd.com/degelle/Create Your Podcast on Zencastr Today: https://zencastr.com/?via=clappercastThanks for Watching!

In this episode, we explore Dreams, the deeply personal, visually poetic anthology film by legendary Japanese director Akira Kurosawa. Unlike his samurai epics and crime dramas, this film abandons conventional narrative to guide us through eight dreamlike vignettes inspired by Kurosawa's own recurring dreams.We unpack how Dreams serves as a cinematic memoir—reflecting Kurosawa's childhood memories, spiritual beliefs, fears about nuclear catastrophe, reverence for nature, and anxieties about humanity's future. From the haunting beauty of “Sunshine Through the Rain” to the apocalyptic dread of “Mount Fuji in Red,” each segment becomes a meditation on life, death, art, and the fragile relationship between humans and the natural world.We'll also discuss the film's extraordinary visual language, its collaboration with artists and filmmakers like Martin Scorsese (who appears as Vincent van Gogh), and how this late-career work reveals Kurosawa at his most vulnerable and philosophical._____________________________________________________________Feel free to email at silverscreenvideopodcast@gmail.com with any comments or thoughts. Also be sure to follow us on Instagram @silverscreenvideopodcast, Twitter @SilverVideo, and TikTok silver.screen.vid. Intro Music by:⁠⁠https://soundcloud.com/ajax-blak⁠

This week on PodQuest, we have our latest book club chat about the 1954 Akira Kurosawa classic Seven Samurai, Chris has been reading the 2023 run of Daredevil, and Walnut played a new board game called Innovation. We also chat a bit about Droo's time seeing The Wonder Years 4 times last week, and an MCU related tangent. Our current book club topic is going to be "Team Up" movies and we're wrapping it up with D2: The Mighty Ducks (1994). Help Walnut play some DnD - https://www.tiktok.com/t/ZTkuvLR3C/ Timestamps 00:00:00 - Intro 00:02:29 - Agenda 00:03:18 - The Wonder Years (Band) 00:11:55 - Book Club Discussion - Seven Samurai 00:24:23 - MCU Stuff 00:43:23 - Next Book Club… 00:44:13  Daredevil (2023 Comic) 00:59:16 - Innovation (Board game) 01:19:28 - Outro Support One-Quest https://www.Patreon.com/OneQuest Follow Us Email - Social@one-quest.com Twitter - @One_Quest Instagram - @One_Quest Facebook - OneQuestOnline Follow Chris on Twitter - @Just_Cobb Follow Richie on Twitter - @B_Walnuts Follow Drootin on Twitter - @IamDroot Check out Richie's streaming and videos! Twitch b_walnuts YouTube BWalnuts TikTok b_walnuts Intro and Outro music Mega Man 2 'Project X2 - Title Screen' OC ReMix courtesy of Project X over at OCRemix

This episode tracks into the film's storytelling, pacing, and visual style, revealing its impact on George Lucas and the potential for Mifune in the Star Wars universe. Discover Kurosawa's balance of humor and heroism, and how his use of widescreen format creates emotional depth. Perfect for film lovers and Star Wars fans, this episode connects Eastern cinema with Western storytelling, offering fresh insights into a timeless classic.

This week on PodQuest, we have our latest book club chat about the 1954 Akira Kurosawa classic Seven Samurai, Chris has been reading the 2023 run of Daredevil, and Walnut played a new board game called Innovation. We also chat a bit about Droo's time seeing The Wonder Years 4 times last week, and an MCU related tangent.

Hvis du lurer på hva i alle verdens dager vi snakker om i tittelen her, så er det bare å høre! (kanskje ikke hvis du er stor fan av Tom Cruise) Denne uken har vi sett Dreams (1990) av Akira Kurosawa, som veldig mange av oss var nysgjerrige på. I tillegg har Sverre kommet med en helt ny morsom lek, som vi hvertfall lo masse av. Håper dere gjør det samme! I studio: Sverre Aars, Adam Oscar Schou Andersen, Brage Merkesdal og Maja Rekkedal

This week, we're pulling one from the vault. Jeff and Brad discuss one of the greatest and most influential filmmakers of all time, Akira Kurosawa. Join us as we dive into an incredible adaptation of William Shakespeare's Macbeth with Kurosawa's 1957 classic, Throne of Blood!Check out our NEW YouTube Channel and subscribe now! Our new series Previously On... is exclusively available over on YouTube to cover your favorite TV shows, and ours!Would you like to hear the show early and ad-free? Head over to our Patreon and get started with a FREE 7-day trial. We've got plenty of exclusive content and episodes that you'll only find there! You can also sign up as a free member! Connect with us on social media and our website

Garrett Chaffin-Quiray and Ed Rosa discuss the predator-prey relationship to continue the series “Revenge of Nature”.***Referenced media:“A Clockwork Orange” (Stanley Kubrick, 1971)“The Rocky Horror Picture Show” (Jim Sharman, 1975)“Jaws” (Steven Spielberg, 1975)“One Flew Over the Cuckoo's Nest” (Miloš Forman, 1975)“Star Wars” (George Lucas, 1977)“The Deep” (Peter Yates, 1977)“The Rescuers” (Wolfgang Reitherman, John Lounsbery, and Art Stevens, 1977)“Orca” (Michael Anderson, 1977)“Eraserhead” (David Lynch, 1977)“Close Encounters of the Third Kind” (Steven Spielberg, 1977)“Saturday Night Fever” (John Badham, 1977)“Pete's Dragon” (Don Chaffey, 1977)“Ran” (Akira Kurosawa, 1985)“Kagemusha” (Akira Kurosaw, 1980)“Barry Lyndon” (Stanley Kubrick, 1975)“Eyes Wide Shut” (Stanley Kubrick, 1999)“Rashomon” (Akira Kurosawa, 1950)“Shoeshine” (Vittorio De Sica, 1946)“Avatar” (James Cameron, 2009)“Throne of Blood” (Akira Kurawa, 1957)“Red Beard” (Akira Kurosawa, 1965)“Dodes'ka-den” (Akira Kurosawa, 1970)“Seven Samurai” (Akira Kurosawa, 1954)“Madadayo” (Akira Kurosawa, 1993)“Bill & Ted's Excellent Adventure” (Stephen Herek, 1989)Audio quotation:“Pete's Dragon” (Don Chaffey, 1977), including “Brazzle Dazzle Day” by Al Kasha and Joel Hirschhorn, https://www.youtube.com/watch?v=kaLY2kKwqJk&list=RDkaLY2kKwqJk&start_radio=1“Dersu Uzala” (Akira Kurosawa, 1975), including “Journal” and “Arseniev on the Mountain Top” by Isaak Shvarts, https://www.youtube.com/watch?v=6zNtQVYyC4M&list=RD6zNtQVYyC4M&start_radio=1“Tank Glass – big rips only”, posted by Tank Glass, https://www.youtube.com/shorts/dkp4gq8-5c0“Star Wars” (George Lucas, 1977), including “The Force Theme by John Williams, https://www.youtube.com/watch?v=41ak2jr55fE“Avatar” (James Cameron, 2009), including “Becoming One of the People – Becoming One With Neytiri” by James Horner, https://www.youtube.com/watch?v=t7CL4WrwLAQ&list=PLF490561BA881D005&index=5“Ran” (Akira Kurosawa, 1985), including “Opening Credits – Main Title” by Tōru Takemitsu, https://www.youtube.com/watch?v=d7YWL0mP6jU&list=RDd7YWL0mP6jU&start_radio=1“Bill & Ted's Excellent Adventure” (Stephen Herek, 1989)

How many Akira Kurosawa films have you watched? How many Netflix animes have you binged? Is The Last Samurai Hans Zimmer's best score? Won't you join us for a stereotypical weeb discussion, dear listener?Samurai Media- Yojimbo- Lone Wolf and Cub- Ghost of TsushimaNews- Escape From New York Remake - Coyote vs. Acme is ReleasingTrailer- Street Fighter

Seven Samurai by Akira Kurosawa is a classic film that has shaped cinema worldwide. This episode explores its themes of responsibility and heroism, along with its groundbreaking storytelling and cinematography. We discuss why the film remains relevant today and how it continues to inspire. Whether you're a film enthusiast or just curious, you'll gain fresh insights into this influential work.

Discover the roots of Akira Kurosawa's film Rashomon. Ambrose Bierce, today on The Classic Tales Podcast.   Welcome to this VINTAGE episode of The Classic Tales Podcast, where an audiobook format gives you an immersive experience in classic literature. You can get friendlier with the classics you know, and discover new favorites. I'm your host BJ Harrison. I'm glad you could join us.     Well, you've heard me talk a lot about The Audiobook Library Card. It's like Netflix for audiobooks, you can listen all you want, 18 years of recordings, there's tons of stuff, yeah, yeah, yeah. Well, I'm so happy to announce that now it's possible to buy multiple licenses and SHARE THE AUDIOBOOK LIBRARY CARD with your nearest and dearest.   Maybe you're a family with a few bookworms who commute. Maybe you're a tutor with students who struggle to read. Maybe you're a therapist whose clients have trouble sleeping. Whatever the case, now you can extend the wonders of unlimited listening of the Classic Tales Library to your kith, kin, colleagues and compatriots.   And the introductory prices are outrageously low. Like, five licenses for $19.99/month. Five. And it just gets better from there. Again, it's the best deal on the internet.   Once you buy a subscription, we'll set you up to share with the people on your plan. Cancel anytime. It's a smorgasbord of listening enjoyment for all your friends and relations.   Go to audiobooklibrarycard.com or follow the link in the show notes, and subscribe today.   Today's story established the format for the short story "In a Grove", by Ryūnosuke Akutagawa, the father of the Japanese short story. "In a Grove" influenced the great Akira Kurosawa to create the film Rashomon. The concept being that two witnesses can give widely different accounts of the same factual event.   It may also serve as  William James's thesis that "it is not so much the truth of events that matters, but how they are perceived, and the difference that they make to the perceiver". I hope you like it.   And now, "The Moonlit Road", by Ambrose Bierce       Follow this link and get Multiple Licenses for The Audiobook Library Card   Follow this link and watch the new video walkthrough using PocketBook.   Follow this link to get The Audiobook Library Card for a special price of $9.99/month     Follow this link to subscribe to our YouTube Channel:       Follow this link to subscribe to the Arsène Lupin Podcast:     Follow this link to follow us on Instagram:     Follow this link to follow us on Facebook:

https://m.ebay.co.uk/sch/i.html?sid=tindogpodcast&_pgn=1&isRefine=true&_trksid=p4429486.m3561.l49496 Atlantis: The Lost Empire is a 2001 American animated science fiction adventure film directed by Gary Trousdale and Kirk Wise, produced by Don Hahn, and written by Tab Murphy. Produced by Walt Disney Feature Animation, it stars Michael J. Fox, James Garner, Cree Summer, Don Novello, Phil Morris, Claudia Christian, Jacqueline Obradors, Florence Stanley, David Ogden Stiers, John Mahoney, Jim Varney, Corey Burton and Leonard Nimoy. Set in 1914, the film follows young linguist Milo Thatch, who gains possession of a sacred book, which he believes will guide him and a crew of mercenaries to the lost city of Atlantis. Development of the film began after production had finished on The Hunchback of Notre Dame (1996). Instead of another musical, directors Trousdale and Wise, producer Hahn, and screenwriter Murphy decided to do an adventure film inspired by the works of Jules Verne. Atlantis: The Lost Empire was notable for adopting the distinctive visual style of comic book artist Mike Mignola, one of the film's production designers. The film made greater use of computer-generated imagery (CGI) than any of Disney's previous traditionally animated features and remains one of the few to have been shot in anamorphic format. Linguist Marc Okrand constructed an Atlantean language specifically for use in the film. James Newton Howard provided the film's musical score. The film was released at a time when audience interest in animated films was shifting away from traditional animation toward films with full CGI. Atlantis: The Lost Empire premiered at the El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001, and went into its general release on June 15. The film received mixed reviews from critics. Budgeted at around $90–120 million, Atlantis grossed over $186 million worldwide, $84 million of which was earned in North America; its lackluster box office response was identified as a result of being released in competition with Shrek, Lara Croft: Tomb Raider, The Fast and the Furious and Dr. Dolittle 2. As a result of the film's box office failure, Disney cancelled a planned spin-off animated television series, Team Atlantis; an underwater Disneyland attraction; and a volcanic Magic Kingdom attraction based on it. Atlantis was nominated for several awards, including seven Annie Awards, and won Best Sound Editing at the 2002 Golden Reel Awards. The film was released on VHS and DVD on January 29, 2002, and on Blu-ray on June 11, 2013. Despite its initial reception, reception in later years became favorable and has given Atlantis a cult following[5] and reappraisal from critics as a mistreated classic, due in part to Mignola's unique artistic influence.[6][7] A direct-to-video sequel, Atlantis: Milo's Return, was released in 2003. Plot In 1914 Washington, D.C., archaeo-linguist Milo Thatch obsesses over finding the legendary lost city of Atlantis, believed to have sunk thousands of years ago. His employers ridicule his theories, but he gains an unexpected ally in eccentric millionaire Preston B. Whitmore, a friend of Milo's deceased adventurer grandfather who also sought the city. Determined to honor his old friend's quest, Whitmore recruits Milo for an expedition to Atlantis, having recently uncovered the Shepherd's Journal, an ancient Atlantean manuscript that contains directions to the lost city. Aboard the submarine Ulysses, Milo meets his teammates: Commander Lyle Tiberius Rourke, Lieutenant Helga Sinclair, demolitions expert Vincenzo Santorini, geologist Gaetan "Mole" Molière, medical officer Joshua Sweet, mechanic Audrey Ramirez, radio operator Wilhelmina Packard, mess cook Jebidiah "Cookie" Farnsworth, and a platoon of mercenaries. Upon reaching a cave entrance leading to the lost city, the submarine is destroyed by a massive mechanical leviathan, killing most of the crew. Milo and the survivors escape in smaller craft, navigating through the cave to emerge among ancient ruins. Milo translates the journal, guiding the team through caves beneath a dormant volcano until they reach the worn remains of Atlantis. There, they are greeted by Princess Kidagakash "Kida" Nedakh, who, despite being around 8,500 years old, has the appearance of a young woman. She leads them to her father, King Kashekim, who orders them to leave. Learning that Milo can read their language—a skill lost to the Atlanteans over millennia—Kida asks for his help in uncovering their forgotten history and highly-advanced technology, without which the city has declined and resources have dwindled. Milo learns that Atlantis is powered by the Heart of Atlantis, a massive crystal that grants longevity and health to its citizens through the smaller crystals they carry. Rourke betrays Milo and the Atlanteans, revealing his true intention to steal the Heart for profit, despite knowing the Atlanteans will perish without it. He mortally wounds the King while seizing control and uncovers the crystal's hidden location beneath the city. Sensing the danger, the crystal merges with Kida, who is then captured by Rourke. He departs with the crystallized Kida and his mercenaries, except for Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie, who refuse to take part in the Atlanteans' destruction. Before dying, the King reveals that Atlantis was devastated by a megatsunami after he attempted to weaponize the crystal's vast power. To protect the city, the crystal merged with a royal family member, Kida's mother. This created a protective dome over the city's inner district, shielding it from total destruction as Atlantis sank beneath the waves, but Kida's mother never returned. To prevent the crystal from ever merging with Kida, the King hid it, inadvertently accelerating Atlantis' decline. He warns Milo that Kida will be lost forever if she is not soon separated from the crystal and pleads with him to save her. Alongside his allies, Milo rallies the Atlanteans to reactivate their long-dormant flying machines. Together, they eliminate Rourke and his mercenaries in the volcano. Milo and the others fly the crystallized Kida back to Atlantis as the volcano erupts. Kida ascends into the air and awakens Stone Guardians, who erect a barrier that shields the city from the lava flow. With Atlantis saved, the crystal separates from Kida and remains suspended in the sky. Milo chooses to stay in Atlantis with Kida, having fallen in love with her. Before returning to the surface, Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie each receive a small crystal and a share of treasure. The six reunite with Preston on the surface and agree to keep their adventure a secret to protect Atlantis. Preston opens a package from Milo containing his own crystal and a note thanking him. The newly crowned Queen Kida and Milo carve a stone effigy of her father to join those of past rulers floating beside the Heart of Atlantis, as the city stands restored to its former glory. Voice cast Production layout sketch of Milo and Kida. Milo's character design was based in part on sketches of the film's language consultant, Marc Okrand. Michael J. Fox as Milo James Thatch, a linguist and cartographer at the Smithsonian who was recruited to decipher The Shepherd's Journal while directing an expedition to Atlantis. James Garner as Commander Lyle Tiberius Rourke, the leader of the band of mercenaries for the Atlantean expedition. Cree Summer as Kidagakash "Kida" Nedakh, the Princess of Atlantis and Milo's love interest. Natalie Strom provided dialogue for Kida as a young child. Summer also voiced the unnamed Queen of Atlantis, Kida's mother and Kashekim's wife who was "chosen" by the Crystal during the sinking of the city. John Mahoney as Preston B. Whitmore, an eccentric millionaire who funds the expedition to Atlantis. Lloyd Bridges was originally cast and recorded as Whitmore, but he died before completing the film. Mahoney's zest and vigor led to Whitmore's personality being reworked for the film.[8] Claudia Christian as Lieutenant Helga Katrina Sinclair, Rourke's German-born second-in-command. Don Novello as Vincenzo "Vinny" Santorini, an Italian demolitions expert. Phil Morris as Dr. Joshua Strongbear Sweet, a medic of African-American and Arapaho descent. Jacqueline Obradors as Audrey Rocio Ramirez, a Puerto Rican mechanic and the youngest member of the expedition. Corey Burton as Gaetan "Mole" Molière, a French geologist who acts like a mole. Jim Varney as Jebidiah Allardyce "Cookie" Farnsworth, a Western-style chuckwagon chef. Varney died in February 2000, before the production ended, and the film was dedicated to his memory. Steven Barr recorded supplemental dialogue for Cookie. Florence Stanley as Wilhelmina Bertha Packard: an elderly, sarcastic, chain-smoking radio operator who is also the expedition's photographer. Leonard Nimoy as Kashekim Nedakh, the King of Atlantis and Kida's father. David Ogden Stiers as Fenton Q. Harcourt, a board member of the Smithsonian Institution who dismisses Milo's belief in the existence of Atlantis. Production Development The production team visited New Mexico's Carlsbad Caverns to get a sense of the underground spaces depicted in the film. The idea for Atlantis: The Lost Empire was conceived in October 1996 when Don Hahn, Gary Trousdale, Kirk Wise, and Tab Murphy lunched at a Mexican restaurant in Burbank, California. Having recently completed The Hunchback of Notre Dame,[9] the producer, directors and screenwriter wanted to keep the Hunchback crew together for another film with an "Adventureland" setting rather than a "Fantasyland" setting.[10] Drawing inspiration from Jules Verne's Journey to the Center of the Earth (1864) and Twenty Thousand Leagues Under the Seas (1870), they set out to make a film which would fully explore Atlantis (compared to the brief visit depicted in Verne's novel).[11] While primarily utilizing the Internet to research the mythology of Atlantis,[12] the filmmakers became interested in the clairvoyant readings of Edgar Cayce and decided to incorporate some of his ideas—notably that of a mother-crystal which provides power, healing, and longevity to the Atlanteans—into the story.[13] They also visited museums and old army installations to study the technology of the early 20th century (the film's time period), and traveled underground in New Mexico's Carlsbad Caverns to view the subterranean trails which would serve as a model for the approach to Atlantis in the film.[14] The filmmakers wanted to avoid the common depiction of Atlantis as "crumbled Greek columns underwater", said Wise.[15] "From the get-go, we were committed to designing it top to bottom. Let's get the architectural style, clothing, heritage, customs, how they would sleep, and how they would speak. So we brought people on board who would help us develop those ideas."[16] Art director David Goetz stated, "We looked at Mayan architecture, styles of ancient, unusual architecture from around the world, and the directors really liked the look of Southeast Asian architecture."[17] The team later took ideas from other architectural forms, including Cambodian, Indian, and Tibetan works.[18] Hahn added, "If you take and deconstruct architecture from around the world into one architectural vocabulary, that's what our Atlantis looks like."[19] The overall design and circular layout of Atlantis were also based on the writings of Plato,[18] and his quote "in a single day and night of misfortune, the island of Atlantis disappeared into the depths of the sea"[20] was influential from the beginning of production.[9] The crew wore T-shirts which read "ATLANTIS—Fewer songs, more explosions" due to the film's plan as an action-adventure (unlike previous Disney animated features, which were musicals).[21] Language The Atlantean letter A, created by artist John Emerson. Kirk Wise noted that its design was a treasure map showing the path to the crystal, "The Heart of Atlantis". Main article: Atlantean language Marc Okrand, who developed the Klingon language for the Star Trek television and theatrical productions, was hired to devise the Atlantean language for Atlantis: The Lost Empire. Guided by the directors' initial concept for it to be a "mother-language", Okrand employed an Indo-European word stock with its own grammatical structure. He would change the words if they began to sound too much like an actual, spoken language.[16] John Emerson designed the written component, making hundreds of random sketches of individual letters from among which the directors chose the best to represent the Atlantean alphabet.[22][23] The written language was boustrophedon: designed to be read left-to-right on the first line, then right-to-left on the second, continuing in a zigzag pattern to simulate the flow of water.[24] The Atlantean [A] is a shape developed by John Emerson. It is a miniature map of the city of Atlantis (i.e., the outside of the swirl is the cave, the inside shape is the silhouette of the city, and the dot is the location of the crystal). It's a treasure map. — Kirk Wise, director[25] Writing Joss Whedon was the first writer to be involved with the film but soon left to work on other Disney projects. According to him, he "had not a shred" in the movie.[26] Tab Murphy completed the screenplay, stating that the time from initially discussing the story to producing a script that satisfied the film crew was "about three to four months".[27] The initial draft was 155 pages, much longer than a typical Disney film script (which usually runs 90 pages). When the first two acts were timed at 120 minutes, the directors cut characters and sequences and focused more on Milo. Murphy said that he created the centuries-old Shepherd's Journal because he needed a map for the characters to follow throughout their journey.[28] A revised version of the script eliminated the trials encountered by the explorers as they navigated the caves to Atlantis. This gave the film a faster pace because Atlantis is discovered earlier in the story.[29] The directors often described the Atlanteans using Egypt as an example. When Napoleon wandered into Egypt, the people had lost track of their once-great civilization. They were surrounded by artifacts of their former greatness but somehow unaware of what they meant. — Don Hahn, producer[30] The character of Milo J. Thatch was originally supposed to be a descendant of Edward Teach, otherwise known as Blackbeard the pirate. The directors later related him to an explorer so he would discover his inner talent for exploration.[31] The character of Molière was originally intended to be "professorial" but Chris Ure, a story artist, changed the concept to that of a "horrible little burrowing creature with a wacky coat and strange headgear with extending eyeballs", said Wise.[32][33] Don Hahn pointed out that the absence of songs presented a challenge for a team accustomed to animating musicals, as action scenes alone would have to carry the film. Kirk Wise said it gave the team an opportunity for more on-screen character development: "We had more screen time available to do a scene like where Milo and the explorers are camping out and learning about one another's histories. An entire sequence is devoted to having dinner and going to bed. That is not typically something we would have the luxury of doing."[16] Hahn stated that the first animated sequence completed during production was the film's prologue. The original version featured a Viking war party using The Shepherd's Journal to find Atlantis and being swiftly dispatched by the Leviathan. Near the end of production, story supervisor John Sanford told the directors that he felt this prologue did not give viewers enough emotional involvement with the Atlanteans. Despite knowing that the Viking prologue was finished and it would cost additional time and money to alter the scene, the directors agreed with Sanford. Trousdale went home and completed the storyboards later that evening after visiting a strip club where he boarded the new sequence on a napkin.[34] The opening was replaced by a sequence depicting the destruction of Atlantis, which introduced the film from the perspective of the Atlanteans and Princess Kida.[35] The Viking prologue is included as an extra feature on the DVD release.[36] Casting Kirk Wise, one of the directors, said that they chose Michael J. Fox for the role of Milo because they felt he gave his characters his own personality and made them more believable on screen. Fox said that voice acting was much easier than his past experience with live action because he did not have to worry about what he looked like in front of a camera while delivering his lines.[37] The directors mentioned that Fox was also offered a role for Titan A.E.; he allowed his son to choose which film he would work on, and he chose Atlantis.[38] Viewers have noted similarities between Milo and the film's language consultant, Marc Okrand, who developed the Atlantean language used in the film. Okrand stated that Milo's supervising animator, John Pomeroy, sketched him, claiming not to know how a linguist looked or acted.[24] Kida's supervising animator, Randy Haycock, stated that her actress, Cree Summer, was very "intimidating" when he first met her; this influenced how he wanted Kida to look and act on screen when she meets Milo.[39] Wise chose James Garner for the role of Commander Lyle Tiberius Rourke because of his previous experience with action films, especially war and Western films, and said the role "fits him like a glove". When asked if he would be interested in the role, Garner replied: "I'd do it in a heartbeat."[40] Producer Don Hahn was saddened that Jim Varney, the voice of Jebidiah Allardyce "Cookie" Farnsworth, never saw the finished film before he died of lung cancer in February 2000, but mentioned that he was shown clips of his character's performance during his site sessions and said, "He loved it." Shawn Keller, supervising animator for Cookie, stated, "It was kind of a sad fact that [Varney] knew that he was not going to be able to see this film before he passed away. He did a bang-up job doing the voice work, knowing the fact that he was never gonna see his last performance." Steven Barr recorded supplemental dialogue for Cookie.[41] John Mahoney, who voiced Preston Whitmore, stated that doing voice work was "freeing" and allowed him to be "big" and "outrageous" with his character.[42] Dr. Joshua Sweet's supervising animator, Ron Husband, indicated that one of the challenges was animating Sweet in sync with Phil Morris' rapid line delivery while keeping him believable. Morris stated that this character was extreme, with "no middle ground"; he mentioned, "When he was happy, he was really happy, and when he's solemn, he's real solemn."[43] Claudia Christian described her character, Lieutenant Helga Katrina Sinclair, as "sensual" and "striking", and was relieved when she finally saw what her character looked like, joking, "I'd hate to, you know, go through all this and find out my character is a toad."[44] Jacqueline Obradors said her character, Audrey Rocio Ramirez, made her "feel like a little kid again" and she always hoped her sessions would last longer.[45] Florence Stanley felt that her character, Wilhelmina Bertha Packard, was very "cynical" and "secure": "She does her job, and when she is not busy, she does anything she wants."[46] Corey Burton mentioned that finding his performance as Gaetan "Mole" Molière was by allowing the character to "leap out" of him while making funny voices. To get into character during his recording sessions, he stated that he would "throw myself into the scene and feel like I'm in this make-believe world".[47] Kirk Wise and Russ Edmonds, supervising animator for Vincenzo "Vinny" Santorini, noted Vinny's actor Don Novello's unique ability to improvise dialogue while voicing the role. Edmonds recalled, "[Novello] would look at the sheet, and he would read the line that was written once, and he would never read it again! And we never used a written line, it was improvs, the whole movie."[48] Michael Cedeno, supervising animator for King Kashekim Nedakh, was astounded at Leonard Nimoy's voice talent in the role, stating that he had "so much rich character" in his performance. As he spoke his lines, Cedeno said the crew would sit there and watch Nimoy in astonishment.[49] Animation For comparison, the top image (panoramic view of Atlantis) is cropped to Disney's standard aspect ratio (1.66:1); the bottom image was seen in the film (2.35:1). At the peak of its production, 350 animators, artists and technicians were working on Atlantis[50] at all three Disney animation studios: Walt Disney Feature Animation (Burbank, California), Walt Disney Feature Animation Florida (Orlando), and Disney Animation France (Paris).[51] The film was one of the few Disney animated features produced and shot in 35mm anamorphic format. The directors felt that a widescreen image was crucial, as a nostalgic reference to old action-adventure films presented in the CinemaScope format (2.35:1), noting Raiders of the Lost Ark as an inspiration.[52] Because switching to the format would require animation desks and equipment designed for widescreen to be purchased, Disney executives were at first reluctant about the idea.[16] The production team found a simple solution by drawing within a smaller frame on the same paper and equipment used for standard aspect ratio (1.66:1) Disney-animated films.[52] Layout supervisor Ed Ghertner wrote a guide to the widescreen format for use by the layout artists and mentioned that one advantage of widescreen was that he could keep characters in scenes longer because of additional space to walk within the frame.[53] Wise drew further inspiration for the format from filmmakers David Lean and Akira Kurosawa.[16] The film's visual style was strongly based upon that of Mike Mignola, the comic book artist behind Hellboy. Mignola was one of four production designers (along with Matt Codd, Jim Martin, and Ricardo Delgado) hired by the Disney studio for the film. Accordingly, he provided style guides, preliminary character, and background designs, and story ideas.[54] "Mignola's graphic, the angular style was a key influence on the 'look' of the characters," stated Wise.[55] Mignola was surprised when first contacted by the studio to work on Atlantis.[56] His artistic influence on the film would later contribute to a cult following.[57] I remember watching a rough cut of the film and these characters have these big, square, weird hands. I said to the guy next to me, "Those are cool hands." And he says to me, "Yeah, they're your hands. We had a whole meeting about how to do your hands." It was so weird I couldn't wrap my brain around it. — Mike Mignola[56] The final pull-out shot of the movie, immediately before the end-title card, was described by the directors as the most difficult shot in the history of Disney animation. They said that the pull-out attempt on their prior film, The Hunchback of Notre Dame, "struggled" and "lacked depth"; however, after making advances in the process of multiplaning, they tried the technique again in Atlantis. The shot begins with one 16-inch (40.6 cm) piece of paper showing a close-up of Milo and Kida. As the camera pulls away from them to reveal the newly restored Atlantis, it reaches the equivalent of an 18,000-inch (46,000 cm) piece of paper composed of many individual pieces of paper (24 inches [61 cm] or smaller). Each piece was carefully drawn and combined with animated vehicles simultaneously flying across the scene to make the viewer see a complete, integrated image.[58] Scale model of Ulysses submarine by Greg Aronowitz, used by digital animators as reference during production.[59] At the time of its release, Atlantis: The Lost Empire was notable for using more computer-generated imagery (CGI) than any other Disney traditionally animated feature. To increase productivity, the directors had the digital artists work with the traditional animators throughout the production. Several important scenes required heavy use of digital animation: the Leviathan, the Ulysses submarine and sub-pods, the Heart of Atlantis, and the Stone Giants.[60] During production, after Matt Codd and Jim Martin designed the Ulysses on paper, Greg Aronowitz was hired to build a scale model of the submarine, to be used as a reference for drawing the 3D Ulysses.[59] The final film included 362 digital-effects shots, and computer programs were used to seamlessly join the 2D and 3D artwork.[61] One scene that took advantage of this was the "sub-drop" scene, where the 3D Ulysses was dropped from its docking bay into the water. As the camera floated toward it, a 2D Milo was drawn to appear inside, tracking the camera. The crew noted that it was challenging to keep the audience from noticing the difference between the 2D and 3D drawings when they were merged.[62] The digital production also gave the directors a unique "virtual camera" for complicated shots within the film. With the ability to operate in the z-plane, this camera moved through a digital wire-frame set; the background and details were later hand-drawn over the wireframes. This was used in the opening flight scene through Atlantis and the submarine chase through the undersea cavern with the Leviathan in pursuit.[63] Music and sound Since the film would not feature any songs, the directors hired James Newton Howard to compose the score after they heard his music on Dinosaur. Approaching it as a live-action film, Howard decided to have different musical themes for the cultures of the surface world and Atlantis. In the case of Atlantis, Howard chose an Indonesian orchestral sound incorporating chimes, bells, and gongs. The directors told Howard that the film would have a number of key scenes without dialogue; the score would need to convey emotionally what the viewer was seeing on screen.[64] Gary Rydstrom and his team at Skywalker Sound were hired for the film's sound production.[65] Like Howard, Rydstrom employed different sounds for the two cultures. Focusing on the machine and mechanical sounds of the early industrial era for the explorers, he felt that the Atlanteans should have a "more organic" sound utilizing ceramics and pottery. The sound made by the Atlantean flying-fish vehicles posed a particular challenge. Rydstrom revealed that he was sitting at the side of a highway recording one day when a semi-truck drove by at high speed. When the recording was sped up on his computer, he felt it sounded very organic, and decided to use it in the film. Rydstrom created the harmonic chiming of the Heart of Atlantis by rubbing his finger along the edge of a champagne flute, the sound of sub-pods moving through the water with a water pick, while a ceramic pot from a garden store was used for the sounds of the movement of the Giant stone guardians.[66] Release Atlantis: The Lost Empire had its world premiere at Disney's El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001[67] and a limited release in New York City and Los Angeles on June 8; a wider release followed on June 15.[4][61] At the premiere, Destination: Atlantis was on display, featuring behind-the-scenes props from the film and information on the legend of Atlantis with video games, displays, laser tag, and other attractions. The Aquarium of the Pacific also loaned a variety of fish for display within the attraction.[68] Promotion Atlantis was among Disney's first major attempts to utilize internet marketing. The film was promoted through Kellogg's, which created a website with mini-games and a movie-based video game give-away for UPC labels from specially marked packages of Atlantis breakfast cereal.[50] The film was one of Disney's first marketing attempts through mobile network operators, and allowed users to download games based on the film.[69] McDonald's (which had an exclusive licensing agreement on all Disney releases) promoted the film with Happy Meal toys, food packaging and in-store decor. The McDonald's advertising campaign involved television, radio, and print advertisements beginning on the film's release date.[70] Frito-Lay offered free admission tickets for the film on specially marked snack packages.[71] Home media Atlantis: The Lost Empire was released on VHS and DVD on January 29, 2002.[72] During the first month of its home release, the film led in VHS sales and was third in VHS and DVD sales combined.[73] Sales and rentals of the VHS and DVD combined would eventually accumulate $157 million in revenue by mid-2003.[74] Both a single-disc DVD edition and a two-disc collector's edition (with bonus features) were released. The single-disc DVD gave the viewer the option of viewing the film either in its original theatrical 2.39:1 aspect ratio or a modified 1.33:1 ratio (utilizing pan and scan). Bonus features available on the DVD version included audio and visual commentary from the film team, a virtual tour of the CGI models, an Atlantean-language tutorial, an encyclopedia on the myth of Atlantis, and the deleted Viking prologue scene.[72] The two-disc collector's edition DVD contained all the single-disc features and a disc with supplemental material detailing all aspects of the film's production. The collector's-edition film could only be viewed in its original theatrical ratio, and also featured an optional DTS 5.1 track. Both DVD versions, however, contained a Dolby Digital 5.1 track and were THX certified.[72][75] Disney digitally remastered and released Atlantis on Blu-ray on June 11, 2013, bundled with its sequel Atlantis: Milo's Return.[76] Reception Box office Before the film's release, reporters speculated that it would have a difficult run due to competition from Shrek and Lara Croft: Tomb Raider. Regarding the market's shift from traditional animation and competition with CG-animated films, Kirk Wise said, "Any traditional animator, including myself, can't help but feel a twinge. I think it always comes down to story and character, and one form won't replace the other. Just like photography didn't replace painting. But maybe I'm blind to it."[61] Jeff Jensen of Entertainment Weekly noted that CGI films (such as Shrek) were more likely to attract the teenage demographic typically not interested in animation, and called Atlantis a "marketing and creative gamble".[77] With a budget of $100 million,[3] the film opened at #2 on its debut weekend, behind Lara Croft: Tomb Raider, earning $20.3 million in 3,011 theaters.[78] During its second weekend, it would drop into fourth place behind the latter film, Dr. Dolittle 2 and The Fast and the Furious, making $13.2 million.[79] The film's international release began September 20 in Australia and other markets followed suit.[80] During its 25-week theatrical run, Atlantis: The Lost Empire grossed over $186 million worldwide ($84 million from the United States and Canada).[4] Responding to its disappointing box-office performance, Thomas Schumacher, then-president of Walt Disney Feature Animation, said, "It seemed like a good idea at the time to not do a sweet fairy tale, but we missed."[81] Critical response Atlantis: The Lost Empire received mixed reviews from critics,[82][83][84] many of whom criticized its story.[85] The review aggregator website Rotten Tomatoes reports that 48% of 144 professional critics have given Atlantis: The Lost Empire a positive review; the average rating is 5.5/10. The site's consensus is: "Atlantis provides a fast-paced spectacle, but stints on such things as character development and a coherent plot".[86] Metacritic assigned the film a weighted average score of 52 out of 100 based on 29 reviews from critics, indicating "mixed or average" reviews.[87] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[88] While critics had mixed reactions to the film in general, some praised it for its visuals, action-adventure elements, and attempt to appeal to an older audience. Roger Ebert gave Atlantis three-and-a-half stars out of four. He praised the animation's "clean bright visual look" and the "classic energy of the comic book style", crediting this to the work of Mike Mignola. Ebert gave particular praise to the story and the final battle scene and wrote, "The story of Atlantis is rousing in an old pulp science fiction sort of way, but the climactic scene transcends the rest, and stands by itself as one of the great animated action sequences."[89] In The New York Times, Elvis Mitchell gave high praise to the film, calling it "a monumental treat", and stated, "Atlantis is also one of the most eye-catching Disney cartoons since Uncle Walt institutionalized the four-fingered glove."[90] Internet film critic James Berardinelli wrote a positive review of the film, giving it three out of four stars. He wrote, "On the whole, Atlantis offers 90 minutes of solid entertainment, once again proving that while Disney may be clueless when it comes to producing good live-action movies, they are exactly the opposite when it comes to their animated division."[91] Wesley Morris of the San Francisco Chronicle wrote positively of the film's approach for an older audience: "But just beneath the surface, Atlantis brims with adult possibility."[92] Other critics felt that the film was mediocre in regards to its story and characters, and that it failed to deliver as a non-musical to Disney's traditional audience. Owen Gleiberman of Entertainment Weekly gave the film a C+ rating, writing that the film had "gee-whiz formulaic character" and was "the essence of craft without dream".[93] Kenneth Turan of the Los Angeles Times said the storyline and characterizations were "old-fashioned" and the film had the retrograde look of a Saturday-morning cartoon, but these deficiencies were offset by its "brisk action" and frantic pace.[94] Todd McCarthy of Variety wrote, "Disney pushes into all-talking, no-singing, no-dancing and, in the end, no-fun animated territory."[95] Stephanie Zacharek of Salon wrote of Disney's attempt to make the film for an adult audience, "The big problem with Disney's latest animated feature, Atlantis: The Lost Empire, is that it doesn't seem geared to kids at all: It's so adult that it's massively boring."[96] Rita Kempley of The Washington Post panned the film, calling it a "new-fashioned but old-fangled hash" and wrote, "Ironically Disney had hoped to update its image with this mildly diverting adventure, yet the picture hasn't really broken away from the tried-and-true format spoofed in the far superior Shrek."[97] In 2015, Katharine Trendacosta at io9 reviewed the film and called it a "Beautiful Gem of a Movie That Deserved Better Than It Got" and said that the film deserves more love than it ended up getting.[6] Lindsay Teal considers "Atlantis" to be "a lost Disney classic". Describing the film as highly entertaining, she praises the writing and characterisation – in particular, Sweet, Helga and Kida.[7] In particular, much praise has been given to the character of Kida.[98] Summer has regarded the character of Kida as one of her favourite roles and even considers the character among the official Disney Princess line-up. Themes and interpretations Several critics and scholars have noted that Atlantis plays strongly on themes of anti-capitalism and anti-imperialism. M. Keith Booker, academic and author of studies about the implicit messages conveyed by media, views the character of Rourke as being motivated by "capitalist greed" when he pursues "his own financial gain" in spite of the knowledge that "his theft [of the crystal] will lead to the destruction of [Atlantis]".[99] Religion journalist Mark Pinsky, in his exploration of moral and spiritual themes in popular Disney films, says that "it is impossible to read the movie ... any other way" than as "a devastating, unrelenting attack on capitalism and American imperialism".[100] Max Messier of FilmCritic.com observes, "Disney even manages to lambast the capitalist lifestyle of the adventurers intent on uncovering the lost city. Damn the imperialists!"[101] According to Booker, the film also "delivers a rather segregationist moral" by concluding with the discovery of the Atlanteans kept secret from other surface-dwellers in order to maintain a separation between the two highly divergent cultures.[102] Others saw Atlantis as an interesting look at utopian philosophy of the sort found in classic works of science fiction by H. G. Wells and Jules Verne.[103] Nadia: The Secret of Blue Water controversy When the film was released, some viewers noticed that Atlantis: The Lost Empire was similar to the 1990-91 anime Nadia: The Secret of Blue Water, particularly in its character design, setting, and story.[104] The similarities, as noted by viewers in both Japan and America, were strong enough for its production company Gainax to be called to sue for plagiarism. According to Gainax member Yasuhiro Takeda, they only refrained from doing so because the decision belonged to parent companies NHK and Toho.[105] Another Gainax worker, Hiroyuki Yamaga, was quoted in an interview in 2000 as saying: "We actually tried to get NHK to pick a fight with Disney, but even the National Television Network of Japan didn't dare to mess with Disney and their lawyers. [...] We actually did say that but we wouldn't actually take them to court. We would be so terrified about what they would do to them in return that we wouldn't dare."[105] Although Disney never responded formally to those claims, co-director Kirk Wise posted on a Disney animation newsgroup in May 2001, "Never heard of Nadia till it was mentioned in this [newsgroup]. Long after we'd finished production, I might add." He claimed both Atlantis and Nadia were inspired, in part, by the 1870 Jules Verne novel Twenty Thousand Leagues Under the Seas.[106] However, speaking about the clarification, Lee Zion from Anime News Network wrote, "There are too many similarities not connected with 20,000 Leagues for the whole thing to be coincidence."[107] As such, the whole affair ultimately entered popular culture as a convincing case of plagiarism.[108][109][110] In 2018, Reuben Baron from Comic Book Resources added to Zion's comment stating, "Verne didn't specifically imagine magic crystal-based technology, something featured in both the Disney movie and the too similar anime. The Verne inspiration also doesn't explain the designs being suspiciously similar to Nadia's."[110] Critics also saw parallels with the 1986 film Laputa: Castle in the Sky from Hayao Miyazaki and Studio Ghibli (which also featured magic crystals, and Atlantis directors Trousdale and Wise both acknowledged Miyazaki's works as a major influence on their own work)[104] and with the 1994 film Stargate as Milo's characteristics were said to resemble those of Daniel Jackson, the protagonist of Stargate and its spinoff television series Stargate SG-1 — which coincidentally launched its own spinoff, titled Stargate Atlantis; the plot of the 1994 film is also paralleled involving a group visiting an unknown world, a fictional language made for the other world's people, the main protagonist having apparent knowledge of the people's culture, falling in love with one of the female locals and electing to stay behind when the others return home.[111] Accolades Award Category Name Result 29th Annie Awards[112] Individual Achievement in Directing Gary Trousdale and Kirk Wise Nominated Individual Achievement in Storyboarding Chris Ure Nominated Individual Achievement in Production Design David Goetz Nominated Individual Achievement in Effects Animation Marlon West Nominated Individual Achievement in Voice Acting – Female Florence Stanley Nominated Individual Achievement in Voice Acting – Male Leonard Nimoy Nominated Individual Achievement for Music Score James Newton Howard Nominated 2002 DVD Exclusive Awards[113] Original Retrospective Documentary Michael Pellerin Nominated 2002 Golden Reel Award[114] Best Sound Editing – Animated Feature Film Gary Rydstrom, Michael Silvers, Mary Helen Leasman, John K. Carr, Shannon Mills, Ken Fischer, David C. Hughes, and Susan Sanford Won Online Film Critics Society Awards 2001[115] Best Animated Feature Nominated 2002 Political Film Society[116] Democracy Nominated Human Rights Nominated Peace Nominated World Soundtrack Awards[117] Best Original Song for Film Diane Warren and James Newton Howard Nominated Young Artist Awards[118] Best Feature Family Film – Drama Walt Disney Feature Animation Nominated Related works Main article: Atlantis (franchise) Atlantis: The Lost Empire was meant to inspire an animated television series entitled Team Atlantis, which would have presented the further adventures of its characters. The series would have been akin to an animated steampunk version of The X-Files and feature a crossover with Gargoyles. However, because of the film's underperformance at the box office, the series was not produced.[119] On May 20, 2003, Disney released a direct-to-video sequel titled Atlantis: Milo's Return, consisting of three episodes planned for the aborted series.[120] Disneyland planned to revive its Submarine Voyage ride with an Atlantis: The Lost Empire theme with elements from the movie. These plans were canceled and the attraction was re-opened in 2007 as the Finding Nemo Submarine Voyage, its theme based on the 2003 Pixar film Finding Nemo, which was far more successful commercially and critically.[121] In addition, after the Submarine Voyage's Magic Kingdom counterpart, 20,000 Leagues Under the Sea: Submarine Voyage, closed down in 1994, four years before Disneyland's, there were proposals of a new attraction that would take its place, with one of them a volcano attraction inspired by that film's Vulcania location, being approved for the Magic Kingdom's Adventureland area. Around 1999, during development of Atlantis: The Lost Empire, it was decided that it would be themed to the movie, with it taking place in 1916, two years after the film's events. The ride would have focused on Preston Whitmore, a character from the film, seeking to make Atlantis existence public and offer expeditions to visitors in newly developed vehicles. However, due to mishaps, the vehicles would be forced to make a detour through the lava-filled caverns of the volcano. The attraction would have used a unique hybrid ride system, in which it would start as a standard coaster before the trains hook up to a suspended track midway through to fly through the caverns. The attraction would have been accessed by a new canyon path in between Pirates of the Caribbean and a re-routed Jungle Cruise that would have led to a Whitmore Enterprises base camp at the edge of the Walt Disney World Railroad path, with the mountain itself being built outside the berm. However, like the previous Submarine Voyage retheme, the ride was cancelled due to the film's disappointment in the box office.[122]

The seventh episode of our season on the awesome movie year of 1985 features our foreign film pick, Akira Kurosawa's Ran. Directed and co-written by Akira Kurosawa and starring Tatsuya Nakadai, Akira Terao, Jinpachi Nezu, Daisuke Ryu and Mieko Harada, Ran is adapted from William Shakespeare's King Lear.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/ran-1985), Paul Attanasio in The Washington Post (https://www.washingtonpost.com/archive/lifestyle/1986/01/24/movies/86669975-df20-49c2-9e7f-f8c7268250df/), and Pauline Kael in The New Yorker.Check out more info and the entire archive of past episodes at https://www.awesomemovieyear.com and visit us on Facebook at http://www.facebook.com/awesomemovieyearYou can find Jason on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Letterboxd at https://letterboxd.com/goforjason/You can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/, on Bluesky at signalbleed.bsky.social and on Letterboxd at https://letterboxd.com/signalbleed/If you're a Letterboxd user and you watch any of the movies we talk about on the show, tag your review “Awesome Movie Year” to share your thoughts.You can find our producer David Rosen and his Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod, on Bluesky at piecingpod.bsky.social and on Letterboxd at https://letterboxd.com/bydavidrosen/ Join the Popcorn & Puzzle Pieces Facebook group at https://www.facebook.com/groups/piecingpod for more movie discussion and our Awesome Movie Year audience choice polls.All of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comSubscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year and Piecing It Together, plus music by David Rosen: https://www.patreon.com/bydavidrosenPlease like, share, rate and comment on the show and this episode, and tune in for the next 1985 episode, with our animation pick, Will Vinton's The Adventures of Mark Twain.

1922's "In a Grove," a short story by Ryūnosuke Akutagawa, is a study into the nature of truth. It centers around the death of a samurai, with four different accounts of how he came to meet his demise being presented. Akira Kurosawa, without whom there would be no "Star Wars," adapted the short story into his 1950 film "Rashomon." This episode is neither of those things, but we do get into Helen Keller, Christmas, the Tooth Fairy, and what it is exactly that makes something a lie. Give it a listen, it's a good one. #rashomon #truth #lies #christmas #toothfairy #trading #rabbithole 

An interview with Japanese media scholar Anne McNight about her new book Long Take. Long Take is a collection of interviews and other material by or about Akira Kurosawa, one of most famous and influential filmmakers in world history. These are being translated and published into English for the first time.   You can find Dr. McKnight's new translation here:https://www.upress.umn.edu/9781517903299/long-take/Support the show

The sixth episode of our season on the awesome movie year of 1985 features Josh's personal pick, Susan Seidelman's Desperately Seeking Susan. Directed by Susan Seidelman from a screenplay by Leora Barish and starring Rosanna Arquette, Aidan Quinn, Madonna, Mark Blum and Laurie Metcalf, Desperately Seeking Susan marked the feature film debut of pop singer Madonna.The contemporary review quoted in this episode comes from Roger Ebert (https://www.rogerebert.com/reviews/desperately-seeking-susan-1985), Kirk Ellis in The Hollywood Reporter (https://www.hollywoodreporter.com/movies/movie-news/desperately-seeking-susan-review-1985-movie-1197797/), and Kevin Thomas in the Los Angeles Times (https://www.latimes.com/archives/la-xpm-1985-03-28-ca-29341-story.html).Check out more info and the entire archive of past episodes at https://www.awesomemovieyear.com and visit us on Facebook at http://www.facebook.com/awesomemovieyearYou can find Jason on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Letterboxd at https://letterboxd.com/goforjason/You can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/, on Bluesky at signalbleed.bsky.social and on Letterboxd at https://letterboxd.com/signalbleed/If you're a Letterboxd user and you watch any of the movies we talk about on the show, tag your review “Awesome Movie Year” to share your thoughts.You can find our producer David Rosen and his Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod, on Bluesky at piecingpod.bsky.social and on Letterboxd at https://letterboxd.com/bydavidrosen/ Join the Popcorn & Puzzle Pieces Facebook group at https://www.facebook.com/groups/piecingpod for more movie discussion and our Awesome Movie Year audience choice polls.All of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comSubscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year and Piecing It Together, plus music by David Rosen: https://www.patreon.com/bydavidrosenPlease like, share, rate and comment on the show and this episode, and tune in for the next 1985 episode, with our foreign film pick, Akira Kurosawa's Ran.

Oggi alle 15,46 inizia la primavera e Fabio la celebra con le parole del film di Akira Kurosawa e finiamo ballando con il momento elettronico.

Max Pearson presents a collection of the week's Witness History interviews from the BBC World Service. Our guest is media, culture and creative industries lecturer Sarah Jilani. We start in 1954 with the Japanese film Seven Samurai which is widely considered to be one of world cinema's most influential films. Then, we hear about the 2006 Hindi film Rang de Basanti which broke box-office records and inspired thousands of young Indians to march for justice. We delve into the BBC Archives to hear from director Leni Riefenstahl about one of the most controversial propaganda movies ever made, Triumph of the Will, which was filmed at the Nazis' Nuremberg rally in 1934. Next, we hear about the challenges of making the Hollywood 1942 classic, Casablanca, from the late son and nephew of the screenwriters. Finally, the story of the Spanish language fantasy, Pan's Labyrinth, which took the world by storm in 2006. Contributors: Hisao Kurosawa - movie producer, head of the Kurosawa Production Company and son of Seven Samurai director Akira Kurosawa. Sarah Jilani - a Lecturer in the Department of Media, Culture and Creative Industries, City St George's, University of London. Kamlesh Pandey - screenwriter. Leni Riefenstahl - film maker (from BBC Archive). Leslie Epstein - the late son and nephew of screenwriters Julius and Philip Epstein respectively. Ivana Baquero - actress. (Photo: Ingrid Bergman with Humphrey Bogart in a still from Casablanca. Credit: Universal History Archive/Getty Images)

Akira Kurosawa's film, Seven Samurai, is an epic three-and-a-half hour long black and white film set in 16th century Japan.It was released in 1954 and was the most expensive Japanese film ever made at the time.It is widely considered as one of the most influential films in world cinema.The production had its ups and downs, going over schedule and budget.Akira Kurosawa's son Hisao was a nine-year-old boy at the time it was made.He talks to Jen Dale about how his father made the movie and its impact.Eye-witness accounts brought to life by archive. Witness History is for those fascinated by and curious about the past. We take you to the events that have shaped our world through the eyes of the people who were there. For nine minutes every day, we take you back in time and all over the world, to examine wars, coups, scientific discoveries, cultural moments and much more. Recent episodes explore everything from how the Excel spreadsheet was developed, the creation of cartoon rabbit Miffy and how the sound barrier was broken.We look at the lives of some of the most famous leaders, artists, scientists and personalities in history, including: the moment Reagan and Gorbachev met in Geneva, Haitian singer Emerante de Pradines' life and Omar Sharif's legendary movie entrance in Lawrence of Arabia.You can learn all about fascinating and surprising stories, like the invention of a stent which has saved lives around the world; the birth of the G7; and the meeting of Maldives' ministers underwater. We cover everything from World War Two and Cold War stories to Black History Month and our journeys into space.(Photo: A Japanese movie poster for Seven Samurai. Credit: Movie Poster Image Art/Getty Images)

This week’s Top 5 explores cinema’s most unreliable narrators, characters who bend, twist, or completely invent the truth. Adam and Josh pair the list with a fresh look at Kurosawa’s RASHOMON, the film that set the template for them all – and a potential 2026 Pantheon inductee. This episode is presented by⁠ Regal Unlimited⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. Use code FILMSPOT26 to take 15% off. (Timecodes/chapters may not be precise with ads.) Intro (00:00:00-00:03:18) Top 5 Unreliable Narrators (00:03:19-01:05:17) Filmspotting Family (01:05:18-01:11:08) Next Week, Notes, Poll (01:11:09-01:18:16) Pantheon Project: Rashomon (01:18:17-01:56:39) Credits / New Releases (01:56:40-01:59:51) Feedback: -Email us at feedback@filmspotting.net⁠⁠ -⁠⁠⁠⁠Ask Us Anything⁠⁠⁠⁠ and we might answer your question in bonus content. Support: -Join the Filmspotting Family for bonus episodes and archive access.https://filmspottingfamily.com -T-shirts and more available at the Filmspotting Shop.https://www.filmspotting.net/shop⁠⁠⁠ Follow: https://youtube.com/filmspotting https://instagram.com/filmspotting⁠⁠⁠⁠ ⁠⁠⁠https://letterboxd.com/filmspotting⁠⁠⁠⁠ ⁠⁠⁠⁠https://facebook.com/filmspotting⁠⁠⁠⁠ ⁠⁠⁠⁠https://twitter.com/filmspotting⁠⁠⁠⁠ ⁠⁠⁠⁠https://instagram.com/larsenonfilm⁠ https://letterboxd.com/larsenonfilm⁠⁠⁠ https://facebook.com/larsenonfilm ⁠⁠https://bsky.app/profile/larsenonfilm.bsky.social⁠⁠See omnystudio.com/listener for privacy information.

In this episode of Missing Frames, John Mills returns to tackle one of Akira Kurosawa's most acclaimed films: HIGH AND LOW. Along the way, Shawn and John discuss the film's remarkable cinematography, its influence on filmmakers from David Fincher to Michael Mann, and why Kurosawa's storytelling still feels strikingly modern more than sixty years later. They also reflect on Kurosawa's legacy in global cinema, how his work shaped everything from the American Western to Star Wars, and why High and Low deserves to be considered one of the greatest crime films ever made. HOSTSShawn EastridgeJohn Mills

fWotD Episode 3222: High and Low (1963 film) Welcome to featured Wiki of the Day, your daily dose of knowledge from Wikipedia's finest articles.The featured article for Sunday, 1 March 2026, is High and Low (1963 film).High and Low (Japanese: 天国と地獄, Hepburn: Tengoku to Jigoku; lit. 'Heaven and Hell') is a 1963 Japanese police procedural film directed by Akira Kurosawa. It was written by Kurosawa, Hideo Oguni, Eijirō Hisaita, and Ryūzō Kikushima as a loose adaptation of the 1959 novel King's Ransom by Evan Hunter. Starring Toshirō Mifune, Tatsuya Nakadai, Kyōko Kagawa and Tatsuya Mihashi, it tells the story of Japanese businessman Kingo Gondō (Mifune) struggling for control of the major shoe company at which he is a board member. He plans a leveraged buyout of the company with his life savings, when a kidnapper mistakenly abducts his chauffeur's son to ransom him for ¥30 million. The film is viewed as influential on police procedural cinema, and has been remade multiple times internationally.The film was produced by Toho, who bought the rights to Hunter's novel in 1961 for $5,000. Working on a production budget of ¥230 million, filming on High and Low began on 2 September 1962, taking place on location at Yokohama and on set at Toho Studios. Only one attempt could be made to film the ransom exchange. The shoot required multiple cameramen, leading to all other film productions being shut down for the day. Filming ended on 30 January 1963. Kurosawa worked with Masaru Satō to score the film in their eighth collaboration together; the film's soundtrack contains a variety of influences, including mambo, classical, and modern popular music. Post-production took just under a month and, after test screenings in mid-February 1963, the film received a wide distribution.High and Low was released in Japan on 1 March 1963 and became the highest-grossing film at the Japanese box office for that year. The film received generally positive reviews both domestically and abroad. In September 1963, the film was entered into the Official Selection for the Venice Film Festival. The limited American release of the film in late November coincided with the assassination of President John F. Kennedy, an event that led to a depression in initial box office takings. High and Low was nominated for Best Foreign Film at the Golden Globe Awards for 1964. Critical opinion of the film has remained high, with analyses of the film focusing on Kurosawa's humanism in tackling the issue of a growing class divide, the growth of an international consumer culture, and the film's use of structure to interrogate morality and social division.This recording reflects the Wikipedia text as of 00:04 UTC on Sunday, 1 March 2026.For the full current version of the article, see High and Low (1963 film) on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Bluesky at @wikioftheday.com.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Brian.

Join Jim and A.Ron as they examine the classic film by Akira Kurosawa, Seven Samurai (1954). The influence of Seven Samurai echoes through film history, and it is no surprise why. Listen in as Jim and A.Ron discuss the complexity of the characters, the messages of the story, and the cultural commentary. Thank you to Michael for commissioning this episode!  Bald Move - Ikiru (1952)  Bald Move - Shogun (2024) Bald Move - Shogun (1980) Akira Kurosawa Join the discussion:  Email | Discord | Reddit | Forums Follow us: Twitch | YouTube | Twitter  |  Instagram  |  Facebook Leave Us A Review on Apple Podcasts  You can get your very own custom commissioned podcast by visiting https://support.baldmove.com/. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Michaelangelo to Bob Ross to Akira Kurosawa to Jason Griffin pipeline is strong. Master Collaborator and accomplished visual artist Jason Griffin is a Caldecott Honoree for his work with Jason Reynolds on their 2022 collaboration Ain't Burned All the Bright, their third book together (we'll talk about the others in this episode). But his work with our friend and future guest Winsome Bingham is what brings us here today. The 2024 multicultural, multi-generational picture book collab The Table will be followed in September by the amazing, poignant, gorgeous On Fridays. Check out our Instagram later this week (on Friday, actually) for some very cover-y things to be revealed! Resources to consume that were discussed in this episode: Elizabeth Gilbert's TED Talk featuring THE Tom Waits anecdote Akira Kurosawa's iconic blood spray oopsie _________ This episode's book reviews:  RAINBOW PANDA, words by Lisa Muchnik, pictures by Emilie Timmermans ALBERTO SALAS PLAYS PAKA PAKA CON LA PAPA, words by Sara Andrea Fajardo, pictures by Juana Martinez-Neal THE BLACK MAMBAS THE WORLD'S FIRST ALL-WOMAN ANTI-POACHING UNIT by Kelly Crull   The artwork for You May Contribute a Verse features our quokka mascot, Versey, and was generously created by the great Maddie Frost! Find her on IG @hellomaddiefrost or on her website Maddie-Frost.com    Our theme music is So Happy by Scott Holmes. You can find more of his music at scottholmesmusic.com     Love the podcast and wanna support more episodes like this? Find Community Shoutouts, Merch and our Patreon here!!    Find us on Bluesky @joshmonkwords, @brennajeanneret, and @jonseym0ur and as always, let us know what you think via a rating, review, or comment!

Everything is a spoiler-heavy podcast. We talk about all aspects of whatever we are discussing and do not announce or avoid spoilers in any way.In this episode of Everything, Justin and Keith talk about the Denis Johnson novella, “Train Dreams” and the Netflix adaptation. After that, they discuss a smorgasbord of movies including, Demon Lover Diary, Ham on Rye, and Akira Kurosawa's High and Low.Music by Johnny Hawaii.

Adam and Josh return to Danny Boyle’s drug-addled Edinburgh for TRAINSPOTTING’s 30th anniversary, then bring Producer Sam on to unveil the 2026 nominees for the Filmspotting Pantheon. Plus, Massacre Theatre. This episode is presented by⁠ Regal Unlimited⁠⁠, the all-you-can-watch movie subscription pass that pays for itself in just two visits. (Timecodes/chapters may not be precise with ads.) Intro (00:00:00-00:01:49) Trainspotting at 30 (00:01:50-00:47:32) Filmspotting Family (00:47:33-00:52:41) Next Week / Notes (00:52:42-00:56:34) Massacre Theatre (00:56:35-01:04:43) Pantheon Nominees (01:04:44-01:48:04) Credits / New Releases (01:48:05-01:53:10) Notes/Links: -Filmspotting Pantheon https://www.filmspotting.net/pantheon Feedback: -Email us at feedback@filmspotting.net⁠⁠ -⁠⁠⁠⁠Ask Us Anything⁠⁠⁠⁠ and we might answer your question in bonus content. Support: -Join the Filmspotting Family for bonus episodes and archive access.https://filmspottingfamily.com -T-shirts and more available at the Filmspotting Shop.https://www.filmspotting.net/shop⁠⁠⁠ Follow: https://youtube.com/filmspotting https://instagram.com/filmspotting⁠⁠⁠⁠ ⁠⁠⁠https://letterboxd.com/filmspotting⁠⁠⁠⁠ ⁠⁠⁠⁠https://facebook.com/filmspotting⁠⁠⁠⁠ ⁠⁠⁠⁠https://twitter.com/filmspotting⁠⁠⁠⁠ ⁠⁠⁠⁠https://instagram.com/larsenonfilm⁠ https://letterboxd.com/larsenonfilm⁠⁠⁠ https://facebook.com/larsenonfilm ⁠⁠https://bsky.app/profile/larsenonfilm.bsky.social⁠⁠See omnystudio.com/listener for privacy information.

Send us a textAfter witnessing his parents' brutal murder on Christmas Eve, Billy transforms into a Killer Santa, delivering a yearly spree of calculated, chilling violence. This year, his blood-soaked mission collides with a guest spot on his favorite podcast, as the hosts challenge him to confront his childhood trauma. On Episode 706 of Trick or Treat Radio our featured film discussion is Silent Night, Deadly Night (2025) from director Mike P. Nelson! We also pay tribute to a recently lost comedy legend, talk about the January and February dumping grounds, and check out the trailers for the films; Bone Keeper, and Attack of the Killer Tomatoes: Organic Intelligence! So grab your nazi killing axe, try not to drive into a ditch, and strap on for the world's most dangerous podcast!Stuff we talk about: A24, Texas Chainsaw Massacre, JT Mollner, sequels reboots requels remakes, Hook and Pull Gang, Spooky World, dangerous and rough around the edges, Terrifier IV, Mickey Rooney, the dumping grounds, Invasion of the Body Snatchers, Cherry 2000, Serpent and the Rainbow, The Vanishing, Teenage Zombie House Massacre, House of the Damned, The Great Gazoo, Harvey Korman, The Star Wars Holiday Special, Virtual Porn with Diahann Carroll, Brittany Allen, It Stains the Sands Red, Dead Before Dawn, Stillborn, Underworld, Slaughterhouse Rules, Apostle, Laura Linney, Primal Fear, The Exorcism of Emily Rose, The Mothman Prophecies, Edward Norton, Richard Gere, Jennifer Jason Leigh, Possessor, Single White Female, Christopher Guest, Michael McKean, Dick Warlock, Dark Shadows, Ghost Story, Christine, Firestarter, Pumpkinhead, Swamp Thing, HR Geiger, John Carradine, House of Frankenstein, The Sentinel, Spinal Tap, Barry Bostwick, RIP Catherine O'Hara, SCTV, Schitt's Creek, Beetlejuice, Home Alone, Black Christmas, Cannibal Girls, Ivan Reitman, Eugene Levy, Splash, Nightmare Before Christmas, After Hours, Waiting for Guffman, Jeffrey Tambor, Brendan Gleeson, God's Hate, AEW, +1, Bryce Remsburg, MZ's monocle, Criterion Collection, Ran, Akira Kurosawa, Dreams, Brian De Palma, Sisters, The Durning Point, John Rhys-Davies, Bone Keeper, Attack of the Killer Tomatoes: Organic Intelligence, Raiders of the Lost Ark, Daniel Roebuck, David Kochner, John Astin, Eric Roberts, Bill Bixby, TVs Street Hawk, Mel Brooks, Richard Pryor, Eyes Wide Shut, clean and jerk, getting stuck in a snow bank, stuck in a ditch, Summer School, Silent Night Deadly Night, Blinkbuster Video, The Monkey, Ruby Modine, Rohan Campbell, impish and whimsical, passion and a plucky spirit, Weapons, Venom, Tom Hardy, Baby Blood, “the enthusiastic wave”, violence against kids, Advent Calendar, Garbage Day, 1922, We Bury the Dead, Zak Hilditch, Daisy Ridley, A Psycopath with a Consciousness, A Bad Case of the Naughties, Can't Kill All the Time, The White Power Christmas Massacre, and Razor Kenobi.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: Support the show

Cinco programas. Cinco, y pocos nos parecen, pero toca ya terminar con Akira Kurosawa para que, ojalá, vosotros podáis continuar explorando tanto cine fabuloso que nos ha regalado este tío. Por eso este mes los Todopoderosos se han aplicado a la mesa de Espacio Fundación Telefónica con mezcla de pena y épica, para agradecer a este enorme tanto legado. ¡No te pierdas TPKUROSAWA vol.V!

Drew and Travis roll out the barrel for A Fistful of Dollars, the 1964 film that popularized the spaghetti western movement. It's also an unofficial remake of Akira Kurosawa's Yojimbo, which resulted in a lawsuit from Kurosawa and Toho Films! This is our first entry in Remake Roulette: a month of remakes! TIMESTAMPS 00:00:00 - Intro 00:01:19 - A Fistful of Dollars 00:54:26 - The Shelf 01:05:44 - Calls to Action 01:06:54 - Currently Consuming 01:18:56 - End SHOW LINKS High Plains Drifter Django (1966) Alien Degli Abissi a.k.a. Alien from the Deep GenreVision on Letterboxd Drew Dietsch on Letterboxd Travis Newton on Letterboxd GenreVision on Bluesky Drew Dietsch on Bluesky

It's time for Bookmarks, and today we're joined by celebrated playwright and director Hone Kouka A special 30th anniversary production of his play 'Waiora Te Ukaipo - The Homeland' returns to the stage this March with the Auckland Theatre Company Hone Kouka joins Jesse from our Wellington studio to share his picks of what to watch, read and listen to. His picks: Books One Hundred Years of Solitude Marquez. Potiki Patricia Grace. Any novel by Haruki Murakami. Voss Patrick White. Death of a Salesman Arthur Miller Music: Geese / Cameron Winter Crusades. Bailter Space X. Taua MA. I Want Your Love Chic. Freddie Freeloader Miles Davis. I Could Never Take The Place Of Your Man Prince Films: One Battle After Another. Anything by Akira Kurosawa. Finding Forrester. Ngati. Wings of Desire / Paris Texas Podcasts: Economics for Rebels. Thinking Basketball. Cric info Stump Mic

The master is here folks and this time he wields the themes and some of the particulars of WILLIAM SHAKESPEARE'S great work KING LEAR in service of a hypnotic nightmare about the horrors of war. It whips! We talk about that, about Kurosawa as a supremely 'Cinematic' figure trying on a 'Theatatrical' think in this movie, Lear as an eternal political fable, some of the hot shit sequences in here, and other stuff.  this is a weird way to deal with this bit theres a lot of interesting academic writing about RAN out there, in shakespeare journals and filmic ones. peek around if you wanna learn something.  Check out the show on Letterboxd if you're into that thing. Matt is also on there. We also got a Bluesky going. Matt's rec is in theaters. Corbin's rec is mega off the done. We dont know what the next episode is, for reasons that would take too long to explin here. Thanks!  

And we're back! Apologies for the long wait between episodes. I have been trying to wrangle cats together so we can continue the podcast.Fortunately, life got in the way. Not in a bad way of course. I recently got married. AJ and his wife had their second baby. Life is good.You know what else is good? Star Wars Visions. Especially this season. For those unfamiliar, Disney took the license and went to the far east. Though I am unfamiliar with the studios they chose, the results speak for themselves.What were produced were completely original story lines and characters with some of the most unique animation styles to come from the island. Yes, volume one is clearly anime from Japan. Volume two includes the likes of the creators of Wallace and Gromit. Volume three marks the return of some of the first studios that were approached. By far, my favorite episode of volume one was the first, "The Duel." The animation pays homage to Akira Kurosawa with the Japanese aesthetic and being animated mostly black and white. Not to mention the rogue Sith's lightsaber drawn from it's scabbard much the way a samurai would. Back then, my criticism for all episodes was that each had some sort of lightsaber gimmick. While it was cool to see Darth Maul ignite his double-bladed lightsaber in 1999 and later Kylo Ren with his cross-guard lightsaber, there has been an explosion of goofy and impractical designs. One only has to watch a few episodes of the much hated Acolyte to see what I am talking about. We hope you liked this episode of visions as much as we did. My brother and I disagreed about one of the characters. What are your thoughts?Thanks for listening, and may the Force be with you.Visit the ⁠blog https://starwarsrewatchpodcast.wordpr...Join us on ⁠⁠⁠Discord   / discord  Tweet us ⁠⁠⁠⁠https://x.com/SWRewatchPodSubscribe on ⁠⁠YouTube    / @star_warsre-watchpodcast  Subscribe on ⁠⁠Apple Podcasts ⁠⁠https://podcasts.apple.com/us/podcast...Subscribe on ⁠⁠Spotify⁠ ⁠⁠https://open.spotify.com/show#StarWarsVisions #StarWarsPodcast #StarWarsDiscussion #DisneyPlus #AnimeStarWars #SciFiPodcast #PopCulturePodcast #StarWarsFans #Animation #Lucasfilm #GeekCulture #PodcastLife #TheDuel #StarWarsCommunity

Akira Kurosawa's Ran  Happy New Year WatchThis Fans. Depending on Your Perspective, 2025 was a horrible year or the beginning of a grand awakening, returning America to its rightful place as Leader and Benefactor of the Unwashed Ignorant Masses. There are many ideas of what 2026 can and will be. We here at WatchThis W/RickRamos believe that Akira Kurosawa's 1985 masterpiece, Ran, is a film that offers powerful warnings on the dangers of conflict, paranoia, greed, but most importantly, pride. Adapted from Japanese history and Shakespeare's King Lear, Kurosawa explores the fragilty of government . . .  royalty . . . leadership, as pride disintegrates the perspective of leadership. One of the greatest films in the History of Cinema, Mr. Chavez & I are thrilled to be opening 2026 with Akira Kurosawa's Late Period Masterpiece. Take a listen and let us know what you think. As always, we can be reached at gondoramos@yahoo.com - Our Continued Thanks.  For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.

"Highest 2 Lowest" is an American crime thriller film directed by Spike Lee from a screenplay by Alan Fox. It is an English-language remake of Akira Kurosawa's 1963 Japanese film "High and Low," itself based on Ed McBain's 1959 novel "King's Ransom." The film stars Denzel Washington, Jeffrey Wright, Ilfenesh Hadera, ASAP Rocky, John Douglas Thompson, Dean Winters, LaChanze, Princess Nokia, and Ice Spice (in her film debut). The film had its world premiere at the 2025 Cannes Film Festival out of competition, where it received positive reviews for its performances, music, and direction from Lee. Composer Howard Drossin and songwriter/performer Aiyana-Lee, who collaborated on the film's title track, were both kind enough to spend some time talking with us about their work and experiences working on the film, which you can listen to below. Please be sure to check out the film, which is now available to stream on Apple TV+. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

It seems like it's time once more to grab some Japanese film. Especially after the passing of Tatsuya Nakadai. This gives us an excuse to go grab one of his films. So let's grab the three hour Akira Kurosawa film, Kagemusha: The Shadow Warrior(1980). Set before the unification of Japan, we have Tatsuya playing Shingen Takeda and his perfect double. Shingen's regular body double found a criminal that looks like Shingen's twin. A good thing too as lord Takeda get's mortally wounded and begs his generals and the other double to keep the peace for at least three years. This is to keep Oda Nobunaga from becoming emboldened. Spoiler from … Continue reading "Popcorn Pulse 254: Shadow War"

In front of an audience at Chapman University, the iconic New York filmmaker reflects on his 35-year collaboration with Denzel Washington, the role of music in his films and how Akira Kurosawa has influenced his work from his first narrative feature through his 24th and most recent. Learn more about your ad choices. Visit megaphone.fm/adchoices

At 87, Oscar-winning actor Jane Fonda is pouring her energy into activism. She'll reflect on her decades-long career, and how she first began her fitness empire to fund her activist work. Also, we hear from  Spike Lee. His latest film, Highest 2 Lowest, reimagines Akira Kurosawa's 1963 classic High and Low, but through the lens of modern-day America and hip-hop culture. Both guests spoke with Tonya Mosley.  Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy