#Shinobu hashimoto

[scenephile]

I can't afford to hate people

[rini-descartes]

Seven Samurai (1954) 🎬 Akira Kurosawa

[stilsonfavoritequotes]

The greatest delicacies taste of nothing when one dines alone.

Tatsuya Nakadai as Hanshiro Tsugumo in Harakiri (1962)

[jerichopalms]

#104: Living (2022, dir. by Oliver Hermanus)

[movie-titlecards]

Rashomon (1950)

My rating: 6/10

I think this is yet another one of those seminal works that, because they were so seminal, have lost a lot of their punch - there have been so many references, homages and straight up rip-offs in the intervening 70-odd years, the original just ends up feeling kind of unremarkable.

[melancholykatt]

~I made some Halloween kny icons! hope you like them~

[cinemaronin]

[sunflower1experiment]

A baby

That’s scary, she wasn’t sure how to feel…a baby, she forgot how she had one obviously and now she’s making a big meal for Kyojuro, and the baby…

Looking down now the baby was so happy, his beautiful dark skin, gorgeous eyes, red and Orange while the hair was matching Rengoku’s. Which actually made the woman close her eyes in pure disbelief “How the hale you get that gorgeous hair…starin at that candle was a myth I stared at fire.”

“And I told you not to honey. Your eyes are way to beautiful to lose their sense of sight! How will I be able to show you our baby and tell you about the flowers or the sweet potatoes! Think of the potatoes my flame!” She gave Kyojuro a puckered lip pout. “I’m still confused as to why I cooked that huge meal and the baby can’t even eat.”

“Because- I INVITED EVERYONE!” |Name| blinks then looks at the baby who yells back and starts laughing loudly while babbling nonsense. “Ya just had to rile em up.” She playfully glares while the baby tries to bite her. “Come on. I know you’re hungry.”

Rengoku sets the hot pot up for the guests, “Will the guests be here for Junior?” He nods. “If that’s alright with you, I know you’re going through a lot since pregnancy.” |Name| leans into his hand lovingly while his lips connect to |Name| and Junior’s cheeks. “I deeply apologize for making you feel uncomfortable.”

“No Kyojuro. I appreciate your love and care, having Junior is amazing and I’m excited to see everyone- once they get cleaned up.”

With a nod they perk at the sound of knocking, Kocho was the first to walk in with Tomioka and Iguro, soon Mitsuri was following them while Uzui was already beside Rengoku. “Nice, looking flashy buddy. |Name| how’s my flashy little student?”

“…..Kyojuro where’s his wives?”

“Hurtful!” Tengen grips his chest while Kyojuro laughs. Suma, Hina and Makio ran in and checks on the baby: “Our little king of flames!”

“He’s my little king girls.” |Name| blows a cute raspberry before kisses Junior, who blew one as well. Then he screams out and |Name| makes a cute noise at him. “Who’s my sweet handsome boy? Yea you. Your dad lost that place by gettin a promotion.”

“Dads can get Promotions?” Obanai thinks, “Mitsuri we should try this idea.” She squeaks as a blush covers her face. “Wh-What!?”

Shinobu hums, “Giyuu and I will try too- oh maybe I’ll have the others join too when they’re less busy. Speaking of which. Come on in.” Nezuko ran in and Immediately hugs Mitsuri while Zenitsu heads over and places a gift next to Junior. Tanjiro does the same then admires the baby.

“He’s so beautiful Miss Rengoku.”

“Thank you baby.” |Name| nuzzles Junior, “Abababaohsbah.” The baby starts babbling randomly, “Yes yes I knowww the guests are very different.” Junior studies everyone then he babbles again and starts laughing.

“Oh yea? You’re just sayin that cuz you know you’re to cute.” |Name| whole voice change made everyone chuckle until Kyojuro sets the pot down then he goes to the woman and her baby. “My little flames it is time to dine with our friends.”

“Okay. Bubba.” Junior turns, staring at his mom, he responds to her. “B-a baba- bubba.” Silence.

“He said bubba!?”

“Say Baba.” Junior blows a raspberry. “Babaaaaa.” |Name| sang to him and he responds to her, “Baba.”

“Yep, he’s Baba. I’m Momma.” The woman kisses the baby again, then they sat together with Kyojuro who happily enjoyed the meal with the Hashira’s.

“Baba.” Rengoku looks at Junior, “Baba.” Reaching over he holds Kyojuro’s arm. Closes his eyes and fell asleep. |Name| leans against Rengoku, “Love you honey.”

“I love you too my beautiful fire.”

[rengokuswif3]

Kamaboko Squad + Hashira’s Favorite Disney Movie

Tanjiro: I could totally see him liking Soul, also Inside Out

Nezuko: Lilo and Stitch, it’s just so cute<3. Beauty and the Beast too

Zinetsu: Probably Finding Nemo-

Inosuke: Jungle Book %100

Rengoku: I could see him liking Brave for sure

Tengen: Hercules

Obanai: Also Jungle Book, he likes the snake dude

Shinobu: AKSJSJSKDJ DISNEY CHANNELS FRENEMIES CAUSE THE DRAMA-

Mitsuri: TANGLED. Is totally a Flynn Rider simp

Sanemi: Lion King, he is literally one of the hyenas

Giyu: Mulan, absolutely stans her and has a crush on Li Shang

Muichiro: for some reason I feel like he’d be a Treasure Planet and Atlantis stan

Gyomei: ONWARD. MAKES HIM CRY EVERY TIME

[haruosaki]

[gi-maeve-rose]

Demon Slayer Modern AU Rp (Discord)

A modern day AU of the Demon Slayer anime

Semi-lit/literate writing

OCs allowed

Must claim a canon character

Third person POV

18+ (characters [canon characters aged up] and players)

Free form storyline

DM if interested

[nine-frames]

"I can't afford to hate people. I haven't got the time."

生きる(Ikiru), 1952.

Dir. Akira Kurosawa | Writ. Akira Kurosawa, Shinobu Hashimoto & Hideo Oguni | DOP Asakazu Nakai

[landofzero-archive]

Dramatica Act 3 - Welcome to the Tea Party! Lyrics

Featuring:

Nagisa Ran (Matsuda Gaku) as the Mad Hatter

Ibara Saegusa (Hashimoto Shinichi) as the March Hare

Shinobu Sengoku (Fukazawa Taiga) as the Dormouse

March Hare (spoken): Welcome to the tea party!

[Verse]

I see you’ve arrived with empty hands.

But that’s alright, isn’t it?

Mad Hatter: Even though you’re not prepared, even though you’re not ready

It doesn’t matter even if you aren’t prepared

(March Hare: Come on, wake up and sing with us!)

Dormouse: Even if you’re awake, or if you’re asleep

It doesn’t really make any difference, you know

March Hare: Then let’s get started

(Mad Hatter: Let’s do it)

All: An eccentric tea party

[Pre-Chorus]

March Hare: If you’re feeling like you’re falling,

Mad Hatter: Just think of it as flying

March Hare + Mad Hatter: It mostly depends on how you’re feeling then

Dormouse: Ah, I want to sleep.

March Hare + Mad Hatter: Think of it as a dream

(Dormouse: (Mumbling) … Is this a dream?)

[Chorus]

All: Then, let’s sing! Let’s dance!

And gulp down all the tea we can drink

What we think of as fun,

Mad Hatter: Such as pouring tea.

Shall I fill up my hat?

Dormouse: With full stomachs

March Hare: And full hearts

Mad Hatter (then all): Everyone’s happy at the Mad Tea Party

March Hare: Waking up happy

Dormouse: And sleeping happily

Mad Hatter (then all): Let’s make merry together

[Verse]

Dormouse: Even if I want to yawn or belch, why are they not showing up?

March Hare: Because the tea is swirling in you

(Mad Hatter: Preferably)

All: Let’s fall into madness

[Pre-Chorus]

All: Pushed to the limit of both overflowing excitement

Dormouse: And oddly quiet sleep

All: Tea will make it happen

March Hare then Mad Hatter: It’s all according to your wishes

[Chorus]

All: Then it’s a happy party time

All then March Hare: That’s why we’ll reject anything else

All: It’s colorful and wonderful

Mad Hatter: So many colors to choose from

So let’s be greedy

Dormouse: It’s like a dream

March Hare: It’s not a dream

Dormouse: (Mumbling) I see, then good night

Mad Hatter: I don’t mind it.

March Hare: That’s fine.

All: Do whatever you like

Dormouse: Because it’s in a dream

Mad Hatter: Let’s lose our hearts in it

March Hare: That’s what a tea party is for

Mad Hatter: Are you also fulfilled?

[the-monkey-ruler]

Monkey Typhoon (2001) アソボット戦記五九

Director: Mamoru Hamazu / Osamu Sekida / Ittoku Tanahashi / Kyousuke Mihara / Takenori Mihara / Yoshiaki Okumura / Shunji Yoshida / Kazuo Nogami / Yoshito Qin / Hiroshi Haraguchi / Akihiko Nishiyama / Yuki Kinoshita Screenwriter: Shinobu Shinobu / Hashimoto Yushi / Nakaze Rika / Urasawa Yoshio / Kobe Kazuhiko / Shizuya Isao Starring: Kappei Yamaguchi / Tomoichi Seki / Masaki Iizuka / Takeharu Kunimoto / Nozomi Sasaki / Minami Takayama / Atsuko Enomoto / Shinichiro Miki Genre: Comedy / Science Fiction / Animation / Adventure Official website: http://mv.avex.jp/asobot/asobot.html Country/Region of Production: Japan Language: Japanese Date: 2002-10-01 Number of seasons: 1 Number of episodes: 52 Single episode length: 23 minutes Also known as: Association Robot Goku / Asobotto Senki Goku / Five-Nine Wars / Aboto Senki Five-Nine / Monkey King Five-Nine / Journey to the West / Assobot战记五九 / 五九战记 / 阿波特战记五九 / 猴王五九 / 西游战记 IMDb: tt5916944 Type: Reimanging

Summary:

On December 31, 2052, in order to prevent the scientist Ryutaro from destroying the world, Xuanzang Jiuzou asked his son Xuanzang Sanzang to select some robots from 99 robots numbered 1-99. Sanzang finally selected five robots: Gokyuu, Tongoh, Jou, Suuji, and Mioto. On January 1, 2053, Ryutaro modified the program of supercomputer Eve and began to destroy the world. In order to protect Sanzang, Zero, the first generation robot manufactured by Jiuzao, was destroyed along with the robots Soichi Fujimura and Souka Fujimura created by Ryutaro. Robot Tai is Wujiu's opponent on the surface, but in fact he is protecting Wujiu and his group. In order to restore the supercomputer Eve's program to its original appearance and return to December 31, 2052 to stop Ryutaro, they must find 49 parts to save the world. Head east! For Abbot (a life form of opportunity) to coexist with humans...

One thousand years in the future, the world has lost its balance. All the giant trees up to 10,000 meters high have been cut down by humans as obstacles. The entire world has turned into a desert. Only humans and Abbot are left in this world that is heading for destruction. As if guided by fate, Sanzang and Gokyuu meet. Traveling together, Sanzou - a young man shrouded in mystery, Gokyuu - the strongest and worst Anbot around, Tongoh - an Anbot fond of drinking, Jou - someone who is great with machines, Suuji - a female Anbot thief, and last but not least, Mioto. And so, their journey begins to the boundless East, to the land where the sun was born!

Source: https://myanimelist.net/anime/3193/Asobot_Senki_Gokuu

Link: https://gogoanime.be/anime/monkey-typhoon-xDRN/

[norfkid]

ok i’m gonna put this here, but be aware that i’m not very good at “reviewing” films or offering any great analysis about them. i watched Harakiri (1962) last night and just wanted to write down some of my thoughts about it. i was intimidated to at first, i heard so many great things about it and naturally that put me off — in this case, it wasn't because i thought people were being hyperbolic and exaggerating, but because i’m aware it’s widely known, highly praised, and culturally significant, and not to sound pretentious? but i wanted to be able to sit down and really pay attention.

the story as a whole is told non-linearly, through the narration and flashbacks of an aged samurai, Hanshirō Tsugumo, as he reaccounts memories of his family and poverty. and though the story is constructed so carefully, and weaves seamlessly with the events of the present and reminiscing of the past, there's a deliberately slow pace to the film. there's so much room for silence between characters and dialogue and scenes, even during the fights. you're forced to really watch, and observe, and listen. and personally i think it's so interesting how the camera remains static for long durations, and uses such interesting framing and composition to place people within a scene.

the first 15-20 minutes are brutal, depicting a transgression of violence (an unfairly forced ritual suicide), and even without excessive blood, gore, or dramatisation, it made me so uncomfortable to watch. it immediately set the tone for the rest of the film, it's confrontational.

i was also surprised at how compassionate the film is. i’m still quite new to watching foreign black and white films, but i was impressed by how Shinobu Hashimoto (the screenplay writer) and Masaki Kobayashi (the director) were able to touch on something like seppuku with sensitivity and respect for the complex culture and politics surrounding it, while also remaining unapologetic about the questions and provocations it makes.

it’s a film as brilliant and moving as people say it is, i really believe that. it’s a profound exploration of loyalty and honour to the samurai code, and provokes themes of humanity, mortality, and hypocrisy within the attitudes of people who uphold that code. it invites you to think about ideals and traditions, and to think about whether living honorably at the cost of integrity is a truly honourable virtue at all.

and despite the sense of hopelessness conveyed during the ending (the unfortunate nature of people to never change despite history… the inevitability of it all…), personally felt there was a catharsis to the resolution. i don’t make a habit of rewatching films so soon, so think i should be allowed to watch something once and say it’s my favourite (or at least up there in my top whatever), but Harakiri is probably one i will need to rewatch soon.

[byneddiedingo]

Rashomon (Akira Kurosawa, 1950) Cast: Toshiro Mifune, Machiko Kyo, Masayuki Mori, Takashi Shimura, Minoru Chiaki, Kichijiro Ueda, Noriko Homma, Daisuke Kato. Screenplay: Akira Kurosawa, Shinobu Hashimoto, based on stories by Ryunosuke Akutagawa. Cinematography: Kazuo Miyagawa. Production design: Takashi Matsuyama. Film editing: Akira Kurosawa. Music: Fumio Hayasaka. When I was growing up, Rashomon was one of those films like Federico Fellini's La Dolce Vita (1960) and Ingmar Bergman's The Seventh Seal (1957) that you had to have seen just to be considered culturally literate. Among other things, it's often cited as the career breakthrough of Akira Kurosawa and his frequent star, Toshiro Mifune. But if there's a key to the success of Rashomon as drama it's the performance of MIchiko Kyo in the female lead. Kyo was the star of another 1950s imported hit, Teinosuke Kinugasa's Gate of Hell (1953), and gave memorable performances for Kenji Mizoguchi in Street of Shame (1956) and especially Ugetsu (1953) as well as for Yasujiro Ozu in Floating Weeds (1959). She even crossed the Pacific to play opposite Glenn Ford and Marlon Brando (in yellowface) in the film version of The Teahouse of the August Moon (Daniel Mann, 1956). The nuances of Kyo's performance make Rashomon work; they keep us guessing whether she was the dutiful wife or the savage wanton. As I watch more and more Japanese film of the late 1940s, '50s, and '60s, it becomes clearer that this was a great period for female actors like Kyo, Setsuko Hara, Kyoko Kagawa, Kinuyo Tanaka, Isuzu Yamada, Hideko Takamine, and many others -- most of whose names are unknown to Americans today. As for Rashomon itself, while it remains essential viewing for the cinematically literate, I don't hold it in as high esteem as I do such Kurosawa/Mifune collaborations as  Drunken Angel (1948), Stray Dog (1949), Seven Samurai (1954), Throne of Blood (1957), The Lower Depths (1957), The Hidden Fortress (1958), Yojimbo (1961), Sanjuro (1962), or High and Low (1963). Rashomon feels arty and remote in ways that those don't.

gifs by talesfromthecrypts