Yoshiharu Ueki

Yoshiharu Ueki

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Souls in the Moonlight II 1958 (6.6)

This is the second installment of the trilogy based on Japan’s greatest novel “The Great Bodhisattva Pass”, following the life and times of bloodthirsty samurai, Tsukue Ryunosuke. Blinded in an explosion and further injured from a fall, the master swordsman is taken in by Otoyo, a woman who falls in love with him. Under Otoyo’s dedicated care, Ryunosuke’s physical and emotional wounds seem to heal. However, deep inside, the demons that drive him to kill yearn to resurface. Meanwhile he is being pursued by Utsugi Hyoma, a young samurai seeking to avenge his brother’s death at Tsukue’s hands. Hyoma is being aided along the way by the clever thief Shichibei.
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Souls in the Moonlight III 1959 (6.6)

Master swordsman, Tsukue Ryunosuke is confronted by the families of his victims. Will justice be served for the lost innocent lives? The conclusion of the famed Jidaigeki series is an amazing film, with a completely different perspective on the story from the later versions. While the international audience is more familiar with the “Sword of Doom” and “Satan’s Sword” versions of Daibosatsu Toge (The Great Bodhisattva Pass), the “Souls in the Moonlight” trilogy casts an entirely different light on Ryunosuke and his motives. Can this brutal killer be brought to justice, or is living his life as a blind wanderer a more terrible fate? His sword skills have not diminished, nor has his desire to kill!
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The Kuroda Affair 1956

This adaptation of a Hideji Hojo novel, about the historical uprising of the Kuroda clan in 1633, is told through the eyes of retainer, Daizen. As his clan’s new leader, Tadayuki, becomes increasingly militant in his opposition to the Tokugawa shogunate, Daizen is forced to reconcile his loyalty to the clan with his loyalty to Tadayuki, who seems dead set on entangling the clan in destructive conflict. The Kuroda Affair’s mise-en-scène is said to have influenced future Toei director Eiichi Kudo. The film also features two of the greatest stars of Japanese period cinema, Chiezo Kataoka and Ryutaro Otomo.