ShangLuda
Admirable film.
Voxitype
Good films always raise compelling questions, whether the format is fiction or documentary fact.
Guillelmina
The film's masterful storytelling did its job. The message was clear. No need to overdo.
Oksanna Zoschenko
There are so many layers to this film. So I can't dissect them all. All I really want to say is, if you are going through a change or hiatus in your employment status, or are unhappy in you work, or even out of work, and are looking for some direction, then this is the film for you. They finished the film on a perfect note, at a perfect moment. When you get to the end, you will see. And if you don't get it, then it wasn't the story for you.
siderite
I can't say that I really liked seeing this movie. I didn't dislike it and I am sure I liked the message very much. It was just too long a movie for such a short message.But the atmosphere of the film is nice, all of it being about casting regrets about the past away, making the most of the present and hoping for a good future. Akira Terao was very good in this movie and now, after seeing it, I can't imagine it with another actor. Shiro Mifune, son of the great Toshiro Mifune, was also of quality acting and borrowed humour and life to the role of the lord.I won't linger on the subject, I will only say that, even if a samurai movie, the film has very little fights and its idea doesn't really center on them. Some guy here titled his comment Kurosawa Light. Couldn't have said better myself.
Claudio Carvalho
In the beginning of the Eighteenth Century, in the transition period between the luxurious Genroku Era (1688-1703) and the simple Kyocho Era (1716-1735), the ronin – a samurai without a master - Ihei Misawa (Akira Terao) and his sweet wife Tayo Misawa (Yoshiko Miyazaki) are trapped in a very humble inn with very poor guests. The rain does not stop, and the group is unable to follow their journeys, once the water level of the river is too high to be crossed. The good and decent Ilhei goes to a dojo without the knowledge of Tayo and disputes a fight, and with the collected money, he buys food and sake for the starving costumers, making the people very happy. After the rain, in an incident with some locals, he meets the feudal landlord, Lord Nagai Izuminokami Shigeaki (Shiro Mifune), who invites him to be the chief of art of fencing of his warriors, but the envy and proud prevail and Misawa is dismissed from the aimed job. The quiet Tayo decides to present her optimistic and touching viewpoint of what happened to Ilhei.I was reluctant to see "Ame agaru" due to a wrong expectation and feeling. I believed the director Takashi Koizumi was an opportunist, using the name of Akira Kurosawa to promote himself in his career. How wrong I was! Indeed, "Ame agaru" is a very beautiful and sensitive feel-good movie and a great homage of Takashi Koizumi to his master Akira Kurosawa. The direction is simply perfect; the performances are stunning, with the actors and actresses showing passion, heart and soul in their interpretations, highlighting Akira Terao and Yoshiko Miyazaki; the locations are simple but beautiful; and the lovely story is wonderful, with a magnificent, optimistic and very human message in the end. My vote is nine.Title (Brazil): "Depois da Chuva" ("After the Rain")
whatdoes1know
Ame Agaru, though scripted by master Kurosawa, and like many of his other movies, based on a short story by Yamamoto Shugoro, just doesn't work. The Kurosawa crew is the same, thus the cinematic beauty remains, but being on master Kurosawa's footsteps doesn't make Koizumi Takashi a Kurosawa Akira. Master Kurosawa was a war hawk, and his battlefield was the set. If he wanted a slope where there was none, his crew mounted the dirt and built the slope to suit his visions. If a whole field of wheat had to be hand-painted in gold, the crew went out there and spent the day preparing for a shot. Master Kurosawa could single out and yell at an extra in a mob scene of battling feudal warriors for not falling correctly, like a dying samurai would. With all the good intentions with which Ame Agaru was made, it does not have the edge at which master Kurosawa yanked his actors. The actors in Ame Agaru are all fine actors, but they are not the fierce soldiers led by general Kurosawa. Instead, they are the humanitarian souls who volunteered to come help victims long after the general was gone and the war was over.
