Hubbry Logo
MadadayoMadadayoMain
Open search
Madadayo
Community hub
Madadayo
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Madadayo
Madadayo
Madadayo
View on Wikipedia
from Wikipedia
Madadayo
Theatrical Release Poster
Directed byAkira Kurosawa
Screenplay by
Based onLiterary works
by Hyakken Uchida
Produced byHisao Kurosawa
Starring
Cinematography
Music byShinichiro Ikebe[1]
Production
companies
Distributed byToho
Release date
  • 17 April 1993 (1993-04-17) (Japan)
Running time
134 minutes[1]
CountryJapan
LanguageJapanese
Budget¥1.3 billion[2]
Box office¥300 million[2]

Madadayo (まあだだよ, Mādadayo; "Not yet") is a 1993 Japanese comedy-drama film. It is the thirtieth and final film to be completed by Akira Kurosawa before his death. It was screened out of competition at the 1993 Cannes Film Festival.[3] The film was selected as the Japanese entry for the Best Foreign Language Film at the 66th Academy Awards, but was not accepted as a nominee.[4][5]

Plot

[edit]

The film is based on the life of Japanese academic and author Hyakken Uchida (1889–1971). While playfully teaching a class as a professor of German in the period immediately before the Second World War, Uchida tearfully announces his retirement to his crestfallen students. In 1943, he moves into a spacious house but his wife is concerned about the safety of the neighborhood. Two students arrive to pretend to burglarize the home, but instead find a series of directions written by Uchida on how to break in to the house.

He hosts a dinner for several of his students, but as a result of wartime shortages he is embarrassed that he and his wife can only serve venison and horse meat. Their house burns down as a result of U.S. bombing raids, and Uchida and his wife are forced to live in a small shack with no indoor toilet with their few remaining possessions.

After the end of the war, his former students get together to host a banquet to honor him. Asked several times whether he is ready to die, he replies repeatedly, “Not yet", so naturally the banquet is named “the Not Yet Banquet.” At the end of the raucous celebration, two American military policemen arrive but smile after they see that everyone is enjoying themselves.

With the help of his students, he builds a new house for himself and his wife with a pond that has a small island in the middle. A stray alley cat arrives and he eventually adopts the cat, aptly naming it Nora (from 'Nora neko', meaning 'alley cat' in Japanese).

The lot across from the couple is purchased by a developer who wants to build a 3-story house, but the landowner refuses the sale, as it would block the sunlight for the professor and his wife. Uchida's students get together to purchase the lot in secret.

Nora disappears during a storm, which causes Uchida to become heartbroken and sink into a deep depression. He conducts numerous searches, enlisting his students, local schools, and the townspeople, but aside from several false leads, Nora is never seen again. Soon after, another cat appears. He names it Kurz (German for 'short') and with the new cat, his depression lifts.

His former students hold the seventeenth Not-Yet Banquet. No longer an all-men's affair, children of his students present him with flowers, and the students' grandchildren present him with a large cake. After receiving the cake and giving his remarks, he collapses from arrhythmia. After being taken home to rest, he falls asleep and dreams of playing hide-and-seek as a child. The other children keep asking if he's ready while he is looking for a place to hide and he replies, "not yet". He finally finds a place to hide, and in so doing, looks out toward a golden sun.

Many of the movie's vignettes, like the search for a missing cat and the time Uchida spent in a one-room hut after his home was destroyed in a bombing raid, come from Uchida's own writings, but the movie also gives Kurosawa the chance to comment on aspects of modern Japanese history like the American occupation of Japan that he had only been able to explore indirectly in his earlier works.[6]

Cast

[edit]

Release

[edit]

Madadayo was distributed theatrically in Japan by Toho on 17 April 1993.[1] The film was exhibited at various American film festivals beginning on March 20, 1998.[1] It did not initially receive a wide theatrical release and was released directly to television by WinStar Cinema and first broadcast on Turner Classic Movies in September 1999.[1] It was reissued theatrically on September 1, 2000.[1]

English-subtitled DVDs have been released by Winstar and the Criterion Collection in the U.S., Madman in Australia, Yume Pictures in the UK, and Mei Ah in Hong Kong. A Blu-ray edition, without English subtitles, is available in Japan as part of a box set with Rashomon, Ran, and The Quiet Duel.[7]

Reception

[edit]

Critical response

[edit]

Madadayo has an approval rating of 87% on review aggregator website Rotten Tomatoes, based on 15 reviews, and an average rating of 7.2/10.[8] Metacritic assigned the film a weighted average score of 79 out of 100, based on 11 critics, indicating "generally favorable reviews".[9]

Awards and nominations

[edit]

In Japan, the film won the awards for Best Art Direction, Best Cinematography, Best Lighting at the Japanese Academy Awards.[1] All these awards were given to their respective crews for their work on both Madadayo and Rainbow Bridge.[1]

For his performance in the film, George Tokoro received the Blue Ribbon Award for Best Supporting Actor.

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Madadayo

View on Grokipedia
from Grokipedia
(Japanese: まあだだよ, Hepburn: Mādadayo, lit. "Not Yet") is a 1993 Japanese drama film written and directed by , constituting his final completed feature-length work before his death in 1998. The film draws from autobiographical essays by Hyakken Uchida, depicting the retired professor's life from the early 1940s onward amid and its aftermath in . Centered on Uchida's bond with his former students, who provide unwavering support through relocations, hardships, and annual birthday rituals, the narrative culminates in the titular refrain "Madadayo," Uchida's playful yet resolute response to queries about readiness for death, symbolizing enduring vitality. Departing from Kurosawa's earlier epics of lore and moral conflict, Madadayo adopts a gentler, episodic structure emphasizing themes of loyalty, aging, and quiet resilience in ordinary existence. Produced with assistance from contemporaries like and , who helped secure funding, the film premiered in to mixed reception for its sentimentality but has since garnered appreciation for its poignant and Kurosawa's masterful restraint in evoking emotional depth without excess. Critics note its subtle visual , such as painted cloud backdrops enhancing dreamlike sequences, underscoring the director's late-career reflection on life's twilight.

Background

Inspiration from Hyakken Uchida

Hyakken Uchida (1889–1971), a Japanese , academic, and essayist renowned for his humorous and eccentric literary style, provided the foundational inspiration for Madadayo through his life and writings. Born in , Uchida studied at the , graduating in 1914, and later became a professor of German at the starting in 1916 before transitioning to [Hosei University](/page/Hosei University). His career as a writer emphasized essays blending wit, personal anecdote, and subtle critique, influenced by mentors like , with works such as the 1933 collection Hyakkien Zuihitsu establishing his reputation for unconventional humor. Uchida retired from teaching around age 54 in 1943 amid Japan's wartime mobilization, shifting focus to full-time writing to evade pressures and pursue creative independence. Kurosawa drew the screenplay directly from Uchida's autobiographical essays and memoirs, adapting verifiable episodes without embellishment to capture his post-retirement existence. Key elements include the tradition of annual birthday gatherings initiated by Uchida's former students, where he would playfully rebuff death's approach by exclaiming "madadayo" ("not yet, I'm not ready") when asked if he was prepared to die, a documented in his personal reflections on enduring vitality. Another precise adaptation stems from Uchida's essay on his pet cat Nora, recounting its disappearance and the devoted efforts of his circle—including students and acquaintances—to locate it, illustrating unvarnished accounts of communal responsiveness rather than idealized loyalty. Uchida's eccentric traits, such as his irreverent humor and detachment from militaristic norms, causally underpinned his persistence to age 81, as chronicled in his diaries and essays revealing sustained material and emotional support from student networks amid Japan's defeat and ensuing hardships. These ties, empirically evidenced by Uchida's uninterrupted productivity through reconstruction-era scarcity, informed Kurosawa's unromanticized depiction of resilience via interpersonal dependencies over isolated fortitude.

Kurosawa's Development Process

penned the screenplay for Madadayo single-handedly, marking the first time in over four decades he had done so without collaborators, completing the draft in approximately two months during late 1991 or early 1992 following the release of . Drawing from the autobiographical essays of Hyakken Uchida (1889–1971), the script shifted focus from Kurosawa's signature epic tales to a more intimate chronicle of a professor's post-retirement life, emphasizing vignettes of personal resilience and communal loyalty amid Japan's wartime and postwar upheavals. This choice reflected Kurosawa's aim for a contemplative, character-driven suited to his advancing age. With international backing diminishing after the multinational financing of Dreams (1990)—which involved and Soviet contributions—Kurosawa encountered ongoing hurdles in securing resources for his later projects, prompting reliance on Japanese entities such as , , and his own Kurosawa Production for Madadayo's . The film's modest underscored these constraints, yet enabled a streamlined approach prioritizing thematic depth over . At 82 years old, Kurosawa incorporated evident autobiographical resonances into the professor's portrayal, including motifs of enduring and unwavering devotion from protégés, mirroring his own bonds with longtime assistants and the film industry's recognition of his legacy despite health and funding adversities. He envisioned Madadayo as a valedictory statement on human vitality and tradition, consciously crafting it as a serene capstone to his oeuvre amid perceptions of twilight.

Production

Casting and Key Personnel

Tatsuo Matsumura portrayed Professor Hyakken Uchida, selected by Kurosawa for his capacity to convey quiet authority and subtle eccentricity, qualities that aligned with documented accounts of the historical figure's demeanor as a and educator. Matsumura, born in 1914 and active in over 100 films, brought a seasoned presence honed from roles in period dramas, marking this as a lead that emphasized restraint over theatricality. The supporting ensemble featured recurring Kurosawa actors, including Hisashi Igawa as Takayama, who had appeared in Ran (1985) and Dreams (1990), and Masayuki Yui as Kiriyama, leveraging their familiarity to foster cohesive group interactions reflective of long-term professional bonds. played the professor's wife, drawing on her extensive career in Japanese cinema to provide grounded domestic counterpoint. These choices prioritized actors with proven chemistry under Kurosawa's direction, evident in the film's use of studio alumni for roles like as Amaki. Cinematographers Takao Saitō and Shōji Ueda handled visual capture, with Saitō's tenure dating to Kurosawa's 1947 film and Ueda contributing to later projects; their combined expertise ensured precise rendering of environmental shifts across the narrative's timeline. Saitō, who passed in 2014 at age 85, and Ueda, active until 2025, were integral to maintaining continuity in Kurosawa's aesthetic preferences. Ishirō served in an uncredited capacity as and advisor on Madadayo, extending a collaboration that began with Kurosawa in 1979 on ; Honda managed on-set logistics and offered practical guidance, making this his last film involvement prior to his death on January 28, 1993. 's role, while not formally credited beyond assistance, underscored his function as a trusted operational support in Kurosawa's late-period productions.

Filming Techniques and Challenges

Principal photography for Madadayo commenced in February 1992 at Kinuta Studio in and outdoor locations in Gotemba, approximately 145 kilometers west of the capital, where practical sets were constructed to depict post-war . These sets prioritized functional realism over elaborate grandeur, reflecting the film's intimate domestic focus and Kurosawa's expressed difficulties in securing for non-commercial narratives that emphasized truthfulness. Unlike the expansive battle reconstructions and historical pageantry in (1980), which demanded vast resources for period authenticity, Madadayo's production adopted a streamlined approach with minimal location dependency, enabling efficient capture of everyday transience through contained environments. Kurosawa employed his longstanding multi-camera technique, deploying three cameras simultaneously per scene to minimize retakes and achieve dynamic coverage in single takes lasting as little as 16 minutes. This method, combined with daily of rushes—often requiring up to two hours per session—facilitated rapid progress and immediate adjustments, contributing to the schedule finishing ahead of projections by late September 1992 after an eight-month shoot not conducted daily. Cinematographers Takao Saitô and Shôji Ueda incorporated optical effects for visual enhancements, supported by Hi-Vision technology in collaboration with CBS Sony, to maintain visual clarity without relying on extravagance. At 82 years old during filming—turning 83 midway—Kurosawa faced physical demands inherent to on-set direction, appearing "fit but fatigued" at the 1992 wrap , yet the production completed without reported delays from health complications, preserving all core vignettes of the professor's life. The reliance on studio-based practical elements and efficient shooting rhythms mitigated potential age-related constraints, allowing Kurosawa to retain full creative oversight despite funding limitations that precluded the scale of his prior epics.

Narrative and Themes

Plot Synopsis

Madadayo chronicles the post-retirement life of Hyakken Uchida, a professor who leaves his teaching position in to focus on writing. Throughout , Uchida remains in with his wife, sustained by the ongoing devotion of his former students, who regularly visit and offer assistance. Postwar hardships include the destruction of their home in a fire, prompting multiple relocations; the students aid in securing temporary housing and later construct a new, specially designed residence for the couple. Each year, Uchida's students host a gathering, where they inquire whether he is prepared to "graduate" from life—a for —to which he consistently replies "madadayo" ("not yet"). This ritual underscores his enduring spirit as the narrative traces approximately two decades of events, from wartime endurance through Japan's reconstruction era, emphasizing routine challenges met with steadfast support rather than grand adversities.

Core Themes of Resilience and Tradition

The titular phrase "madadayo," meaning "not yet," encapsulates the film's portrayal of resilience as an active assertion of against inevitable decline, exemplified by the professor's repeated refusal to acknowledge readiness for during annual birthday rituals with his former students. This motif draws from the real-life Hyakken Uchida's writings, which depict his own steadfast vitality into , sustained not by medical intervention but by a purposeful rooted in pursuits and social bonds. from longitudinal studies supports this depiction, showing that individuals with a strong in life—defined as direction and —exhibit reduced mortality risk, with one analysis of over 7,000 U.S. adults finding that higher purpose scores correlated with a 17% lower hazard of over eight years, independent of age or health status. Such findings align with causal mechanisms where purpose buffers against passive aging by fostering resilience through goal-oriented behaviors, contrasting with decline precipitated by aimlessness. Central to this resilience is the film's emphasis on traditional of and elder veneration, manifested in the students' unwavering loyalty to their mentor, which mirrors documented real-world dynamics between Uchida and his pupils who maintained contact and support throughout his life. These bonds, portrayed as reciprocal and enduring, underscore communal obligations over individualistic autonomy, with the students providing material aid and emotional sustenance post-retirement, reflecting pre-war cultural norms where teacher-student ties extended lifelong. Critics dismissing such portrayals as overly sentimental overlook the evidentiary basis in Uchida's essays, which recount genuine acts of devotion, such as collective efforts to locate him after wartime displacements, thereby grounding the in observable historical interpersonal patterns rather than idealized fiction. This counters empirical observations of eroding social cohesion in aging populations, where strong relational networks demonstrably enhance survival odds by mitigating isolation's physiological toll. A pivotal vignette involving the professor's attachment to a named Nora illustrates resilience through innate human goodness provoked by uncomplicated purity, as the animal's disappearance prompts communal searches that reveal underlying amid post-war hardships. In Japanese cultural context, the cat symbolizes unadulterated and , eliciting protective instincts that affirm moral continuity despite societal disruptions like and generational estrangement. This episode subtly critiques shifts in Japan toward diminished respect for elders, where rapid modernization frayed traditional hierarchies, yet posits that core human affinities—unmarred by ideological overlays—persist as causal drivers of , as evidenced by the students' instinctive . Such themes prioritize causal realism in , attributing endurance not to abstract progress but to primordial ties reinforced by cultural continuity.

Release

Japanese Premiere and Initial Distribution

Madadayo premiered in Japanese theaters on April 17, 1993. This launch aligned with Akira Kurosawa's late-career resurgence, following his December 1971 suicide attempt amid financial and professional difficulties after the poor reception of (1970). Subsequent international collaborations enabled major works like (1980) and Ran (1985), which reaffirmed his stature and paved the way for Madadayo as a culminating project. The film's intimate portrayal of postwar life and mentor-student bonds lent it niche appeal, prompting a targeted initial distribution focused on urban theaters in Tokyo and select cities rather than a nationwide rollout. Promotional materials positioned it as Kurosawa's valedictory statement on endurance and tradition, capitalizing on domestic reverence for his oeuvre to draw dedicated patrons. Domestic earnings reflected this restrained approach, yielding moderate attendance among audiences attuned to the director's thematic concerns, without pursuing blockbuster-scale promotion.

International Rollout and Delays

Madadayo received its international premiere out of competition at the on May 14, followed by screenings at the on September 12. These festival appearances marked initial exposure beyond , though theatrical distribution remained selective, prioritizing and over broader markets. In the United States, the film faced significant delays, with exhibitions beginning only on March 20, 1998, and no wide theatrical occurring. hesitancy stemmed from perceptions of limited commercial appeal, as Kurosawa's post-Ran (1985) works emphasized introspective narratives over the action-oriented epics that had previously driven international success, such as Seven Samurai (1954). Cultural barriers, including untranslatable Japanese wordplay and puns central to the story's humor, further deterred widespread export, favoring Kurosawa's more "universal" earlier films. Home video distribution mitigated these delays, with DVD availability in the U.S. around 2001 enabling access without theatrical constraints. Streaming platforms later expanded reach post-2000, though core content remained unaltered, preserving the film's focus on postwar Japanese resilience amid distributor preferences for high-action exports.

Reception

Positive Critical Assessments

Roger gave Madadayo three out of four stars in his March 20, 1998, review, praising its warm portrayal of human connections through the enduring gratitude and love between retired professor Hyakken Uchida and his former students, who collectively support him in old age. described the film as evoking an "enviable world of warm hearts," emphasizing Kurosawa's directorial maturity at age 83 in crafting a serene that leaves audiences refreshed and smiling, akin to the spirit of Yasujiro Ozu's works. The film's meditation on mortality drew acclaim for Kurosawa's ability to evoke joy amid physical and existential decline, with the titular refrain "Madadayo" ("not yet") symbolizing resilient defiance against death during Uchida's post-retirement years from 1943 onward. A New York Times review highlighted this as a "mellow, wry view of a man growing old," rendered with "exquisite and respectful " and "serene, enveloping warmth" through precise camera movements and painterly compositions that foster emotional authenticity without cynicism. Similarly, Bob Graham of the San Francisco Chronicle rated it 4.5 out of 5, calling it a "warm, celebratory" work punctuated by luminous private visualizations that underscore life's quiet affirmations. Critics recognized the ensemble's warmth and the film's biographical fidelity to writer Hyakken Uchida's life as a to Hollywood's , showcasing communal bonds via annual student gatherings and Uchida's humorous, tolerant wisdom amid wartime and hardships. A Chicago Tribune assessment lauded its "meditative, benevolent, [and] humorous" tone, full of "achieved wisdom and tolerance," with the students' unique rapport evoking quiet emotional power rooted in Kurosawa's personal adaptation of Uchida's experiences.

Criticisms of Narrative and Production Quality

Critics have frequently highlighted the film's episodic structure, comprising disconnected vignettes spanning two decades in Hyakken Uchida's life, as contributing to a pervasive lack of tension and dramatic momentum. This format, while faithful to Uchida's documented uneventful retirement—marked by modest lectures, relocations, and minor personal losses—diverges sharply from the tightly woven conflicts and epic stakes in Kurosawa's prior films such as (1954) or Ran (1985), yielding a story bereft of incident and propulsion. Such structural inertness stems in part from the biopic's adherence to Uchida's actual , which eschewed for quotidian resilience amid postwar Japan's hardships, yet this does not mitigate the resulting dramatic stasis, as early reviewers observed the absence of Kurosawa's characteristic rhythmic buildup or peaks. Budgetary constraints further exacerbated production shortcomings, with recollections indicating shortfalls that produced a visually austere aesthetic—relying on modest sets and practical effects—contrasting the sweeping scale of Kurosawa's earlier epics reliant on larger studio resources. At age 83 during in 1992–1993, Kurosawa's advancing physical decline, including documented eyesight deterioration, likely compounded these limitations, potentially impairing precise visual execution and contributing to a perceived in directorial vigor evident in the 's subdued framing and pacing. While these factors causally explain the diminished production polish—amid Japan's industry's postwar financing volatility that had long marginalized Kurosawa—the narrative's underlying inertness persists as an unexcused artistic choice, prioritizing biographical anecdote over compelling storytelling.

Legacy

Position in Kurosawa's Oeuvre

Madadayo (1993) represents Akira Kurosawa's thirtieth and final feature film, completed four years after Rhapsody in August (1991) and marking a return to gendai-geki, or contemporary drama, focused on a biographical portrait of educator Hyakken Uchida spanning the post-World War II era. Unlike the period-action jidaigeki epics such as Ran (1985) that dominated much of his mid-career, this late work emphasizes introspective human relationships and quiet resilience amid aging and societal change, aligning with earlier modern-set explorations like Ikiru (1952). The film's episodic structure, drawn from Uchida's writings, eschews the dynamic editing and multi-planar compositions of Kurosawa's samurai films in favor of a more serene, tableau-like pacing reflective of his post-1970s output. Thematically, Madadayo culminates motifs of defiant life-affirmation traceable to Ikiru, where protagonists confront mortality yet assert vitality through personal conviction—the professor's repeated declaration of "not yet" (madadayo) to readiness for death echoing the bureaucrat's redemptive park-building in the earlier film. This resonance gains empirical weight from Kurosawa's own 1971 suicide attempt by throat-slashing, amid career setbacks including financing failures and a dismissed Hollywood project, from which he recovered to direct eleven more features over the subsequent two decades, embodying the perseverance depicted. As a collaborative endpoint, Madadayo features Ishirō Honda's final credit as co-screenwriter and directorial advisor, concluding their partnership on Kurosawa's last five films from (1980) onward and symbolizing the close of ties to Toho's postwar studio ecosystem that shaped his formative influences. Honda's involvement, rooted in decades of friendship, underscores the film's valedictory tone, transitioning Kurosawa's oeuvre from epic historical confrontations to intimate, tradition-bound endurance in modern .

Long-term Cultural Resonance

Since its release, Madadayo has experienced periodic revivals in film festivals and community screenings, particularly post-2000, where its portrayal of enduring respect for elders resonates amid global aging demographics, including Japan's population where over 29% were aged 65 or older by 2023. Screenings in 2023 at Morningside Gardens emphasized the film's focus on a retired teacher's relationship with devoted former students, evoking themes of veneration over generational dismissal. A 2024 community event at Faith United Methodist Church in , highlighted similar motifs of loyalty and tradition in Kurosawa's final work. These events, alongside a scheduled 2025 screening at Lamakaan cultural space in as part of Kurosawa remembrances, demonstrate verifiable audience engagement rather than fading irrelevance, with attendance data from such venues indicating sustained interest in unmodernized depictions of . The film's biographical roots in Hyakken Uchida's essays have contributed to its resonance in discussions of traditional Japanese intellectual life, influencing scholarly views on that prioritizes lived continuity over narratives of cultural rupture or often amplified in academic critiques. Unlike contemporaneous works favoring progressive reinterpretations, Madadayo's emphasis on unyielding devotion—drawn from Uchida's real postwar experiences—provides evidentiary counterweight through its episodic structure, which has informed later biographical filmmaking's treatment of elder figures as vital cultural anchors rather than relics. Archival initiatives have bolstered long-term access, with announcing preservation efforts in 2007 to maintain the film's original 35mm elements, ensuring Kurosawa's intent remains intact without retrospective edits or contextual overlays common in re-releases of period works. Institutions like the have screened restored prints as recently as 2019, facilitating scholarly analysis of its muted palette and static framing as deliberate preservations of prewar humanism. Broader Kurosawa restoration projects, including 4K efforts by for retrospectives like SIFF's 2025 series, extend this to Madadayo, prioritizing fidelity to source materials over sanitized adaptations.

References

  1. https://www.rogerebert.com/reviews/madadayo-1998
  2. https://collider.com/akira-kurosawa-ishiro-honda-madadayo-last-movie/
  3. https://archive.nytimes.com/www.nytimes.com/library/film/090100madadayo-film-review.html
  4. https://asianmoviepulse.com/2025/03/film-review-madadayo-1993-by-akira-kurosawa/
  5. https://akirakurosawa.info/2015/05/01/film-club-madadayo-akira-kurosawa-1993/
  6. https://www.ndl.go.jp/portrait/e/datas/6240/
  7. http://kouzyou.blogspot.com/2014/01/hyakken-uchida-realm-of-dead.html
  8. https://bungo.fandom.com/wiki/Uchida_Hyakken
  9. https://jonathanrosenbaum.net/2023/11/madadayo/
  10. https://www.popmatters.com/akira-kurosawa-films-1991-1993/3
  11. https://dennisschwartzreviews.com/madadayo/
  12. https://www.researchgate.net/publication/236719415_Uchida_Hyakken_A_Critique_of_Modernity_and_Militarism_in_Prewar_Japan
  13. https://rijs.fas.harvard.edu/publications/uchida-hyakken-critique-modernity-and-militarism-prewar-japan
  14. https://akirakurosawa.info/biography-part-11/
  15. https://www.criterion.com/current/posts/4299-akira-kurosawa-s-dreams-quiet-devastation
  16. https://wherethelongtailends.com/kurosawa-in-order-30-madadayo/
  17. https://nymag.com/nymetro/movies/reviews/3718/
  18. https://www.criterion.com/films/9883-madadayo
  19. https://www.imdb.com/name/nm0559581/
  20. https://www.rottentomatoes.com/m/madadayo/cast-and-crew
  21. https://www.themoviedb.org/movie/13889/cast?language=en-US
  22. https://www.imdb.com/title/tt0107474/fullcredits/
  23. https://akirakurosawa.info/2014/12/23/kurosawas-cinematographer-takao-saito-has-died-at-age-85/
  24. https://www.criterion.com/current/posts/6648-godzilla-s-conscience-the-monstrous-humanism-of-ishiro-honda
  25. https://www.tohokingdom.com/movies/madadayo.htm
  26. https://arthitshard.substack.com/p/an-interview-with-akira-kurosawa
  27. https://variety.com/1992/film/news/kurosawa-not-yet-done-101383/
  28. https://www.austinchronicle.com/screens/madadayo-11915536/
  29. https://www.imdb.com/title/tt0107474/
  30. https://www.metacritic.com/movie/madadayo/
  31. https://www.tohokingdom.com/reviews/vega/madadayo.htm
  32. https://www.eastman.org/madadayo
  33. https://sonic-cinema.com/wordpress/movie/madadayo/
  34. https://www.chicagotribune.com/1998/03/20/kurosawas-madadayo-a-fully-alive-story/
  35. https://jamanetwork.com/journals/jamanetworkopen/fullarticle/2734064
  36. https://pmc.ncbi.nlm.nih.gov/articles/PMC4224996/
  37. https://pmc.ncbi.nlm.nih.gov/articles/PMC12181576/
  38. https://akirakurosawa.info/forums/topic/madadayo-irony/
  39. https://www.imdb.com/title/tt0107474/releaseinfo/
  40. https://akirakurosawa.info/biography-part-9/
  41. https://akirakurosawa.info/biography-part-10/
  42. https://www.tcm.com/tcmdb/title/331280/madadayo
  43. http://eddieonfilm.blogspot.com/2007/01/kurosawas-swan-song.html
  44. https://bayflicks.net/2010/08/30/kurosawa-diary-part-30-madadayo/
  45. https://jonathanrosenbaum.net/2025/07/kurosawas-madadayo/
  46. https://www.degruyterbrill.com/document/doi/10.1515/9780824840372-015/html
  47. https://www.avclub.com/was-akira-kurosawa-s-final-film-a-tribute-to-his-career-1798235271
  48. https://www.latimes.com/archives/la-xpm-1992-06-24-ca-904-story.html
  49. https://hekint.org/2018/02/02/unfinished-business-end-life-care-regrets-films-akira-kurosawa/
  50. https://www.nytimes.com/1998/09/07/movies/akira-kurosawa-film-director-is-dead-at-88.html
  51. https://variety.com/1998/film/news/kurosawa-had-heart-of-a-boy-mind-of-a-genius-1117480163/
  52. https://mrhsmovies.wordpress.com/
  53. https://rafu.com/2024/08/screening-of-kurosawas-madadayo-at-faith-umc/
  54. https://www.facebook.com/events/lamakaan-an-open-cultural-space/remembering-akira-kurosawa-madadayo-film-screening/1343407266797140/
  55. https://akirakurosawa.info/tag/madadayo/
  56. https://www.siff.net/media/blog/akira-kurosawa-retrospective-trailer
Add your contribution
Related Hubs
User Avatar
No comments yet.