About Mifune

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Mifune Toshirō

Mifune Toshirō, (born April 1, 1920, Qingdao, Shandong province, China—died December 24, 1997, Mitaka, near Tokyo, Japan), leading actor in the post-World War II Japanese cinema, known internationally for his energetic, flamboyant portrayals of samurai characters, especially in films directed by Kurosawa Akira.

During World War II, Mifune served in the Japanese armed forces, studying aerial photographs. Going to Tokyo after the war, he was hired as a contract player by Toho Film Studios at Kurosawa’s urging. In 1946 Mifune had a small part in Shin baka jidai (1947; “These Foolish Times”), and in 1947 he achieved critical recognition and box-office success as the gangster in Kurosawa’s Yoidore tenshi (1948; Drunken Angel). Mifune first achieved international fame for his role as a boastful bandit in the classic film Rashomon (1950). He is best known for his popular portrayals of samurai in other period films by Kurosawa, including Shichinin no samurai (1954; Seven Samurai), Kakushitoride no san akunin (1958; The Hidden Fortress), Yojimbo (1961), and Tsubaki Sanjuro (1962). Mifune’s forceful gestures and vivid character portrayals linked him indelibly with the image of the complex and unpredictable samurai as developed by Kurosawa. A highly versatile actor, he also starred in Kurosawa’s adaptations of three Western literary classics: Fyodor Dostoyevsky’s novel The Idiot, titled Hakuchi (1951); Shakespeare’s Macbeth, titled Kumonosu-jo (1957; Throne of Blood); and Maxim Gorky’s play The Lower Depths, titled Donzoko (1957). Mifune also appeared in Kurosawa’s Tengoku to jigoku (1963; High and Low), a detective thriller; and Akahige (1965; Red Beard), his last appearance in a film by that director.

Besides the 16 films he made with Kurosawa, Mifune starred in dozens of other Japanese motion pictures, among them Samurai 1: Musashi Miyamoto (1954) and Joi-uchi (1967; Rebellion). Among the international productions Mifune appeared in are Hell in the Pacific (1969), Tora! Tora! Tora! (1969), Soleil rouge (1971; Red Sun), and Midway (1976). He also performed in the American television production Shogun (1980). The documentary Mifune: The Last Samurai (2020) explored his life and career.

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Mifune-san The Follower

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About this mod

Outlaw cat follower “Mifune-san”

Hissa’s work than “HS-CAT”

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SKSE 1.7+

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Outlaw cat follower “Mifune-san”
Hissa’s work than “HS-CAT”

>
Ver.1.04 (2020/11/01)
・Add “Spell Tome:Ride to Mifune”
・Add Deathblow “Mifuzanko”

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!!Those who have gotten introduced the previous version
The introduction by the following procedure please.
1. Mifune-san and the farewell to save.
2. save on you uninstall the previous version.
3. installing this version.
4. Load the data of Step 1.
5. Spell Tome:Ride to Mifune(This Spell will be riding him on The mifune-san.)

>
Riverwood.
Per Faendal is divided firewood.
The equipment for Mifune-san will is put in front of the nearby log.
* Fish sausage (Chikuwa Shield)
* Lantern (Lantern Shield)
* Potion Case (Potion Shield)
* Barrel (Barrel Shield)

>
1.Riding possible
You can talk to the talk from the front of Mifune-san.
You can ride to Mifune-san, From his side or back.
[Operation at the time of riding]
* Jump : Jump button
* Attack : Shout button
Mifune-san is not damaged even if dropped from a high place
2.Weak Skeevers
3.Cabbage, tomatoes, and see the sweetrolls
It will blow away
4.While Mifune is equipped with a potion case
For us to recover the potion in the vicinity.
The recovered potion will be added to the inventory.
5.When Mifune is swimming, it caught the near there are salmon.
“Raw Salmon” will be added to the inventory.
6.While Mifune-san is equipped with a barrel, and Player’s Health cut 60%
He will cast Gurdian Circle.
7.When surrounded by the two bodies or more of the enemy,
deathblow to blow around the enemy “Mifuzanko” will activate.

>
1.those who have been introduced multiple-friendly walk MOD the follower is
Please adjust the load order so that this MOD will come earlier than those of the MOD.
2.Is not good compatible with the “Convenient Horses”.

!!Classified information
1.You should not be called at the same time two bodies or more Mifune-san.

Film Review: ‘Mifune: The Last Samurai’

A look at the life and art of Toshiro Mifune captures a Japanese movie star’s revolutionary ferocity but not the mystery behind it.

Owen Gleiberman

Chief Film Critic

Latest

“Mifune: The Last Samurai,” a dutiful and diverting but rather bare-bones documentary portrait, opens with a series of clips and photographs of Toshiro Mifune, the scowling-eyed Japanese actor who became, in effect, the world’s first action star. The first clip, from “Rashomon,” looks even more transgressive today than it did in 1950: It’s of Mifune’s scruffy medieval bandit forcing himself at knifepoint on a maiden he discovers in the woods. In the other clips, we see him leaping, glowering, slashing, grunting, cackling maniacally, facing down armies of sword fighters, and appearing just as volatile when he’s the victim, twitching to and fro like a gnarly demon as he evades a shower of arrows. The montage ends with a photograph of what looks like a different human being entirely: It’s Mifune relaxing at home, elegant and debonair, with a handsome warm smile and eyes that crinkle just so, his black hair slicked back in a way that makes him resemble a Japanese Rock Hudson.

That image demonstrates something profound about Mifune, and it also raises a fascinating question about him. What it tells you is that the ferocious persona he presented in films like “Seven Samurai” (1954) and “Yojimbo” (1961) — the upstart lone-wolf swordsman, noble but a little maniacal, dominating every situation with an unruly energy that erupted from within — was a fantastically calculated and artful creation. You might say “Duh” (he was, after all, an actor), but in the movies, Mifune unleashed himself with such brutal spontaneity that he seemed a force of nature, one who gathered his energy from the earth itself. Even now, the notion that his characters were meticulously devised seems, on some level, counterintuitive.

“The Last Samurai” allows the audience to relive, film by film, the explosiveness of what Mifune achieved, or (for younger viewers) to introduce themselves to his thrashing balletic majesty. That’s a serviceable thing, but the movie, narrated with zombie Zen stoicism by Keanu Reeves, only rarely goes beyond that. Steven Okazaki, who directed and edited it, takes you through a functional, slightly sketchy version of Mifune’s life and career — his childhood in China (where his Japanese parents were missionaries), his enlistment in the Japanese Imperial Army during World War II, during which he trained suicide bombers, and his attempt after the war to make a living by becoming an assistant cameraman. He fell into acting by accident, after someone sent his photo to a “New Faces” contest, and he might have wound up as just another Tokyo matinee idol. But it was his destiny, at Toho Studios, to draw the attention of Akira Kurosawa in the late ’40s, right at the moment when the already powerful director, full of guilt at having worked on films that supported the Japanese regime during the war, was set on creating movies that expressed his own rebellious impulses. The time for bowing and scraping in Japan was done.

Mifune didn’t bow — he was more like a warrior who blew up in your face. Kurosawa, by temperament, was an epic visual classicist, but what he expressed was something modern and anarchic: the ecstasy of violence, the unknowability of truth, the inner thrum of the samurai’s heart. “The Last Samurai” shows you how Mifune became Kurosawa’s wild artistic id as surely as Robert De Niro was Martin Scorsese’s in the ’70s. Kurosawa trusted Mifune to be his collaborator, and rarely gave him direction. It was up to the actor to create his own characters, which he did through mountains of preparation, forging these rogues from the inside out. In “The Last Samurai,” even his fight choreographer, Kanzo Uni — a man who was killed onscreen by Mifune more than 100 times — testifies that during a scene, when Toshiro would come at him with his bloodthirsty grimace and eyeballs peeled, it was genuinely intimidating.

All of this opens the door to a question about Mifune the film never answers: Where did his drive and obsession — his inner fury as an actor — come from? According to Scorsese, who is interviewed in the documentary along with Steven Spielberg, Mifune studied the movements of lions, which resulted in his ability to conjure the aura of a caged animal. But he was an untamed human animal too: Once he got to be a star, he indulged his passions, like cars and alcohol (which he mixed to destructive effect). One of Mifune’s two sons relates the story of how his father, when drunk, would wave a sword around in the living room, a sight he describes as “scary.” Mifune would also motor past Kurosawa’s house to yell things like “Damn you!” (the first and last we hear of any conflict between them), and there’s a quick mention of how he would pick fights with gangsters. As presented, though, these amount to quaint comic wisps of bad behavior that give us only the vaguest sense of who Mifune was or the demons he grappled with.

“The Last Samurai” goes back to the silent era of the Japanese chanbara film, with its kabuki-inspired samurai, and to one astonishing clip of a movie called “Chokon,” in which the white-faced hero, looking as ghoulishly possessed as Lon Chaney, revives his own spirit by literally licking the blood of his enemies off his sword. That’s the tradition that Mifune and Kurosawa were taking off from, but Kurosawa was a revolutionary of hellbent realism. On the set of “Seven Samurai,” chastising an actor for a corny death scene, the director said, “This is not just another samurai film. It has to feel real.” And that’s how it felt: For ’50s audiences, it was as if the slashing macabre tingle of it all was really happening. In the astonishing climax to “Throne of Blood,” a scene filmed without insurance, those were real arrows being shot at Mifune’s head (the archers were college students, some of whom could barely aim), and Mifune was willing to dodge them out of trust and actorly art and maybe a little craziness. That’s why the scene still exerts an awesome graphic power: No special effects could rival this primitive dance of death.

Mifune was a one-man kamikaze burlesque show, as elegantly savage as his future inheritor Bruce Lee, as dextrous as Errol Flynn, as insanely comic as Curly from the Three Stooges, with a bombs-away ego all his own. But you could also say that Mifune was, at times, a solipsistic overactor who only rarely connected with anyone on screen. I wish that “The Last Samurai” spent time exploring his restrained performance in “The Bad Sleep Well” (1960), Kurosawa’s cold dissection of corporate crime. The documentary summons a few haunting moments when it confronts the dissolution of Mifune and Kurosawa’s partnership after they had made 16 films together, a quiet breakup that wound up wrecking Kurosawa’s career far more than it did Mifune’s. (Mifune was successful enough to turn down, on the advice of his American agent, the role of Obi-Wan Kenobi in “Star Wars.”). Yet what “The Last Samurai” barely fills in is the vastness of Mifune’s influence. He was a hurricane who blew away the landscape that had come before him. He was really the first samurai of action cinema, the one who cast his cross-cultural shadow over everything from the evolution of the martial-arts genre to Eastwood and Bronson. He had a quality that “The Last Samurai” evokes in clips yet leaves you wanting to see explored in a far more memorable way, and that was danger.

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