Title: Record of Lodoss War

Dubbed by National Sound

Distributed by Central Park Media (rescued by Media Blasters)

Written by: Jon Turner

Published: 7/29/2010

Nowadays it seems as though people are so accustomed to top quality dubbing; this is more of the standard these days rather than the exception, which wasn’t necessarily how things were in the ’90s. Around this period, the consensus was that dubbing just wasn’t very good at all, and “efforts” such as most of the output from Streamline and Manga UK often fell into truly dreary territory. However, there were some notable exceptions to the rule, and Record of Lodoss War OVA, dubbed by National Sound for Central Park Media in 1996, was one of them. That said, reactions to this dub have been wildly divided; as with another famous fantasy Anime series, Slayers, Lodoss‘s dub has gone on many fans’ best or worst dub lists. In spite of the naysayers, though, it has had its share of loyal fans over the years (Mike Toole on AnimeJump.com, for instance).

To fully appreciate Lodoss OVA as an overall dub, one must evaluate it as a product of its era, because, as much as I love this dub, I will admit that it does have its share of drawbacks, one of which is the uneven lip-sync. Most of this can be attributed to the technology of the time (reel-to-reel in contrast to the ProTools software we know today), but the animation sometimes results with some stilted mouth flaps which sometimes makes the flow of the dialogue sound choppy (not by much, however). And speaking of the script, while the late Mike Alben can be applauded for staying as faithful as possible to the original Japanese, there are occasional moments when his lines come across as awkwardly written or delivered. Then there are the performances by the incidental characters (soldiers, courtiers, villagers, etc.), which come across as cheesy sounding (although in all fairness, they’re nowhere nearly as embarrassing as the minor bit players in the follow-up Lodoss TV dub).

In spite of its weaknesses, though, Lodoss OVA has its share of memorable vocal performances which really carry the dub as a whole. It’s interesting to note that at the time, most of these actors were unknowns, but most would go on to have fairly successful careers in dubbing. The man responsible for bringing them in is none other than Bill Timoney, who not only voices the young hero, Parn (more on that later), but happened to help scout out the talent for the dub and even directed the first eight episodes. The previous ADR director had been called off to do another project, hence why Timoney had to fill-in. That said, the dub starts out somewhat stiffly in the opening three episodes, but by episode 4, the actors all settle into their roles and turn in fine work. Of the performances, here are the ones that really captivate me the most:

THE NARRATOR (Alexander J. Rose) – is the first to speak in the dub. He has a deep, authoritative voice which aptly sets the tone for the epic tale; hearing him utter “Lodoss, the accursed island” left me breathless. His role is sparse, but it is always a pleasure to hear his vocal whenever he is brought in.

PARN (Billy Regan) — No, it wasn’t Bill’s first role in Anime, but the actor claims that it was his breakthrough and one of his favorite characters. Billy has a very good “young leading man”‘s voice which works well for heroic roles of this type. Unlike his television counterpart in Lodoss TV, Regan provides range and enthusiasm; his scenes with Deedlit (particularly the dance scene in episode 5 as well as everything from episodes 11 to the end) and his action bits are among the highlights of his performance. Some might argue that his voice is a bit “rough” sounding, but this works in favor of the character as a reckless, impulsively heroic knight wanna-be. There are a couple of places in the beginning which sound somewhat tentative, but otherwise it’s a solid performance overall, and, as mentioned, it is superior to that of the TV series.

DEEDLIT (Lisa Ortiz) — Without a doubt, the voice that everyone remembers best from the Lodoss OVA dub. This was her first voice acting role, and while there are a few places where it’s obvious, note that I stress the word few. It’s a lively performance, with just the right amount of emotion and sassiness. Her voice is distinctively different from that of Yumi Tohma, and yet it suits this mystical high elf very well. Her acting, too, is quite effective, whether she is flirting with Parn, casting spells, or becoming gradually weaker in the final episodes as her life force is nearly drained to resurrect the Dark Goddess. (When she breathlessly utters, “Stay back, save yourself, Parn” one feels a tingle up their spine.) While Lisa has gone on to be better known as Lina Inverse from Slayers, to me, she will always be Deedlit.

ASHRAM (John Knox) — This is yet another role that really stands out. I don’t think Knox has done much Anime other than Lodoss, which is a shame, because his role of this ruthless yet honorable knight is amazing. He has an appropriately deep voice which is more than appropriate for the character, and while he comes across as rather stoic sounding, this is how Ashram should be. Only in several moments do a few lines come across as cold reading, but somehow this works in favor of the character instead of against him.

ETOH (Ted Lewis) — Like Ortiz, this was Ed Paul’s first Anime voice-acting role, and is often signaled out as the weak link of the show. He raises his voice to a surprisingly high pitch to sound somewhat boyish. This tone works in favor of the character being a bookish priest, although I did detect a couple of missed lines at the start (mostly the first half of the opening episode). As the show progresses, he gets more into character and becomes more confident with his subsequent appearances. He’s mostly soft-spoken, save for the penultimate episode where he gets to fight a ghoulish wraith. (It should also be noted that I do have a soft spot for his performance in spite of its shortcomings.)

GHIM (Greg Wolfe) — Of course, how could I forget this guy? Gruff, tough, and stony, Greg’s burly-sounding voice lends itself well to the grizzled old dwarf with an axe to grind (pun intended). He has an infectiously hearty laugh and a wry sense of humor (“Pathetic! You can hardly even handle a sword.”), but also a deep, emotional side which he often displays when reminded about the missing priestess he is searching for. There are several places where he comes across as a bit stiff, but not enough to detract from his overall performance. The last we hear of him is in Episode 8, and the actor really hits the marks there. (I won’t get into that, however, because doing so would provide spoilers.)

SLAYN (Al Muscari) — Mike Toole has mentioned that this was one of his favorite performances from the Lodoss dub. Muscari has a calm, yet dramatic sounding voice that is easy to visualize belonging to a benevolent magician. He delivers his lines in an understated tone without sounding monotonous (his spell recitations, in particular, are both fantastic and priceless), raising his voice only at the appropriate moments. It’s a shame that we haven’t heard much more from this actor.

KARLA/LEYLIA (Simone Grant) — A sorely missed actress, fans probably remember her best for her role as Boogiepop Phantom. Her performance as Karla, the unstable witch who threatens Lodoss, is something of a precursor to that role. She intones her lines in a cold, icy monotone, which emits both a devilish aura and commanding presence that sends chills up one’s spine. Her sinister cackling is spot-on, too. This lasts until episode 9, where she becomes the kind, gentle priestess under the witch’s control. There are also several instances where she can be heard as several different female characters: the Zaxon mayor’s daughter Liara, Princess Fianna of Valis, etc., and while this does cause for some disconcertation, there’s no denying that it’s unfortunate that Grant is no longer with us. Lodoss is a fine example of her talent.

WOODCHUCK (Jacques LeCan) — Another unknown with not much of a career, LeCan gives this surly thief a smarmy, “gangster”-like voice which is distinctively different from his Japanese counterpart, but fitting nonetheless. For the most part, he seems to be enjoying himself… although I did notice several places where he misses some of his lines. One such case is in episode 4, when Woodchuck is trying to escape from a dark void, his “help me!” isn’t as strong or emotional as the scene demands. In all fairness, it doesn’t spoil the performance and there are plenty of other moments where he gets to have fun (episodes 1 and 3, as well as the dice scene in episode 5). When his character becomes possessed by Karla, though, he really shines. There he sounds spooky and deeper-voiced, with a hair-tinglingly frightening sinister laugh. Note that a trace of his “gangster”-like persona remains at times in lines like “I gamble. My purpose is to preserve Lodoss.”

KASHUE (Chris Yates) — Although essentially a key figure, Kashue has a somewhat small part, but Chris plays it pretty much as you’d expect: commanding, with dignity, warmth, discipline, and occasional humor. It’s a very nice performance overall, particularly in his action scenes. Only in a couple of places does his dialogue come across as somewhat unsynched, but not jarring enough to detract.

ORSON (Chris Yates) – Chris also voices Orson, a “Berserker” warrior possessed by the Spirit of Rage, making him prone to burst out in vicious attacks. His voice is considerably deeper and tone and he doesn’t use much emotion, but considering the nature of his character (where he must keep all his emotions under control), it is more than appropriate.

PIROTESS (Meg Frances) — The opposite of Deedlit, character-wise, Pirotess is a dark elf who serves as Ashram’s love interest. Frances has a husky, sultry voice which brings a quality that is alternatingly alluring and dark. There are a few moments that come across as cold reading, but otherwise she acquits herself fairly well, and her final scene in episode 10 is appropriately effective.

SHIRIS (Karen Smith) — Rough and ready, with an aggressive quality and understated sassiness. That sums up Karen’s Shiris, in a nutshell. There are several places where she overacts, but since her character screams quite a bit in her first appearance (and with occasionally mellodramatic dialogue), it’s unavoidable. Her exasperation provides a nice contrast to her more stoic partner’s deadpan responses.

WAGNARD (Bruce Winant) — This is another one of my favorite performances from the dub. Bruce has a voice which fits this meglomaniacal sorcerer to a tee, but what really sells his performance is the laugh: it’s terrifying, overflowing with pure evil and malice that never gets boring. (Some of my friends/family members were quite scared by this laugh, effectively so.) As far as his acting goes, there isn’t much depth to the performance, but there doesn’t have to be. All Bruce has to do is be despicable and chew the scenery with glee as his character gets gradually crazier, and he does that wonderfully… particularly in the final episode where he gets to do a lot of maniacal laughing, shouting, and screaming. (The actor admits he couldn’t talk for weeks after recording that very episode!)

I neglected to mention the performances of Bob Barry as the raspy-sounding Emperor Beld, J.W. Gunther as King Fahn (who at times sounds a bit like Patrick Stewart), and Alexander J. Rose as the great sage Wort (who is really just a more weary-sounding version of his narrator voice, albeit effective overall); all three are decent, but they don’t really strike me as memorable as the guys I mentioned above.

One thing I neglected to mention is that the opening and ending theme songs for Lodoss OVA are translated and sung into English. Mike Alben and Peter Fish somehow manage to transform the Japanese-written lyrics into something palatable (if at times a tad cheesy), but it is the beautiful voice of Lisa DeSimone that really make these new reinditions soar. She sings with a lot of emotion and passion, giving these tunes the sort of “timeless” quality they deserve. Like the dub, these songs are grossly underrated and always a pleasure to listen to for each episode.

No one will argue that Lodoss OVA‘s dub is on par with today’s standards, but even having said that, it has aged fairly well for a 1996 production. In today’s light it probably doesn’t compare, but as an older dub, it’s above many other English tracks from its era. And it is superior to the more uneven (and inconsistent) Lodoss TV dub, Chronicles of the Heroic Knight, which followed approximately four years later.

Written by: Esosa Osamwonyi

Published: 07.05.10
Disclaimer: This article is copyrighted. Please do not reproduce this article in whole or part, in any form, without obtaining my written permission.

The dubbing of foreign media has always been something that has interested me. It’s really something I have not thought about for a while. I remember those old kung-fu films and how they were dubbed over in English as well as other foreign films too. It was a good way to introduce the product to a new audience. Nowadays though, you don’t see too many films being dubbed. Many are now subtitled to hold the original authenticity, themes and message. Another thing to consider is that it may be that the culture is more accepting than it was in 1980’s towards showcasing the original content.

Dubbing is used in a variety of ways in the media. Two of the biggest things to consider are anime and video games. For this article I will focus on the process of anime dubbing simply because video games is an entirely different matter to consider. Anime is defined as animation originating from Japan, and just as certain countries have cartoons, Japan has anime. Its origins go back as early as 1900′s, and for quite some time, it remained an isolated form of animation. It wasn’t till the 1960’s that it began to spread overseas and wasn’t until the 1980’s and 1990’s that it grew as a major cultural export. The way it would work is that would anime distribution companies would handle licensing and distribution outside of Japan. Licensed anime is modified by distributors through dubbing into the language of the country and adding language subtitles to the Japanese language track. For many of us, this is how we were introduced to such works as Akira, Gatachman, and many other titles. People were now aware of this thing called “Anime” outside of Japan, but I personally believe it wasn’t until anime started appearing on mainstream television channels such as Cartoon Network, Colours, Sci-Fi Network, Adult Swim, etc. that it really took off. It was also an excellent way to advertise their product(s) and sell more merchandise to a worldwide market outside Japan.

Now let’s fast-forward to the present day. Technology is advancing at a rapid rate—the Internet and computers play a major role in most of our lives today, and one has to consider there is so much anime available because of this expansion. Anime is not shown as much on television as before though but it’s definitely more popular due in part to the growth of people using the Internet for means of entertainment.  It seems to me that the really popular titles are the ones that receive dubbing. Which brings me to what to what I want to discuss further—the question of it being possible to dub every anime.

Of course, the immediate answer would be no, but should it be necessary to do so? Again, probably not, but that certainly doesn’t stop licensing companies from trying. A licensing company getting the rights to an anime title is similar to a sports draft of sorts. Imagine if you will a convention in which representatives of the company come out to announce their picks and then provide small details on when to expect said product to hit the stores. This is the first step of the dubbing process. From there they go on to finding voice actors to fit the available roles. Depending on the company, the product may see the hands of the consumer in several months up to a year (if all goes as plan). Which brings up another concern for me—I certainly begin wonder how patient can an anime fan be in a situation like this? I mean, in that time of waiting, one could seek out “other means” of viewing media if possible—and they certainly do.

Not to say that the idea of dubbing anime is a bad thing—in fact I think it’s a very noble cause—however, my point is that many licensing companies need to be able to adjust and alternate. Some companies are now streaming anime on the web through various measures (Hulu and Crunchyroll for example) and showing anime episodes around the same time as its initial release in Japan. DVD’s are also only being released in Japanese with subtitles–with the absence of an English dub entirely (amongst other languages as well). The problem is that it’s simply not done enough. In order to attract attention you have to give attention. No longer do we have to rely on conventions and magazines to get information on topics that serve our interests. In this day and age, information gets around much quicker and easier. Anime voice acting in the West is something that is still growing and will continue to grow, but it’s simply not at that size to have that “voice over everything-mentality”. A lot of major companies pick up too many anime titles and think they can voice over every one of them. The results are that some are never finished and go to the wayside, where fan-subs are the only way to finish a series or title. A “certain” anime company is known for this. But in the end, when does one know when too much is simply too much? This is one of the dilemmas facing dubbing industry today and only time will tell what the future will hold concerning its outcome.

As a fan of Japanese cinema, I feel it’s essential to support those who continually support the community in enriching and exposing Japanese cinema to an ever-increasing spectrum of viewers. With that in mind, the Japan Society in New York is going to be putting on their “Japan Cuts” Festival of Contemporary Japanese Cinema–which is now in their fourth consecutive year! By looking at the list of titles showcasing, it’s very impressive to say the least, with a variety of different titles that are sure to please. Please check out the excerpt down below, and visit the Japan Society and their subsequent JAPAN CUTS program page for showtime information and to purchase tickets. You can also visit the Japan Society Film Blog as well, which will be covering the festival for the entire 16-day run! Please support the Japan Society for what they offer towards exploring the culture, arts and cinema of Japan.

Information:

It’s that time of year again… JAPAN CUTS Festival of Contemporary Japanese Cinema (July 1-16) is coming to Japan Society for its fourth consecutive year, with its biggest line-up ever. With 24 titles and 30 screenings, this is the largest showcase of contemporary Japanese film outside Japan, with international and U.S. premieres, special guests (filmmakers Noboru Iguchi, Yoshihiro Nishimura, Tomorowo Taguchi, Toshiaki Toyoda, Hitoshi Yazaki, and Isao Yukisada; and actors Tatsuya Fujiwara and Daichi Watanabe), parties (Festival Launch Party on July 1^st, SUSHI TYPHOON! on July 3^rd and NIGHT OF THE FILMMAKERS on July 10^th) and giveaways. In addition to independent and big budget feature films from the past year and 8 titles co-presented with the New York Asian Film Festival, the 2010 edition caps the decade with the Best of Unreleased Japanese Films of the 00’s (the “Naughties”), a digest of overlooked films from the past ten years which—for whatever reason—have not been treated to U.S. distribution.

Highlights include Confessions (dir. Tetsuya Nakashima), Sawako Decides (dir. Yuya Ishii), About Her Brother (dir. Yoji Yamada), Blood of Rebirth (dir. Toshiaki Toyoda), Bare Essence of Life: Ultra Miracle Love Story (dir. Satoko Yokohama), Dear Doctor (dir. Miwa Nishikawa), Golden Slumber (dir. Yoshihiro Nakamura), Nightmare Detective II (dir. Shinya Tsukamoto), Parade (dir. Isao Yukisada), and Zero Focus (dir. Isshin Inudo). But really, we believe every single title in this year’s line-up is worth a watch.

2010 Schedule:

Full Schedule PDF in English and Japanese

*Director or actor introduction and/or Q&A!

Thursday, July 1st

Sawako Decides (112 min.), 6:45 pm
Confessions (106 min.), 9 pm

Friday, July 2nd

Golden Slumber (139 min.), 6:15 pm
Blood of Rebirth* (83 min.), 9 pm

Saturday, July 3rd

Dear Doctor (127 min.), 1 pm
Blood of Rebirth* (83 min.), 3:45 pm
Alien vs. Ninja (81 min.), 6 pm
Mutant Girls Squad* (85 min.), 8:30 pm

Sunday, July 4th

Boys on the Run (114 min.), 12 pm
Confessions (106 min.), 2 pm
Dear Doctor (127 min.), 4:15 pm

Tuesday, July 6th

The Foreign Duck, the Native Duck and God in a Coin Locker (110 min.), 6:15 pm
Hanging Garden* (114 min.), 8:30 pm

Wednesday, July 7th

Electric Button (Moon and Cherry) (82 min.), 6:30 pm
Bare Essence of Life: Ultra Miracle Love Story (120 min.), 8:30 pm

Thursday, July 8th

Accidental Kidnapper (111 min.), 6:15 pm
One Million Yen Girl (121 min.), 8:30 pm

Friday, July 9th

Zero Focus (130 min.), 6:30 pm
Parade* (118 min.), 9 pm

Saturday, July 10th

Parade* (118 min.), 12 pm
Crying Out Love, in the Center of the World* (138 min.), 3 pm
Oh, My Buddha!* (114 min.), 6 pm

Sunday, July 11th

King of Thorn (110 min.), 6 pm

Tuesday, July 13th

Oh, My Buddha!* (114 min.), 6:15 pm

Wednesday, July 14th

Villon’s Wife (114 min.), 6:30 pm
Nightmare Detective II (102 min.), 9 pm

Thursday, July 15th

Memories of Matsuko (130 min.), 6:15 pm
Zero Focus (130 min.), 9 pm

Friday, July 16th

About Her Brother (126 min.), 6:15 pm
Sweet Little Lies* (117 min.), 8:30 pm

Japan Cuts 2010 Preview:

About New York’s Japan Society:

Established in 1907, New York’s Japan Society has evolved into North America’s single major producer of high-quality content on Japan for an English-speaking audience. Presenting over 100 events annually through well established Corporate, Education, Film, Gallery, Lectures, Performing Arts and Innovators Network programs, the Society is an internationally recognized nonprofit, nonpolitical organization that provides access to information on Japan, offers opportunities to experience Japanese culture, and fosters sustained and open dialogue on issues important to the U.S., Japan, and East Asia.

A friend and I were talking one day and suddenly we started talking a bit about anime. He was telling me about some of the anime he had picked up and was thinking of picking up next. We then proceeded to talk about the upcoming Dragon Ball Kai and this is when I asked him: “Are you going to get the Blu-ray?” He then looked at me like I was crazy and said: “Now why would do that?” Just like a sales pitch I tried to sell him on the higher resolution, better audio, etc. He then responded to me in a way I liked: “As if Anime is not already expensive why would I want to pay more for what is essentially the same thing?”

Blu-ray has been proclaimed as the next media medium and successor to DVD. It promises high definition visual, surround audio and is able to hold more. It is the next evolution for movies, games, anime, and all types of media. At least that is what the guys up top would tell you. But I have more question: Why are we still buying DVD’s?

It is not to say Blu-ray is a failure per say; it just seems more like an alternate opinion to an already popular medium (DVD). One thing that has been on my mind for some time is what is the relationship between anime and Blu-ray and how is it working out? The anime world is a very interesting industry and one that has come a long way. A form of the media that has gone with the times. Nowadays we see more and more anime being produced in high definition and old regulars making the switch. So with all this changes and enhancements anime and Blu-ray should be a match made in heaven, right?

The truth of the matter is that it is not easy to be an anime collector. Anime has always been an expensive medium at times reaching high prices in the hundreds. Depending on the series, season box sets can be quite expensive. So this raises the question where would Blu-ray have an advantage? I mean, sure, thanks to its increased storage, you probably could store an entire season on one disc, but what to say that you are getting a bargain? What exactly is stopping a company from charging you the same price or slightly more for increased visuals? This seems to be the case today.

One thing that I have noticed is that only a small amount of the anime industry seems to be supporting Blu-ray while most just stick to DVD’s. The companies that I really see releasing Blu-rays are like big companies like FUNimation, Sony and Bandai, and that’s pretty much it. In truth, DVD’s seem to aim for the consumer mindset and this companies know it. I mean which would you rather do? Pay $80-$125 upfront for an entire 26-episode series on one double-sided Blu-ray disk, OR pay $29.99 or [much] less for one DVD with 4-5 episodes for 3-4 individual DVD’s as they are periodically released? The latter is MUCH more appealing, since no one likes to part with money, regardless of how big of a fan they are. Also, it is more consumer-friendly, in that the consumer will not feel pressured or instantly turned off by the pricing; their inhibitions are unconsciously lowered, and their willingness to part with money has a chance to exceed the expectations of the DVD in question. By slowing easing the consumer in with volumes, he or she would not be as intimated when he sees them all packed together at a higher price, especially now when some companies are beginning to release sub-only releases (cuts down on price when compared to the more expensive dub releases.), it’s hard to not to see which is the huge money saver.

However the world is an ever changing place. Though people expected Blu-ray to over take DVD, I don’t see that happening for some time (if ever). The technology is still new and if i did a survey of 500 people and asked how many had DVD players, I’m sure most of those hands will be up. Some anime companies are reporting selling more Blu-rays than DVD’s, which is a good thing, but in a sense I think its not enough. The problem with Blu-ray in the anime world is that it has not done enough to really differentiate itself. It shares the same features as a DVD boxset and in a sense is an overpriced DVD. Regardless of whether “production volumes increase…and eventually be comparable to DVD’s”, the chances of the marketing standards of anime DVD’s changing to simply single Blu-ray disks is not likely. If anything, production values will gradually align themselves with the advantages of Blu-ray, allowing for even more extras to be added. The only possibilities I can see arising from turning to Blu-ray disk releases of anime is for those who highly want high-quality convenience, and again, for the anime otaku.

At this point in time, Blu-ray and anime seems more like a bother and their role in the future is uncertain. No doubt not every company will release a Blu-ray and DVD version of an anime series or film. It is an very interesting thing to think about but right now because the response is very lukewarm. This is probably something I will look into as more time has passed but for now, let me hear your thoughts on the subject.

As part of their Monthly Classics Double-Edged Sword series, New York’s Japan Society is showcasing the 1964 classic film Nemuri Kyoshiro At Bay: The Sword of Seduction AKA Sleepy Eyes of Death 4 on Saturday, April 24th, at 7:00 pm. In you live in the area, please be sure to check out the film and support Japan Society for their dedication towards showcasing Japanese content.

For info on screenings and for tickets, see this link.

1964, 87 min., 35mm, color, in Japanese with English subtitles, Directed by Kazuo Ikehiro. With Raizo Ichikawa, Michiko Ai, Akira Amemiya, Shinjirô Asano, Saburo Date, and Tomisaburo Wakayama. Print courtesy of Kadokawa Pictures.

Half-breed warrior Nemuri (“Sleepy-Eyed”) Kyoshiro, the other most popular swordsman of all time (alongside Zatoichi), and the self-proclaimed “Son of the Black Mass,” was the archetypal anti-hero: dark, romantic and desperate! Widely considered to be the strongest entry in the wonderfully perverse and violent samurai Nemuri saga, The Sword of Seduction finds the shadowy outcast mixed up in a labyrinthine intrigue involving persecuted Christians, opium smuggling, a drug-addled princess, and a search for a holy Madonna!

About New York’s Japan Society:

Established in 1907, New York’s Japan Society has evolved into North America’s single major producer of high-quality content on Japan for an English-speaking audience. Presenting over 100 events annually through well established Corporate, Education, Film, Gallery, Lectures, Performing Arts and Innovators Network programs, the Society is an internationally recognized nonprofit, nonpolitical organization that provides access to information on Japan, offers opportunities to experience Japanese culture, and fosters sustained and open dialogue on issues important to the U.S., Japan, and East Asia.

As part of their Monthly Classics Double-Edged Sword series, New York’s Japan Society is showcasing the 1963 classic film New Tale of Zatoichi on Saturday, April 24th, at 5:00 pm. In you live in the area, please be sure to check out the film and support Japan Society for their dedication towards showcasing Japanese content.

For info on screenings and for tickets, see this link.

1963, 91 min, 35mm, color, in English with Japanese subtitles. Directed by Tokuzo Tanaka. With Shintaro Katsu, Mikiko Tsubouchi, Seizaburo Kawazu. Print courtesy of Janus Films.

Returning to his hometown in the hope of laying down his cane-sword and renouncing the wayward ways of his hack-and-slash life, Zatoichi reunites with his former sensei, in the throes of his own moral dilemma. Trouble is once again around the corner as a mysterious gang of marauders ravages the town, a fellow drifter thirsty for revenge lurks in the shadows, and a forbidden love threatens to stand between Ichi and his beloved mentor.

About New York’s Japan Society:

Established in 1907, New York’s Japan Society has evolved into North America’s single major producer of high-quality content on Japan for an English-speaking audience. Presenting over 100 events annually through well established Corporate, Education, Film, Gallery, Lectures, Performing Arts and Innovators Network programs, the Society is an internationally recognized nonprofit, nonpolitical organization that provides access to information on Japan, offers opportunities to experience Japanese culture, and fosters sustained and open dialogue on issues important to the U.S., Japan, and East Asia.

PART ONE

PART TWO

Footage from the Sakura-con 2010 FUNimation Industry Panel showcasing their entire Q & A session. Footage courtesy of iSugoi.

Footage from the Sakura-con 2010 FUNimation Industry Panel showcasing the newly acquired titles by FUNimation. Footage courtesy of iSugoi staff member Shawn.

The new acquisitions are:
Black Butler
Spice & Wolf
Chobits
Eden of the East films

A trailer for the upcoming anime film by  director Jun-Awazu. Planzet is set in 2053, wherein mankind has to fight invaders from space set on destroying planet earth. The film is set to open in Japan on May 22.

Planzet trailer

New York’s Japan Society is showcasing the 1960 classic film Scar Yosaburo on Saturday, March 20th, at 7:00 pm. In you live in the area, please be sure to check out the film and support Japan Society for their dedication towards showcasing Japanese content.

For info on screenings and for tickets, see this link.

1960, 94 min., 35mm, color, in Japanese with English subtitles. Directed by Daisuke Ito. With Raizo Ichikawa, Manami Fuji, Keiko Awaji. Print courtesy of The Japan Foundation with permission from Kadokawa Pictures.

In Scar Yosaburo, a band of yakuza ruffians mutilate the face of an actor after he is caught with the gang boss’s mistress. A misty, moonlit tale from the kabuki repertoire and a stirring classic of the most artful category of samurai films, zankoku jidai-geki (“cruel historicals”).

About New York’s Japan Society:

Established in 1907, New York’s Japan Society has evolved into North America’s single major producer of high-quality content on Japan for an English-speaking audience. Presenting over 100 events annually through well established Corporate, Education, Film, Gallery, Lectures, Performing Arts and Innovators Network programs, the Society is an internationally recognized nonprofit, nonpolitical organization that provides access to information on Japan, offers opportunities to experience Japanese culture, and fosters sustained and open dialogue on issues important to the U.S., Japan, and East Asia.