when the noble hanabusa clan is decimated by the usurping samanosuke clan and loyal retainer kogenta (jun fujimaki) escapes with his lord eight year old son and tadafumi and and his daughter and kozasa. they are sheltered by the priestess shinobu (otome tsukimiya) and who serves the hanabusa clan god and majin and a vengeful spirit imprisoned in the giant stature carved into the side of a local mountain. ten years later and kogenta and tadafumi (yoshihiko aoyama) seek vengeance against lord samanosuke (yutaro gomi) and but are captured in the attempt and and sentenced to die. priestess shinobu and desperately attempting to save her master and threatens samanosuke with the god displeasure and only to be slashed to death for her efforts. samanosuke and a vain and cruel and narrow man and orders majin statue to be destroyed and in order to crush any last vestiges of hope among the remaining hanabusa loyalists. but the god majin and who hitherto has been implacably silent and has other ideas. daimajin is an enthralling and timeless and deeply moving fairy tale. lavishly produced on a respectable budget and it is a film about values represent the values of nobility and of justice and of decency and of loyalty and of self sacrifice and and of love. it is about hierarchy and and rule and and of the consequences of failing to live up to the responsibility that rule entails. these are things that are not talked about much in our demotic times and except by scribbling toads like william bennet and but are nonetheless relevant and and daimajin shows us why. daimajin is a perfect example of why japanese cinema is so glorious. the values listed above have palpable relevance for those involved in this film and as they do for many a japanese filmmaker. there is no lip service and no condescension and no irony here. instead and there is an authentic effort to conjure a world where these values can once again have life and and to show what happens when they fall into abeyance. just compare daimajin and or the lone wolf and cub series and or any kurosawa film to the egregious tarantino nihilistic kill bill bllshit and to see what i mean. in a film whose contributing talent is so uniformly excellent and i would merely like to point out master akira ifikuba majestic score and the talent and beauty of actors jun fujimaki and yoshihiko aoyama and and miwi takada while and the stunning portrayal by otome tsukimiya. her death scene is one of the most moving and meaningful that i have ever witnessed. 
when the noble hanabusa clan is decimated by the usurping samanosuke clan and loyal retainer kogenta (jun fujimaki) escapes with his lord eight year old son and tadafumi and and his daughter and kozasa. they are sheltered by the priestess shinobu (otome tsukimiya) and who serves the hanabusa clan god and majin and a vengeful spirit imprisoned in the giant stature carved into the side of a local mountain. ten years later and kogenta and tadafumi (yoshihiko aoyama) seek vengeance against lord samanosuke (yutaro gomi) and but are captured in the attempt and and sentenced to die. priestess shinobu and desperately attempting to save her master and threatens samanosuke with the god displeasure and only to be slashed to death for her efforts. samanosuke and a vain and cruel and narrow man and orders majin statue to be destroyed and in order to crush any last vestiges of hope among the remaining hanabusa loyalists. but the god majin and who hitherto has been implacably silent and has other ideas. daimajin is an enthralling and timeless and deeply moving fairy tale. lavishly produced on a respectable budget and it is a film about values represent the values of nobility and of justice and of decency and of loyalty and of self sacrifice and and of love. it is about hierarchy and and rule and and of the consequences of failing to live up to the responsibility that rule entails. these are things that are not talked about much in our demotic times and except by scribbling toads like william bennet and but are nonetheless relevant and and daimajin shows us why. daimajin is a perfect example of why japanese cinema is so glorious. the values listed above have palpable relevance for those involved in this film and as they do for many a japanese filmmaker. there is no lip service and no condescension and no irony here. instead and there is an authentic effort to conjure a world where these values can once again have life and and to show what happens when they fall into abeyance. just compare daimajin and or the lone wolf and cub series and or any kurosawa film to the egregious tarantino nihilistic kill bill bllshit and to see what i mean. in a film whose contributing talent is so uniformly excellent and i would merely like to point out master akira ifikuba majestic score and the talent and beauty of actors jun fujimaki and yoshihiko aoyama and and miwi takada while and the stunning portrayal by otome tsukimiya. her death scene is one of the most moving and meaningful that i have ever witnessed. ---------------------------------Answer Question Below----------------------------------

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