It's only many years later that these three are brought together again on the estate of Toyotomi's allies the Maeda clan where the now more mature, and somehow even more beautiful, Princess Goh is living. Goh and Usu secretly steal the head and return it to Rikyū's grave, an offence that has Oribe covering for the brash young princess and Usu being forced to go into hiding in the forests outside of the capital. Trouble enters the lives of Oribe, Goh and Goh's handsome gardner (and secret lover) Usu (Toshiya Nagasawa) after it is discovered that the head of Rikyū has been put on display as a warning to anyone who would think to question Toyotomi's authority. The place of court tea ceremony master has been replaced by Rikyū's protégé, Furuta Oribe (Tatsuya Nakadai) who while adjusting to his new role crosses paths with Goh (Rie Miyazawa), a beautiful but tomboy-ish princess who would rather spend her time practicing archery and galloping around on horseback than learn the dainty art of the tea ceremony.
#Film basara 2 professional
So that being said you'd think that the last kind of film that Teshigahara would make would be a traditional jidai-geki drama, but that's exactly what he did in 1992 with "Basara: Princess Goh" and what makes this choice even more puzzling is that the last kind of film that you'd think Teshigahara would make would end up being his very last film.Ī sequel of sorts to his 1989 film "Rikyu" about the 16th-century tea ceremony master, Sen no Rikyū, the story of "Basara: Princess Goh" picks up in Kyoto just after the death of Rikyū who had been ordered by his master, the shogun Toyotomi Hideyoshi to commit ritual suicide after a professional and personal falling out. This was in no small part to his close collaborations with author Kobo Abe and composer Toru Takemitsu on three of his boldest (and best known) films 1962's "Pitfall", 1964's "Woman in the Dunes" and 1966's "The Face of Another".
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Along with filmmakers like Nagisa Oshima, Shohei Imamura and Masahiro Shinoda Teshigahara contributed some of the most avant-garde films to the Japanese cinema canon. If one were to try to sum up Hiroshi Teshigahara's over 30 year career in filmmaking one would most likely categorize him as one of the most important directors of that loosely lumped group, the Japanese New Wave.