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Directed by MILOŠ FORMAN, KON ICHIKAWA, CLAUDE LELOUCH, JURI OZEROV, ARTHUR PENN, MICHAEL PFLEGHAR, JOHN SCHLESINGER, MAI ZETTERLING

Author: /time Magazine | Title: Cinema: Non-Olympian | 9/17/1973 | See Source »

...sole survivor was the Sabre-jet pilot, Sergeant Yoshimi Ichikawa, 22. A trainee with only 21 hours' flying time on the F-86, he and his instructor, who was in a second jet, had been practicing formation turns. Neither Sabre jet had radar, and it was only at the last second that Ichikawa's instructor told him to climb and turn. Ichikawa recalled later: "I saw a civilian plane approach from the rear and felt a jolt in my tail." The young pilot was able to bail out safely. Both he and his instructor were being held...

Author: /time Magazine | Title: DISASTERS: The Worst Ever | 8/9/1971 | See Source »

...disaster underscores the problem of crowded skies. Near-collisions have risen to an estimated 200 per year in Japan and 600 in the U.S. Ichikawa's instructor, Captain Tamotsu Kuma, said that "with civilian jets flying upstairs all the time and civilian propeller planes downstairs," it was almost inevitable that military aircraft would continue to stumble into commercial air lanes...

Author: /time Magazine | Title: DISASTERS: The Worst Ever | 8/9/1971 | See Source »

...that he deviates most widely and most successfully. The minutes during which Macbeth is killed are literally the most terrible I can recall on the screen. Japanese directors seem peculiarly able to treat extremes of violence, neither leering nor covering up the gore. In Throne of Blood, as in Ichikawa's Fires on the Plain or Kobayashi's Harakiri, the violence leaves one shaken and, in something close to the Aristotelian sense, purged...

Author: By Martin S. Levine, | Title: Throne of Blood | 10/22/1965 | See Source »

...exquisiteness of Hokusai prints brought to life. The Impostor, far more popular at the Japanese ) box office, has the look of a grade A Hollywood costume adventure that was shot with an almond-eyed camera. The story opens in a geisha house, where lies "the bored baron" (Utaemon Ichikawa), the D'Artagnan of Japanese fiction, too bored even to bother with the dish that has been laid before him-and it isn't sukiyaki. Enter a messenger: a pretender to the throne has appeared. Is he or is he not the emperor's true son and heir...

Author: /time Magazine | Title: Cinema: The New Pictures, Apr. 25, 1955 | 4/25/1955 | See Source »

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