Director Hideo Gosha (1929-1992)

Three Outlaw Samurai Tenchu Kumokiri Nizaemon

Three Outlaw Samurai (1964)
Sword of the Beast (1965)
The Secret of the Urn (1966)
Samurai Wolf (1966)
Samurai Wolf II (1967)
Goyokin (1969)
Tenchu (a.k.a. Hitokiri, 1969)
The Wolves (1971)
Violent Streets (1974)
Kumokiri Nizaemon (1978)
(a.k.a. Bandits vs. Samurai Squad)
Hunter in the Dark (1979)
Onimasa (1982)
The Geisha (1983)
Fireflies in the North (1984)
Death Shadows (1986)
The Yakuza Wives (1986)
Tokyo Bordello (1987)
Four Days of Snow and Blood (1989)
Kagero (1991)

(Key films outside the jidai-geki genre are listed in gray)

Hideo Gosha It would be fair to describe Hideo Gosha as the #1 "cult hero" in postmodern chambara cinema. When you delve into samurai movies beyond Kurosawa and Inagaki, Gosha is one of the first names you're going to encounter, and with good reason. His films rank among the classics of the genre, expressing a consistent theme of individuality vs. the establishment. They're always hip and super-cool.

After Gosha got his start in television, his early films showed heavy influences from Kurosawa's samurai classics and Sergio Leone's spaghetti westerns. Gosha's filmography closely reflects the evolution of jidai-geki as a whole during the span of his career: starting in the early '60s with adventure tales of renegade ronin, growing with complexity and ambition into deconstructionist theses in the late '60s, and finally moving away from samurai toward the yakuza amid the more sensationalized, hyper-violent and explicitly sexual chambara of the '70s. In his later works Gosha drifted away from jidai-geki to focus more on the modern-day yakuza underworld and movies spotlighting strong women. Gosha is best known for his boisterous debut Three Outlaw Samurai and the nihilistic killfest Tenchu, though my personal favorite is the labyrinthine epic Kumokiri Nizaemon.

The Filmmakers

The Jidai-Geki Knights
Cinema