Madadayo 1993 123movies

Watch: まあだだよ 1993 123movies, Full Movie Online – This film tells the story of professor Uehida Hyakken-sama (1889-1971), in Gotemba, around the forties. He was a university professor until an air raid, when he left to become a writer and has to live in a hut. His mood has hardly changed, not by the change nor by time. Every year his students celebrate his birthday, issuing the question “Mahda kai?” (not yet?), just to hear Uehida-san’s answer “Madada yo!” (No, not yet!), in a ritual of self affirmation, and desires of lasting forever. It’s a very “japanese” film who portrays everyday life and customs in Japan..
Plot: Based on the life of Hyakken Uchida, a Japanese author and academic. The film opens with him resigning his job as a German professor at the onset of WWII. The story is told mostly in vignettes, as he is cared for by a former student in his old age.
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Ratings:

	7.3/10 Votes: 5,640
	87% | RottenTomatoes
	76/100 | MetaCritic
	N/A Votes: 85 Popularity: 8.079 | TMDB

Reviews:

Kurosawa’s final mellow mood
Kurosawa’s last film was released in the US at his death, five years after it was made. It’s the story of a retired schoolteacher and it’s unabashedly sentimental and heartwarming, but unlike the lonely old man of the famous English schoolteacher tale Goodbye, Mr. Chips who has to be humanized and refuses to retire, Hyakken Uchida (Tatsuo Matsumura) is different from other men in his oddball attitude and intellectual accomplishments but neither lonely nor sad, and the story begins with his very willing retirement. He’s both a mischievous joker and a happily married man who likes to stay up all night drinking and singing with his ex-students in all the years that follow that retirement depicted in the film. Uchida’s quirky individuality is celebrated by his admirers, and the film depicts him solely in his relationship with them. They give him lavish presents (including after WWII a nice house with a liquid garden) and an annual birthday party, and they cherish his spirit, his personality, and his funny, thought-provoking remarks.

Madadayo is based on a series of books in turn drawn from the life of an actual military school teacher. Teacher — sensei — of course has a special sense in Japanese. It’s a role one takes on for life, and one’s “sensei” is a permanent attachment based on admiration and respect. Corny and sentimentalized as this “sensei” is, he’s a richly charming character and the way his former students carouse with him and cherish him before, during, and after the War is expressive of some of the best aspects of Japanese culture.

At the annual parties, the ritual is that the sensei’s students chant, Mahda kai?” (are ready?) and he sings out, “ma-da-da-yo!” (not yet!). But though he may not go gentle into that good night, he does accept old age with good humor. Madadayo is about growing old, about growing old frankly, growing old gracefully, about being useful as one grows old through dignity and humor, about the mutual benefits that accrue when the old receive the respect of younger generations. It’s about old-fashioned loyalty to one’s school, and about respecting and honoring eccentricity and respecting and honoring the intellectual type. The former students, who are doctors, lawyers, business men, and so on, recognize that in his oddball impracticality, his “absent-minded professor” style, their sensei possesses wisdom and creative individuality they lack and they always say he’s “pure gold.” One might imagine them proposing him for designation as a “national treasure.” Sensei is absurdly weak and vulnerable at times, witness his emotional collapse when his wife’s male cat Nora disappears and he goes to pieces with grief. But importantly he articulates this grief eloquently and with a certain detachment for his ex-students. And they respect his peculiarities so much that they send out an all points bulletin for Nora and are gravely concerned for his return. (It never comes, but the sensei’s wife finds another cat and eventually both are memorialized by handsome gravestones in the garden.) However silly he is, his behavior is simply more enthusiastic and emotional than others’, and finally this sensei simply represents what is wisest and most human.

And sensei’s wife represents a perfect, idealized traditional Japanese woman (without the function in her case of mother, however), always deferential, formal, polite, sweet, but elegant and noble, the repository of hospitality, the hearth, loyalty, goodness, patience, steadfastness: you can’t help being impressed by the actress Kyôko Kagawa’s supple, unflaggingly consistent, energetic but restrained performance, comparable to Tatsuo Matsumura’s. As the sensei, Matsumura is an initially off-putting but ultimately irresistible and splendidly rich character — pitiful, cute, wise, silly, tough, stridently singing his old songs and making his imperishable jokes which his many admirers never fail to laugh at loudly and delightedly. They need him tremendously — this is the film’s chief message, to value special people as they age — and so they take wonderful care of him. When the film begins, his book sales have enabled him to retire and focus on writing in a small house. When the War comes it’s completely destroyed by Allied bombs and he and his wife live in a tiny hut. At the end of the war the students build a lovely spacious house with a garden made up entirely of a “donut” shaped pool in which carp the sensei fancifully describes as “giant” can swim around endlessly.

Many of the scenes are Ozu-like in their quietude and use of a stationary camera as the sensei sits with his chief admirers and drinks and talks, usually with his wife sitting by to supply food and drink. But there is a large cast of characters and in the final annual birthday dinner women and children and grandchildren are now present. The drinking of a large stein of beer by the sensei before he performs the “Mahda kai?””Ma-da-da-yo!” ritual and gives his amusing speech is probably based on Germanic practices: Uchida taught German and must have studied in Germany.

The sensei’s unflagging spirit and humor and his former students’ equally unflagging devotion make for an inspiring and beautiful fantasy. It is a wise and pleasant dream, and Kurosawa’s charming evocation of it speaks well of his final years.

The film was made in 1993, released in the US in 1998 when Kurosawa died, re-released in 2000. It is timeless, and any year is a good year to get to know it and chew over its many, many endearing passages.

A thoughtful, warm look at lifelong teacher/student relationships.
This is a beautiful movie. It is slow and deep rather than fast and shallow. It explores the relationships between a teacher and his students as he moves on from teaching to writing to retirement and they move into adulthood and parenthood. During this time they face the extreme challenges of World War II and its aftermath. But, at its core, the movie is not about the war. It is about the stability he presents to his students. He seems to behave in the same easy-going, confident manner, no matter how dire the circumstances. It is also about the way rolls eventually change: the students at first are nurtured by the teacher, but over time they begin to care about and then care for him. Most of us, or at least the lucky among us, have had good natured teachers that always seem to be able to get the best of their students. This is such a teacher. The scene depicting his ‘foolproof’ method for handling burglars is alone reason enough to watch the film. I recommend this movie and, if you like it, I recommend ‘Ikiru’ and the Japanese version of ‘Shall We Dance’.

Other Information:

Original Language ja
Runtime 2 hr 14 min (134 min)
Budget 0
Revenue 0
Status Released
Rated N/A
Genre Drama
Director Akira Kurosawa, Ishirô Honda
Writer Ishirô Honda, Akira Kurosawa, Hyakken Uchida
Actors Tatsuo Matsumura, Hisashi Igawa, George Tokoro
Country Japan
Awards 6 wins & 4 nominations
Production Company N/A
Website N/A

Technical Information:

Sound Mix Dolby Stereo, Dolby SR
Aspect Ratio 1.85 : 1
Camera Arriflex 535 Camera
Laboratory Imagica Corporation, Shinagawa-ku, Tokyo, Japan
Film Length N/A
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm