You are here:

Shinobi no mono 8: The Three Enemies

Name: Shinobi no mono 8: The Three Enemies
Director: Kazuo Ikehiro
Released: 1966
Duration: 86 min

Representation Score

4.0/10

Fair

1966

Director

Kazuo Ikehiro

Runtime

86 minutes

Average Rating

No ratings yet

New Showbiz Analysis

The film is a traditional period action piece that prioritizes a linear, masculine arc of revenge. It operates within the established genre frameworks of 1960s Japanese cinema, focusing on historical accuracy regarding the Sengoku era rather than social deconstruction. While the film captures the atmospheric tension of the era, it lacks diverse representations. The narrative relies on traditional hierarchies and does not offer subversions of the patriarchal or feudal structures present in the setting. Ultimately, the work functions as a genre-specific study of duty and retribution, leaving little room for underrepresented identities or diverse perspectives.

Watch this, not that →

Category Breakdown

Does Shinobi no mono 8: The Three Enemies have LGBTQ+ representation?

Minimal

The film does not include any LGBTQ+ characters or narratives. It follows the social structures of the Sengoku period.

How does Shinobi no mono 8: The Three Enemies portray gender?

Limited

The story revolves around a male-driven cycle of revenge. It emphasizes traditional masculinity through themes of violence and retribution without giving much role to women.

How racially and ethnically diverse is Shinobi no mono 8: The Three Enemies?

Fair

Set in 16th-century Japan, the film portrays a culturally uniform society. It focuses on internal political conflicts rather than multi-ethnic or cross-cultural interactions.

How does Shinobi no mono 8: The Three Enemies represent religion and culture?

Fair

The narrative is grounded in the values of the Sengoku and Tokugawa periods. It uses feudal institutions as the main driver for the protagonist's journey.

Does Shinobi no mono 8: The Three Enemies include disability representation?

Limited

Characters are injured or disabled to highlight the consequences of violence. These situations serve as plot devices rather than detailed explorations of disability.

Present on Screen

Authentic depiction of the Sengoku and Tokugawa era social landscapes.
Strong adherence to the historical reality of 16th-century Japan.

Limited or Absent

Lack of women's ability to drive the story or representation within the narrative.
Absence of LGBTQ+ identities or non-straight perspectives.
Disability is used as a violent plot device rather than a character trait.

Official Synopsis

[Period Covered: 1570-1573] Towards the end of the Tenmon Era, Shogun Ashikaga`s powers were weakening by the day and many were there who planned to overthrow him. It was the beginning of the Sengoku (Warring States) period. Three men attack a gunpowder maker in a farmhouse, the first chopping off his arm with his sickle-&-chain weapon, the second blinding him with sword, the third giving the killing blow. His son Kojiro Kosume escapes the attackers as everything he has known up to then explodes into conflagration. He grows up & enters the start of the Tokugawa Era, intent on avenging his father.

How are these scores produced? →