Seven Samurai (1954)

SEVEN SAMURAI

DIRECTED BY: AKIRA KUROSAWA
WRITTEN BY: AKIRA KUROSAWA, SHINOBU HASHIMOTO, & HIDEO OGUNI
TOP 100 FILMS: #1
OVERALL SCORE: 11/10 (oh yes, I went there)

After years of having their crops stolen, women abused, and lives thrown into misery, a group of peasant farmers, with nothing but rice to offer, hire 7 samurai to protect their village.

"So. Again we are defeated."

If I've said it here once, I've said it a thousand times, if a movie is in my top 10 it's there for a very important reason. One that can't be simply brushed aside for just any film. And out of all of them, Seven Samurai is the king. Epic in its dealing with action, characters, and morality, Seven Samurai is the very essence of everything I love about cinema. It's well built, structurally adept, and presents its audience with a wide range of emotions for them to feast upon. Each character, each moment, echoes throughout my mind like those beautiful lullabies you still remember from as a kid. Simply put, no film excites me more to see, or hear about than Seven Samurai.

And, much like, Ikiru I'll give you up front it's not "perfect." But I fully believe everything in it has a purpose, or if not I've got one for it. There's a certain beauty to the films we love. Seven Samurai grasps that very essence for me, in a way no other film does. No matter how hard I try, I can shake my sheer love for watching it. The opening shots, the notions of true suffering, and what is the point of a peasants miserable and poor experience. To the final still of a waving flag, highlighting the relationships gained, and lost, throughout the journey.

It's an epic of truly massive proportion. We see Kambei (Takashi Shimura) stand strong as the leader of this mis-match group of soldiers. We see Kikuchiyo (Toshiro Mifune) grow as a person, shedding his false wild exterior, and realizing what truly matters to him, accepting his past. Katsushiro's (Isao Kimura) growth from a boy to a man, and his realization of the true cost of war. And alongside them are many of the Kurosawa staples. The powerful Kyozo (Seiji Miyaguchi). The fun loving woodcutter, Heihachi (Minoru Chiaki). Shichiroji (Daisuke Kato), Kambei's seasoned friend and old ally. Gorobei (Yoshino Inaba), the second in command and loyal soldier.

Together they create a team so memorable I secretly wish I had the opportunity to meet them.

Yet, for all the fun, humor, and emotion, of the first hour and half buildup, Kurosawa's Seven Samurai throws in a stark reminder: war is not something to love. People die in war. Samurai, villagers, bandits. And it is here that I think Kurosawa executes a powerful sequence. The shift in tone as the first Samurai falls is felt from the strongest of the samurai to the viewer in the audience. It's quick, so quick you can't even believe it happened. Just a moment ago he was right there. And it's a notion echoed throughout the rest of the film.

Once the epic final confrontation occurs, Kurosawa reminds the audience in war, there's no time to sit down and mourn all those who lost. Perhaps that's why those of the Samurai that do die, always do so quickly. And just as they are the entire village is thrown immediately into another battle. Only those who survive must live with the loss. Which gives rise to the film's final lines. The stark question in the form of a never ending realization: who really wins a war? Is it the ones who fought, or the ones who benefit?

That's where Seven Samurai lays. Between the action, the humor, and the characters, is the moral principles it designs. The use of slow motion, romance, and epic fight sequences are merely a ploy. They're there to give you a great, and beautiful, while simple story. It's the morality that's meant to move you. Even in Kurosawa's most "Hollywood" films he never ignored those aching moral questions laying throughout humanity, and Seven Samurai is no different. It's gripping, thrilling tale, is so powerful, because it has the strength to back it up with something real underneath. It brings it to life, and allows it to stand on its own. And that's why, no matter how often I watch it, I always love every single moment of it.

To me, no matter what naysayers may go with, Seven Samurai is the perfect film.

While it may have a few nitpick flaws here and there, Kurosawa's epic tale of good men, war, and a village in need of help, is the greatest film I've ever scene, time and time again.

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Alternate Perspectives:

"There is no denying the importance of this work, but the question remains: is it good because of all the good movies it inspired, or is it good strictly in its own right?" - The Flick Chick

"Kurosawa's genius is in giving you a little bit of everything at just the right moments" - This Time it Will be Different

"Seven Samurai offers us flawed protagonists, some of whom are not skilled fighters, and one of whom is often drunk, belligerent, and decidedly non-heroic in his approach." - Japan Cinema

"In some says it's a parallel underdog story and band of misfits story. For me, that is always a great start. There are so many wonderful characters and special moments with them." - Movie Moxie

"I definitely knew watching this film that it was going to be epic and it was. I however, was disappointed, as I find you can only be when finally watching a film as over-hyped as this." - GmanReviews

"Sure, the movie's over three hours long, but it goes by like that due to the strong story-telling by Kurosawa. The action is gripping and the movie is beautifully shot." - Life of a Cinephile and Bibliophile

"Kurosawa manages to make a film that at no time does the audience feel like they are sitting through a three and a half hour movie. He manages this by his use of great editing, beautiful cinematography, an engaging story, and intriguing characters." - Stop the Planet of the Apes... I want to get off

Thank You For The Memories...

A while back I wrote a thank you letter on this blog directed at the late Akira Kurosawa. Despite my personality, it may surprise you to know there's very few things in this world that I'm truly passionate about. And I've never had a lifelong passion for anything. So, you can sort of guess where this is going.

Almost 7 years ago now I started my first movie blog, It was December of 2003 to be picky. And while I had a handful of films I knew about, to be quite frank the number of films I didn't know about was staggering (arguably it still is). I wondered through film, never really paying much attention, and only reviewing some of the basic biggies, and the ones I had seen in school.

It was around this time that someone first recommended I watch Seven Samurai, noting my enjoyment for Asian inspired film (at the time I had no clue what that meant). So I aptly did my research. 3+ hours.... black and white.... only subtitles.... AHHHHHHHHHHHHHH! They might as well have told me it was Chinese torture home videos, I wasn't in the least bit interested.

But alas, time passes, and as I got more and more into the world of cinema, I heard Seven Samurai mentioned more and more. So, my curiosity was spiked, and during my senior year of high school, in 2005, I sat down to see the epic.

By the time summer had ended and it was time for me to go off to college I had seen Seven Samurai 5 times, and like a drug addict I hunted down any of his other movies available on the internet (we'll leave the legality for another debate). It wasn't just that though.

Kurosawa's films inspired me to check out more classics. I started watching films like Casablanca, Le Samourai, Jules et Jim, and so on so forth. I wanted to see more and more of cinema. It was the catalyst I had been waiting for most of my life! Kurosawa was my first cinematic love. It might sound odd, but I treasure that as I do my first relationship love (which both ironically occurred during the same summer, though only one still remains muhahahah - blog should be a clue as to which). It's not often you get that kind of a bond with something, and when you find it, you've definitely got to hold onto it.

So, for all the films you've inspired me to see, and all the friends, blogging and real life, I've made because of it:

THANK YOU, Akira Kurosawa and wherever you are, Happy Centennial!

P.S. A special thanks to all of you who have taken the time to read, comment, post, etc. during my 23 days of Kurosawa. My final review: Seven Samurai is on its way!

Dersu Uzala (1975)

DERSU UZALA

DIRECTED BY: AKIRA KUROSAWA
WRITTEN BY: AKIRA KUROSAWA & YURI NAGIBIN
BASED ON THE BOOK BY: VLADIMIR ARSENYEV
OVERALL SCORE: 7.75/10

Asian Hunter, Dersu Uzala (Maksim Munzuk), joins several expeditions with Captain Valdimir Arsenyev (Yuri Solomin) over a multiple year period, developing a strong friendship along the way.

Kurosawa's Oscar winning Soviet Film (only non-Japanese film he ever made) is a quiet buddy film, of sorts, that analyzes two men's relationship over a many year period. In many respects Dersu Uzala is a love note to nature. It's slow pace is only such as to allow the viewer to grasp all the beauty, and harshness, nature presents our protagonists, and how said events affect them. And Kurosawa, utilizing his much beloved long shots, grabs all of these moments and presents them to us, the viewer, with the utmost care.

Dersu in many respects represents the traditional mountain man character. Seasoned in the hills, and strong lover of nature, and respectful to the animals he kills, he struggles to understand. While Vladimir represents a more modern man, whose tact with his job, is matched only by his great ability to relate and adapt to Dersu's way of doing things. Their relationship is one of pure enjoyment of the other's company and tact. The two don't ask for much from each other, and simply being around one another seems enough. As we get to know them throughout the course of the film, we gain a good understand as to what drives them. And Yuri and Maksim deliver two strong, and deep performances, that really drives the emotional impact home.

While watching the film I really felt apart of this journey. The sort of way a great documentary can make you feel inside the events. My only real complain would be that while there is a lot of things going on, there's a lot of watching people walk, with a few moments of thrills thrown in. It's nice as a nature lover to see these, as Kurosawa goes all on location shooting, but it's not exactly the most thrilling of stuff to witness.

In many respects the tale of Dersu Uzala is a real life, Soviet look at a Tarzan story... minus all the implemented romance stuff. It's captivating because it's personal, because those involved existed, and traversed such events. They're tale is deeply founded in personal relationships, and how they deal with what matters to them most. Their character changes, and struggles all feel so authentic, and I greatly admired Kurosawa's capturing of them. This is especially important as the final half hour comes into play, and Dersu struggles with his signs of aging. It's a powerful series of events, and it really gets you to feel for his character.

A great story, supported by some great performances, that suffers heavily in its first hour+ with far too little going on.

Sanshiro Sugata (1943)

SANSHIRO SUGATA

DIRECTED BY: AKIRA KUROSAWA
WRITTEN BY: AKIRA KUROSAWA
NOVEL BY: TSUNEO TOMITA
OVERALL SCORE: 7.00/10

Hard-headed aspiring judo fighter, Sugata (Susumu Fujita), slowly grows as a fighter and a man throughout his training.

Ah, here it is, the very first Akira Kurosawa film. And I have to admit, the only thing more difficult than reviewing it, may be finding it (except now with the Criterion release). Still, Sugata is like a great opening. It's perfectly fine as a stand-alone film, but it's more of a prelude to things to come. It features standard Kurosawa directing techniques: medium shots, pans, fades, long still shots. It's great for those who want to see the beginning of Kurosawa, while at the same time being a strong enough visual film to hold its own.

Though don't let that fool you, there's quite a lot to the plot. It's got romance, action, and a rather old school Hollywood style flare, mixed in with some well designed silent film style structure. This is great in that it gives the film a beautiful and unique look, but I have to admit it took me a while to grasp all the plot elements. Some not quite as well defined as I would like. As well the characters feel a bit stagnant, and far too quickly shifted in development. I get it's standard practice for the "do one thing, changes everything" personality approach often adapted, but even still I've never been a big fan of it.

Overall though, Sugata is still solid entertainment, with great directing highlights. It won't sweep you off your feet, but those looking for a visually strong directorial debut, will definitely find much to acclaim here. The performances are spot on, and it's nice to see not only the spawning of Kurosawa, but also his working relationship with Takashi Shimura and Susumu Fujita.

Not a masterpiece of cinema by any means, or stretch, but Sanshiro Sugata is a great prelude of things to come from the legendary Japanese director.

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Alternate Perspectives:

"Though the film masquerades as a superficial genre picture, it delves deeper into human spirituality and identity, evoking the frailty of narcissism and lust for power and their brutal consequences." - Korova Theatre Presents: The Final Cut

Madadayo (1993)

MADADAYO (NOT YET)

DIRECTED BY: AKIRA KUROSAWA
WRITTEN BY: AKIRA KUROSAWA & ISHIRO HONDA (uncredited)
OVERALL SCORE: 7.00/10

After his retirement from teaching during WW2, Japanese author Hyakken Uchida (Tatsuo Matsumura) is looked after, alongside his wife (Kyoko Kagawa), by the many students whose life he influenced.

Shot much in the same way as Ikiru, Madadayo is a quiet, somber, character study, that examines the life of a single individual. Unlike Ikiru, Madadayo just doesn't have the moral implications and support to back it up. Instead Madadayo relies entirely on your developing interest in the main character, Uchida. Nobody around him gets much of any development, and all the different events encountered are based around him. Luckily for me, I found him passably entertaining and his character intellectually intriguing, which allowed me to absorbed into the world.

The sound performance of Matsumura doesn't hurt. With support from seasoned veteran actors, and some of the final Kurosawa collaborators (loved seeing Kagawa return to the Kurosawa front, still as beautiful as ever). It's these performances, and one-dimensional side characters that help Madadayo be an acceptable farewell film for Kurosawa. Sure, I would have loved for him to go out with a huge bang, alas it's a more quiet, character driven farewell. Perhaps there's a personal underlying passion for the man, or even a personal relationship, there I'm not sure. It would make more sense, but I don't fault it for not.

As a setup the movie is rather simple. We see his life mostly through his birthday parties, in which every year he is asked "not yet?" (Maadha Kai) and the professor responds Madadayo (Not yet) - in relation to is he ready to die yet or not. These parties change over the years, and so do our characters. But they're always intriguing (the first is downright pure entertainment). As well the events that transpire in between are shown, and they reveal a bit of that childlike nature of the professor.

Director-wise nothing about it stands out, and I think that's just right for this kind of film. Kurosawa doesn't try and crazy shots, opting to mostly keep the camera at medium/long shots to fit all the characters in. It gives a sense of personalness to the film. As if you're another guest visiting his house, listening to him speak over dinner. It's a nice decision, and one I fully enjoy. Still I couldn't help but feel it would better serve as a documentary than a film. The professor's life just doesn't have enough going on to carry the run-time.

Madadayo is a nice farewell film for Kurosawa. It's not the masterpiece we all may have wanted, but it's personal nature will stand well for those who wish to see that side of Kurosawa.

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Alternate Perspectives:

"In the end this is a movie that I would skip if someone was continually raving to me about the greatness of Kurosawa." - GmanReviews

"I have a soft spot in my heart for teacher stories and this one did find a little home in there." - Movie Moxie

Dreams (1990)

DREAMS

DIRECTED BY: AKIRA KUROSAWA & ISHIRO HONDA (uncredited)
WRITTEN BY: AKIRA KUROSAWA
OVERALL SCORE: 8.00/10

A collection of 8 short films, taken from dreams by directors' Kurosawa and Honda.

"A scene that looks like a painting doesn't make a painting. If you look closely, all of nature has its beauty."

The beautiful, almost portrait like elegance of Kurosawa's dreams, found in stark contrast with the gritty climactic visuals of Honda, Dreams is a surreal visual experience like few others. These interpretational sequences range from simple, child-like wonder and awe, to the painful, and apocalyptic. There's lots that can be derived, and I'm sure those prone to analysis will find themselves absorbed fully into the worlds created with each new sequence. It's honestly one of the most intriguing films I've watched in a long while.

Now I admit interpretational films aren't really my thing, but I found the ones here to be quite solid. They're out there enough that they engross you into their outer worldly stature, while being simple enough they contain a solid message. The nightmarish quality of some, perfectly counterbalances the wonder of the dream world in others. The Tunnel sequence, for example, is an amazingly powerful scene of a man dealing with the ghosts of the war, literally. While those who love art, much like Kurosawa himself, will enjoy Kurosawa's journey through the mind of Van Gogh (played by Martin Scorsese, pictured above), as his paintings come to life (this is perhaps the most beautifully directed sequence, in my opinion).

It's an amazingly beautiful feat. Though I must admit Blizzard and Mount Fuji in Red both left me a bit underwhelmed, the writing and shot composition in both is simply breathtaking. It's one of those rare collective experiences where there's not one I didn't enjoy, even if they felt a bit simple. I have to say, if you're looking for a better example of why Kurosawa was a visual genius, you're not going to do much better than right here. It's just mind numbingly beautiful.

While it won't appeal to everyone, Dreams is a surreal experience, that goes well beyond the normal confines, and into the work of true film art.

Scandal (1950)

SCANDAL

DIRECTED BY: AKIRA KUROSAWA
WRITTEN BY: RYUZO KIKUSHIMA & AKIRA KUROSAWA
OVERALL SCORE: 6.75/10

Up and coming artist (Toshiro Mifune), and famous singer (Shirley Yamaguchi), hire gambling addicted lawyer (Takashi Shimura) to file a case against a tabloid magazine after they falsely claim the two celebrities were taking part in a vacation affair.

Kurosawa's 1950 film Scandal, often forgotten due to its close proximity to legendary Rashomon, is an intriguing look at the notion of: just how much freedom should the press have? To be honest, it's quite obvious even from the get go, Kurosawa looks very negatively on tabloid press. The film is incredibly one-sided, almost to a point of comical villains, while our two main characters are portrayed as the saint-like heroes. It's not Kurosawa's most well involved, and deeply analytical tale... which is perhaps why it gets overlooked so often.

The only real character with any depth would be Takashi Shimura's gambling addicted lawyer with a sickly daughter who is bribed to throw the case... yeah, that's a mouthful. Though as you know Shimura plays the part perfectly, utilizing the same downtrodden attitude that would later become apart of his classic portrayal in Ikiru. Mifune and Yamaguchi are perfect counteracts, and do manage to input some depth into their roles, especially on the cost of dealing with fame, and social annexation. It provides a nice depth, and likability to their role, and a want for us to cheer for them, but it's not all that necessary as the "villains" are far too cardboard cutout.

Directionally this is a very straight forward Kurosawa effort. His plot is simple, concise, and to the point. The characters are given ample time to develop, both inside the court room, and outside in their daily interactions. A few sequences, notably the Mifune and Shimura drunken exchange by the swamp, are highly memorable, and provide a great deal of insight to the world of Japan at the time. A world caught between traditional values and impeding western customs. It's a highly intriguing time, there's just not enough depth to elevate it to classic level.

Scandal is by no means a bad Kurosawa film. On the contrary it's a perfectly entertaining, and intriguing court room drama. Still, there's just not enough depth to really recommend an unwavering viewing.

I Live in Fear (1955)

I LIVE IN FEAR

DIRECTED BY: AKIRA KUROSAWA
WRITTEN BY: SHINOBU HASHIMOTO AND HIDEO OGUNI
OVERALL SCORE: 7.25/10

When Dr. Harada (Takashi Shimura) is called to act as an advisor for a family court case, he never imagines the case will shape his life. The case involves the protest of the Nakajima family, who are seeking an injunction on their elderly father's (Toshiro Mifune) recent desire to sell all his Japanese belongings and move to Brazil for fear of another atomic attack.

In the midst of his 1950s-60s boom as a director Kurosawa decided to make a controversial, political, drama centering on the struggles of a worldwide society to decide what is safe. Toshiro Mifune is simply unrecognizable, perfectly incognito, as the main role of Kiichi Nakajima, something I was surprised to find considering many believe him to have been a miscast. On the contrary, Mifune delivers a captivating character performance, much in the same traits of the elderly man in Eastwood's Gran Torino, based in tradition, and struggling to analyze the need to protect his family with the impending dangers of another attack.

The movie could be compared, on some level, to the later Kurosawa film Rhapsody in August. In Rhapsody, Kurosawa analyzes the effects the a-bomb of Nagasaki have on an elderly woman, who, much like our character here, in the end performs a final irrational action that leads to a strong break in the mental fortitude of the family. Still, it's the interactions between these characters that elevate this film above sub-par.

The final conversation between Nakajima and Dr. Harada strikes at the very core of the viewer. A final mental deterioration that will leave you in a state of true inner reflection. I Live in Fear, even here, manages to remain unjudging. For the majority of the film both the children and Kiichi are presented in equal light, with favor waying back and forth between the two of them as they both possess moments of negative display.

The only real flaw for I Live in Fear lies in its storytelling. Not exactly the best in execution, the writing feels a bit bland, and simplified considering the deep emotionally straining plot.

While not handled with the greatest of care, Kurosawa's '55 film on the times of the cold war delivers great acting, intriguing subject matter, and a central tone that allows the viewers to judge for themselves.

Kurosawa the Vengeful?

In the late 1960's a group of film producers were in need of a Japanese director to film scenes for their upcoming epic based on the tragic events of Pearl Harbor. That film would become the war film classic: TORA TORA TORA. So, when you're around the 60's and in need of a Japanese director, who do you call? Sadly, no Ghostbusters at the time, so Akira Kurosawa was their #1.

But luring the elusive perfectionist writer/director isn't an easy task. So, the producers came up with a plan: Tell the director that British filmmaker David Lean is doing the American side of the film!

Ah, brilliance! They'll never work together, so he doesn't need to know the truth! Oh, but Kurosawa found out their evil scheme... and well, let's say he was none too pleased.

Kurosawa hired Japanese film industry insiders, friends, and general business people for key roles in exchange for future production finance. He stalled filming, putting it 3 weeks behind schedule. Forcing the studio to reach a breaking point, and ultimately fire him, therefore letting him out of his contract. Victory: Kurosawa.

Oh, and in case you're curious, less than 1 minute of footage shot during Kurosawa's time on the film is in the final release.

The Lower Depths (1957)

THE LOWER DEPTHS
DIRECTED BY: AKIRA KUROSAWA
WRITTEN BY: AKIRA KUROSAWA & HIDEO OGUNI
BASED ON THE PLAY BY: MAXIM GORKY
OVERALL SCORE: 8.75/10

A thief (Toshiro Mifune), an elderly pilgrim (Bokuzen Hidari), an evil landlady (Isuzu Yamada), and other misfits try to cope with their less than satisfactory life during a harsh Japanese winter.

Filled with Kurosawa regulars, with the exception of no Takashi Shimura, The Lower Depths is a dark look at a group of individuals trying to understand how they got to their current down trodden life. Living in the nearly destroyed farm house of a devilish landlady, and her older husband. Just about every group you can imagine is represented, and in each case we're allowed a unique look at the troubles that have plagued their life. Now, Kurosawa being Kurosawa, he's not going to spell it all out for you, instead Kurosawa perfectly uses nuances, subtle actions, and great character actors to bring forth these vibrant characters.

Inspired by the Maxim Gorky play of the same name, Kurosawa perfectly adapts this early 1900s play into the Edo period of Japan. What makes this adaptation work so brilliantly is Kurosawa's simple play setup, keeping the camera in the barn fixated on these characters well over 75% of the runtime. Moving the camera through the barn, we're allowed to see these characters as observers, and in return we're given the chance to understand them. This is quite obviously Kurosawa's great interest, as he really takes the time to get into the the stories behind these people. Something I've felt Kurosawa has always shown desire for, in his other works.

Now there is a central plot, involving a three-way love triangle centered around the lovable thief, Sutekichi (played by the always vibrant Toshiro Mifune), but even that takes the heavy back burner to the backstories. It's here that the varied actors really get a chance to shine.

Centering on Bokuzen Hidari, as the lovable old pilgrim Kahei, who arrives towards the beginning, and acts as a grandfather figure to those characters farther gone mentally. Supported, and intellectually opposed, by Koji Mitsui, as the intelligent gambler, Yoshisabur, who finds their personal predicaments more amusing than depressing. The sparing between these two not only provides great insight to the moral arguments being display. As well as Kurosawa's oft displayed love for analyzing the plight of the poor.

All of these are supported by Kurosawa's general character skill, using beautiful cinematography (much in the same respect as his 1965 film Red Beard) to focus attention as needed. Now I'll admit, within this movie's comedic moments, and light hearted tone, lies a very dark, and painful subtext, something that will give the viewer a chance to maul over for days to come. Especially as its plot comes to fruition, and the characters begin to unfold. Still, it's a character piece, and an exciting one at that.
Without a doubt, The Lower Depths ranks in my top list of Kurosawa films. Perfectly challenging its viewer both emotionally and intellectually, to a point that makes it impossible to deny or ignore. I greatly hope that it one day receives its due credit among the Kurosawa fans out there.

High and Low (1963)

HIGH AND LOW

DIRECTED BY: AKIRA KUROSAWA
WRITTEN BY: AKIRA KUROSAWA, HIDEO OGUNI, RYUZO KIKUSHIMA, & EIJIRO HISAITA
NOVEL BY: EVAN HUNTER
TOP 100 FILMS: #23
OVERALL SCORE: 10/10

When the son of his chauffeur is kidnapped, mistakenly instead of his own son, Kingo Gondo (Toshiro Mifune) must wrestle with his inner morals as the money requested in exchange will cost him everything he has worked his life to attain.

"Your house looked like heaven, high up there. "

Kurosawa's two-part ransom masterpiece. Can't sum up High and Low any better than that. There's a strong sign when you've made something so masterful it can't really be explained in words. People take the time to derive all possible translations of your title, and their subsequent meanings. That's what happens with High and Low (sometimes translated as Heaven and Hell). It's a moral study, riddled to the bones with tension. One part ransom drama, one part cops and robber chase to the finish. It's one of Kurosawa's most powerful cinematic efforts.

The first half, dominated by Toshiro Mifune's moral dilemma. Can one weigh their entire life's work against the life of one child? He knows what he has to do, but it's so hard to do it, how can anyone make that call? Then you compound that with the second half. As detective Tokura ( Tatsuya Nakadai) takes over on the case and must hunt down the man responsible. It's good ol' fashion cops and robber thrills. Dark, and entrancing, but swift, always trying to keep the audience guessing.

But to be honest we're not guessing: who did it. On some level we already know (brief glimpses). In fact what we want to know is: why. That's where Kurosawa turns his social conscious into powerful perfection. Amazing subtext with emotionally gripping dialogue, and powerful cinematography. I'm not sure you can ask for much more than that. The layers add on and when the final confrontation comes, it's our minds that pay the cost of such knowledge. The notions of poverty and wealth, self-made men, and generational wealth, how do we dissect the moral strength of them? It's a powerful look, wrapped into the greatest ransom film ever made (yes I just said that). That's why it's a 10. Because, simply put, nobody has ever done it better.

Powerful, thriller, and riddled with social commentary, Kurosawa truly outdid himself with this 1963 ransom tale masterpiece.

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Alternate Perspectives:

"This is quite possibly the best film about a kidnapping I’ve ever seen. I love it for so many reasons. Not only is the acting brilliant and the story well handled but it never treats you like a child." - GmanReviews

"The difference is Kurosawa's social relevancy, which elevates this thriller into a pointed examination of contemporary Japanese culture. As Stanley Kubrick would say - rich or poor, good or bad, high or low, 'they are all equal now.'" - The Ludovico Technique

Rhapsody in August (1991)

RHAPSODY IN AUGUST

DIRECTED BY: AKIRA KUROSAWA
WRITTEN BY: AKIRA KUROSAWA & ISHIRO HONDA (Uncredited)
NOVEL BY: KIYOKO MURATA
OVERALL SCORE: 6.50/10

A group of children spend their summer vacation with their elderly grandmother (Sachiko Murase), who is still haunted by the death of her husband during World War 2 via the Nagasaki atomic bombing.

"People do anything just to win war. Sooner or later it will destroy us all."

Following Ran it seemed to me that Kurosawa started to try and do some more personal films, towards the end of his life. Still, it's been my experience that these final films are a rather mixed bag. Rhapsody in August is a fine Kurosawa film, grounded by some great performances, but trapped in a rather uneventful narrative. There's a lot to admire. Some beautiful shots, and well set up moments, filled with heart, as Kurosawa tries to honor the bleak past of WW2 Japan. While at the same time Kurosawa's subtle optimism sneaks through, in American characters who must also face the tragedy caused by war.

Still, it's the performances that make Rhapsody in August worth noting. Murase and the fellow children actors play perfectly well off one another, showing great heart towards the source material. They deal with the events the best they can, and it shows up in the film's various scenes. Even the small cameo from Richard Gere as a distant American relative, displays Kurosawa's desire for unity, and apology. There's a solid, if not heartbreaking, atmosphere riddled throughout the tale.

The final moments are perhaps the most telling of how Kurosawa views not only war, but the horrific decisions and actions that come as a result of them. Though to many Rhapsody in August will come off as an attack on Americans, if not their history, I believe it's more of a need for us to accept the past. All too often we seek to apologize, and then forget it ever happened, when instead: how do we learn from the past if we're always trying to forget it? There's a nice message here, and I've always thought this is a perfectly capable entry. It's just not the best you can do if you're looking for a Kurosawa film.

While not that great of a Kurosawa film, Rhapsody in August is hardly boring, with enough heart to make it well worth your time and attention.

The Bad Sleep Well (1960)

THE BAD SLEEP WELL
DIRECTED BY: AKIRA KUROSAWA
WRITTEN BY: AKIRA KUROSAWA, HIDEO OGUNI, EIJIRO HISAITA, RYUZO KIKUSHIMA, & SHINOBU HASHIMOTO
OVERALL SCORE: 8.00/10

Company secretary, Koichi Nishi (Toshiro Mifune), has just married the young daughter of Public Corp Vice President Iwabuchi (Masayuki Mori), who is currently dealing with a fraud investigation. While Nishi is seemingly a strong minded aspiring businessmen, he secretly aspires for only one thing: revenge.

"They starved you and my father with scraps from their table, killed you as scapegoats, and still you can't hate them"

Kurosawa's oft overlooked tale of revenge, and the consequences of it, The Bad Sleep Well is a powerful, deep, and thrilling entry to the director's canon. Riddled with layers, well executed characters, and emotions a mile deep, this tale has just about everything you can want.

Often drawn parallels with the Shakespeare tale: Hamlet, The best thing The Bad Sleep Well has going for it is pure talent. Each actor either a seasoned veteran, or would soon become one, with each writer a Kurosawa pinnacle partner. Then you have the direction. Here Kurosawa goes straight old school thrills and noir. It's quick and slow. It throws the plot right at you, and then allows the characters to evolve. Oozes in dramatic irony, and really takes advantage of it to hit you in the emotional gut. It's such a captivating tale, it's a shame it's overshadowed by the similarly featured, and far superior, High and Low.

Still Kurosawa fans, and general movie going public alike, can find much to be excited about here. Mifune is dynamic, and Mori is as villainous as anyone dare be. Kyoko Kagawa, as the executive's fragile (physically) daughter, is simply breathtaking. Her final scene will connect with you on an entirely different level. Shimura, Kato, and the rest of the supporting cast perfectly hold their own as well. The way they develop makes this such an exciting tale, I often wonder why it doesn't get as much love.

The Bad Sleep Well is a captivating, dark, dramatic irony ridden tale that'll entertain and surprise the viewer from beginning to end. Sure it could use some fine tuning, but overall it's so well made, I think it would just be glorified nit-picking.

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Alternate Perspectives:

"If you’re a fan of films like The Departed then this is a must watch. Not the greatest Kurosawa film out there but definitely a good one." - GmanReviews

Throne of Blood (1957)

THRONE OF BLOOD

DIRECTED BY: AKIRA KUROSAWA
WRITTEN BY: AKIRA KUROSAWA, HIDEO OGUNI, RYUZO KIKUSHIMA, & SHINOBU HASHIMOTO
BASED ON THE PLAY 'MACBETH' BY: WILLIAM SHAKESPEARE
OVERALL SCORE: 7.75/10

Samurai Lord (Toshiro Mifune) and scheming wife (Isuzu Yamada) enact plan to remove the Emperor from power, and stake their own claim, following an oracle prophecy.

"...ambition is false fame and will fall, death will reign, man falls in vain"

Out of all of Kurosawa's films, Throne of Blood is inarguably the one I have the most difficulty reviewing. Among those theatrically inclined it is one, if not the, greatest of Kurosawa's film selection. While those who seek out a more calm, seductively smooth, flair, this movie tends to fall on hollow disinterest. Unfortunately (or perhaps fortunately) I fall dead smack in the center.

The over the top performances add extreme emotion to the scenes, but can easily be misconstrued as comical, and not emotional. Mifune and Yamada are marvelous in the depth, and gusto they bring to each scene. Added to the solid supporting cast, and writing of Shakespeare, anyone can see why many consider this to be his true masterpiece. The writing, dialogue, and storytelling are premium, but even still I couldn't escape the off giggle at improper moments. It all seems just a tad too over the top for me. Such a strong story needs strong acting, and at times I wonder if Kurosawa's love for theatricality in acting doesn't make it a bit too off-putting, especially for those with my taste.

Even still, few handle direction as well as Kurosawa, and here he is at his A-game. It's strong, direct, touching on the mystical, but mostly concerned with the characters. There's a dark understand in the lighting, and an ever growing sense of claustrophobia in the rooms. It's great when all of these tie together, but I'm never certain it's as well tied together as it should have been. Kurosawa's minor changes (primarily towards the end) of Shakespeare's tale, leave me a bit befuddled. They're ok, but I think they take away from some of the story's natural irony, and dark comedic moments. Not the worst you can do, but still, I think it's no where near perfect.

Throne of Blood is the sort of Kurosawa film that truly divides its audiences. Yet I think it's well worth the chance, especially if you find it to be one of the grand masterpieces you've been searching for.

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Alternate Perspectives:

"I had issues with characters and certain plot points related to characters but all of the technical brilliance you would expect from a Kurosawa film starring Mifune is there." - GmanReviews

"Throne of Blood is one of the truly grand achievements in the history of cinema!" - Brian's Film Review Blog

The Quiet Duel (1949)

THE QUIET DUEL

DIRECTED BY: AKIRA KUROSAWA
WRITTEN BY: AKIRA KUROSAWA & SENKICHI TANIGUCHI
PLAY BY: KAZUO KIKUTA
OVERALL SCORE: 5.25/10

When Dr. Fujisaki (Toshiro Mifune) accidentally cuts his finger during a routine surgery in World War 2 he is shocked to find out he has contracted syphilis. Returning to his father's practice, he leaves behind his fiancee, and self-medicates, distancing himself from those he loves the most.

Not one of Kurosawa's better known films, The Quiet Duel is perhaps one of Kurosawa's most flawed, and at the same time most polarizing film. Despite a 95minute runtime The Quiet Duel is a slow, character analyzing film that takes its time in understanding the deep inner struggle of Fujisaki. Kurosawa captures this in lonely walks, non-descript conversations, and personal exile. It's a painstaking view, which is unfortunately not aided by its incredibly slow pacing. Very repetitive, very careful, Quiet Duel really fails to be as gripping as it aught to be, and I hate to say it's the first Kurosawa film I ever saw that I couldn't wholeheartedly recommend.

Even still, the performances are top notch. Mifune simply lights up the screen, and once again Shimura is there to carry the father figure torch. Even the supporting cast of Miki Sanjo, Kenijiro Uemura, & Chieko Nakakito deliver such grand and powerful performances. It's quite obvious throughout this is Kurosawa's humanistic attempt. It's just a shame they have so little to work on until the film's latter half. It's in that final 30 minutes that the plot begins to move, characters begin to unveil themselves, and the real message of the film is revealed. The waiting is just what will kill you.

Though if you're a Kurosawa fanatic like me there's still much to love about Quiet Duel. Its shot composition, especially several of longer sequences, are absolutely brilliant. As well that impact of that finale may just be enough to bring you into its side of the ring. Still only those who enjoy their films slow and careful-like will really be able to make it through the first hour. The constant pausing, pacing, and waiting, felt like I was watching something else entirely. I kept waiting for something to happened, and when it finally did I felt as if I was saved. It's got lots of great moments they just don't pull together well enough. Torn between the good and bad, it's not a Kurosawa film I can blindly recommend, regardless of my love.

Despite some great shots, and an emotionally gripping finale, Kurosawa's The Quiet Duel is a general misstep, far too slow for its own good, or anyone else's for that matter.

Red Beard (1965)

RED BEARD ("AKAHIGE")

DIRECTED BY: AKIRA KUROSAWA
WRITTEN BY: AKIRA KUROSAWA, HIDEO OGUNI, RYUZO KIKUSHIMA, & MASATO IDE
NOVEL BY: SHUGORO YAMAMOTO
TOP 100 FILMS: #52
OVERALL SCORE: 10/10

Recently graduated Dr. Yasumoto (Yuzo Kayame) is disgruntled when his post-grad assignment is an internship at a small government clinic. Serving under the care of the seemingly cold Dr. Niide (Toshiro Mifune), affectionately known as Red Beard, Yasumoto encounters a variety of patients, and the heartache that comes with poverty.

"The pain and loneliness of death frighten me. But Dr. Niide looks at it differently. He looks into their hearts as well as their bodies." - Dr. Mori

There's a funny thing about Kurosawa's heavy thematic films. They carry a heavy load. Rashomon brought him into the world of the west. In many respects Akahige took him out. Not literally, and much of his great work was still to come, but Akahige marked a staunch falling point in his career. Nearly bankrupting himself, star Toshiro Mifune, and the studio backing him, from here on Kurosawa would struggle to get money for future projects, nor would he and Mifune ever work together again. That being said, I'm glad him and Mifune ended on such an amazing work, regardless of what was the pressing opinion of the time.

The the heart of Kurosawa's Akahige is a simple notion: you can cure their pain, but can you ever cure their heart? Throughout the film Yasumoto encounters such painful stories of famine, struggle, and weakness from people who know it better than anyone else. And while it is often noted to be a story of a romance between two doctors, Akahige has very little to do with them. They're the observers. The remaining conscious of old and new age Japanese philosophy. Before they can cure anyone, they have to understand them. Something Dr. Niide knows better than anyone. And it's in that, that Yasumoto finds his place among the healthcare system.

Still at over 3 hours, Akahige is not an easy viewing. I'm not just talking about the time, I'm talking about the stories. Akahige will take you to the very edge of your morals, and reach into the fabric of your being and grip your emotional cords. At times I had to pause and walk away due to the sheer emotional ride it takes you on. And I have to say Kurosawa's directing here, it deserves a standing ovation. The silhouette death of the lost love, the tragic scream into the well, Kurosawa pulls out every directorial stop he has, and it'll move you in ways you may never know. The plight of the poor, that's what Akahige is really all about. And it's that true emotional sentiment and value that ranks it among my top 100 films.

A truly powerful, and emotional tale, Kurosawa's hospital epic pre-dates the modern snarky, tough guy, doctor, while adding a strong sentiment of heart, analyzing the true cost the poor must pay.

The Women of Kurosawa

The Women of Kurosawa: Analysis and Discussion

Perhaps one of the most fascinating aspects of society is our notion of gender, and how that impacts us. We love to dissect portrayals of specific genders in films, and with Kurosawa it's unmistakably no different. Many articles, books, etc. have taken time to analyze Kurosawa's various portrayals of women. And I can quite honestly say it's seldom laid out into positive light.

Perhaps that's why I wonder what Kurosawa really thought of women as a whole. Throughout the majority of his films women tended to fall into one of the three categories: They were either the victim, the schemer, or the loyal subservient... sometimes all three in one film (Rashomon for example). Yet on some level I wonder if that's really what Kurosawa thought of women... You see even to this day Japan and women's rights is a touchy subject. Torn between old school traditionalism, and modern day corporatism. Not all that different from America, is it? Just imagine what it was like during Kurosawa's heyday almost 60 years ago.

So, let's take the categories one at a time. First up, the victim. For Kurosawa it often seems that the victimized woman is a quiet one. In Rashomon and Yojimbo, both feature women abused by men (sexually in both cases) despite their wishes. In both cases the woman does nothing, and instead resigns herself to this believing it is all that she is. It's not a picture of cheerfulness, and definitely not strength. The only other real example can be found in Scandal, in which a model is the victim of tabloid lies, and she resides herself to the stronger, Mifune, who is also a victim, but willing to stand up. In all cases, the female relies on a man to solve their problems, but to be honest this isn't a category found all too often with Kurosawa, and I hardly find these examples to really be strong enough to take the argument to the next level. Especially with Rashomon, where reality comes into play, so let's move on!

If I had to go with the next most dominant portrayal it'd have to be the loyal subservient. The woman is willing to stick by her man regardless of what has gone on. Good examples of this might include The Quiet Duel. Here the female was setup to marry our protagonist, and has dedicated her entire self to it. When he suddenly returns from serving time as a doctor for the war, he calls of their marriage (unbeknownst to her he had contracted a deadly illness during a surgical accident). Still she arrives at his workplace every day, aching to see just one moment of him, and find out why. She never stands up for herself, hardly says anything, and seems to resign herself as nothing more than a memory of his that follows him around. It's a rather bleak, depressing existence I have to say.

In The Bad Sleep Well a businessman marries a crippled daughter of a rich corporate executive in order to enact his plan for revenge on said executive. Because of this he's never around, and very cold even when he is. Now some insight into him suggests he keeps his distance to avoid hurting her anymore than necessary (emotionally), and yet she still attaches herself to him, begging (albeit without words) for him to please (emotionally and physically) her. Even at the end of the film, after all that his happened, she cannot remove herself from him, despite him having not done much for her.

Then comes the schemer. Perhaps that may not be the best word, but I would say that throughout all of Kurosawa's work this is one of the more prevalent female figures. The common traits of these women are three fold:

1) The act only in ways that are best suited to them, or their cause (usually self-empowerment)
2) They care less about the well-being of their spouse than they do about being removed from power
3) They are strong-minded, and far stronger than their spouses, able to make the decisions others can't.

The two films this is most prevalent in would easily be Throne of Blood and Ran, but both are Shakespeare adaptations, and in Ran nobody is really portrayed in a positive light. Perhaps the best other example of this can be found in Yojimbo. The character of Orin (portrayed by Isuzu Yamada) is the conniving wife of the lesser of the town's two factions. Upon first meeting the samurai protagonist she shows him great courtesy, only to moments later inform her husband that after they've won they must kill him, and retrieve the money they are paying him. Throughout the rest of the film her attitude is constantly changing in the hopes of regaining the favor of the samurai, and winning so that her weak son, and immature husband (both of whom she easily controls) can rule the town.

It's in this category that I wonder if something about Kurosawa is revealed. But I'm not sold yet.

Out of all of Kurosawa's films the way he portrays women in Drunken Angel may be the most telling. The film consists of four dominant female characters. Each with a little bit of all the aforementioned characteristics. But one really stands out the most:

Miyo (Chieko Nakakita), the ex-lover of recently released crime boss Okada. She works as a nurse, and is the counter-balancing force in Dr. Sanada's life. Yet at the same time she also represents a bit of a torn character. Despite having received a venereal disease from Okada, she feels a strong connection to him, and wonders if, as a women, she must return to him. While on the other hand she wishes to start her life anew. She works happily with Sanada, and has begun to create something worthwhile out of her depressing lifestyle. Still, she's not a self supporting female lead. But Dr. Sanada is quick to remind her that while she was his woman at one time, she is not his slave.

Here she is much more of a progressive character caught in a world of traditionalist values. On some level I like to think this is more of where Kurosawa's personal opinion lies. I mean could someone think so little of women and be married for 39 years? Wait, on second thought, don't answer that.

The only real case of a strong, dominant, woman in Kurosawa's films would likely be Princess Yuki from The Hidden Fortress. She's tough, self sustained, high on morality, and willing to kick butt and perform dangerous tasks if need be. She sees herself as among the men, not apart from them, and often provides much of the film's heart. Throughout the film she's well developed, and provides a beacon for what intelligent, strong willed, women can be. It's quite the well rounded character.

Still if Hidden Fortress was the highlight of Kurosawa's pro-women films, Red Beard may be labeled a lowest (though I have heard some arguments for The Most Beautiful). In Red Beard (whose review you can read later) women take a backseat to tales of poverty, often surrounded by tragic tales involving men's dealing with women. In this film the women are often nothing more than chess pieces used by their families, or aspiring loved ones. Though just how much the film's setting (late 1800's) plays a part in Kurosawa's portrayal of women we may never know. As well there is the character Otoyo. A young girl who is saved by the lead doctor, and ultimately comes to respect him, herself, and learns more about the troubles of life in the process. Sure she's not the most inspiring character (12 year old brothel attendees seldom are), but her character serves as a heart for the film, and while her actions can be misleading, she always has the best of intentions.

No matter what I say though, it's still all speculation and conjecture. And I would be sure to point out it's not like Kurosawa portrayed men in any more positive light. In fact in many of his films men are arrogant and self-righteous which leads to their own downfall (or they go crazy). Still that doesn't make it any more right or wrong. I wonder what he really thought of women though. In his mind are they the corrupters, or are they the companions.

No matter what, that's something on Kurosawa himself can answer.



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*Notes:
1. I openly admit I haven't seen every Kurosawa film so I only discussed the ones I had prevailing knowledge of.

2. There are other examples of these various sorts of female characters (positive and negative) in other Kurosawa films. Here are just selected examples.

The Hidden Fortress (1958)

THE HIDDEN FORTRESS

DIRECTED BY: AKIRA KUROSAWA
WRITTEN BY: AKIRA KUROSAWA, RYUZO KIKUSHIMO, HIDEO OGUNI, & SHINOBU HASHIMOTO
OVERALL SCORE: 8.00/10

Two greedy peasants (Minoru Chiaki & Kamatari Fujiwara) assist General Matakishi (Toshiro Mifune) and Princess Yuki (Misa Uehera) escape as their country falls to a rival clan, along with 400 kan worth of gold.

"Hide a stone among stones and a man among men."

Quick, name the most important Kurosawa films. Ok, done yet? Just out of curiosity did Hidden Fortress make it onto your list? Nope? I didn't think so. You see, out of all of Kurosawa's films Hidden Fortress is the one, I would argue, is most overlooked in terms of cinematic importance. Then again, out of all of his movies, it's not one of his stronger ones. So, what makes it so important? Well I'm glad you asked.

Building the escape epic, Hidden Fortress' simple narrative of a princess escaping laid the groundwork for a plot that would eventually be molded into what we now know as Star Wars. You know, a sci-fi film from the 70's, maybe you've heard of it. Beyond that, Hidden Fortress is also well noted for being perhaps the most mainstream of Kurosawa's film resume. It's action packed, riddled with tension, backed by funny, easy to love characters. There's some moral undertones, but for the most part Hidden Fortress is about the adventure.

Perhaps most importantly though is the character of Princess Yuki, played impeccably well by Misa Uehera. She's a strong minded, high moral, and tough female character. Something seldom found in 50's Japanese cinema, even with Kurosawa. Throughout the film, her character is developed, and grows both in mind and body, and really becomes someone for the audience to cheer for. The two greedy peasants (whose point of view the movie is centered on) also grow to become lovable odd-balls. While Mifune is a delight as the over the top samurai general, whose one mission is the protection of the Yuki, regardless of the costs.

Combined this makes Hidden Fortress such an enjoyable film to view. Still not all is perfect. It spends a bit too much time on buildup, and gets lost in some repetitive actions, and a few silly fight scenes. All of which is forcefully counteracted by swift movements, and zany character moments. It's desire to not take itself too seriously, while still carrying some moral and emotional impact, allows it to run through fine, never become something it isn't. The landscapes, and setup became staples of Kurosawa fans, and its designs seem just as great today as I'm sure they did back then.

While it isn't as strong as many of his films, Kurosawa's Hidden Fortress maintains interest and fans because of its dedication to light-hearted entertainment, and lovable characters.

Stray Dog (1949)

STRAY DOG

DIRECTED BY: AKIRA KUROSAWA
WRITTEN BY: AKIRA KUROSAWA & RYUZO KIKUSHIMA
OVERALL SCORE: 7.25/10

When a rookie homicide detective, Murakami (Toshiro Mifune) has his gun lifted from him on his first day, he frantically searches the streets for it. But when it starts being used in a variety of murders he must team up with seasoned veteran Sato (Takashi Shimura) to hunt down the killer.

"A stray dog sees only what it chases."

Part noir throw back, part classic cops and robbers tale, Kurosawa's Stray Dog is without a doubt one of his more mainstream flairs. Riddled with great direction, and character substance, Mifune and Shimura's amazing ability to play off the strength and weaknesses of each other is on perfect display here. It's the sort of film you pop in on a cool afternoon, sit back, and just enjoy. It's got style, smooth transitions, and all the great dialogue you could ever feast your ears on. It works on so many subtle levels it manages to transition into the air of cool that would eventually lead to the birth of Yojimbo (style wise at least).

At the heart of the film is the relationship between Mifune and Shimura's respective characters. The two just play perfectly off each other, and Stray Dog really allows them to shine. We can fully see why they were so popular with Kurosawa, and really get a grasp for what made them so successful throughout their careers. And the supporting cast is simply divine. None over acting, all playing to the Kurosawa tune, it really feels as if all the performances are perfectly in synch here.

And as for the directing, it's simply marvelous. The final confrontation scene is such an amazing sequence, and the pan shot going from Mifune's face down his arm is to die for (really I can never shake the shot out of my head, it's so well executed). Of course, as with any film, it suffers its downfalls. Perhaps it's a sentiment of the time, but Stray Dog does lean a bit towards the simple plot contrivances you find in other works of the time. As well, and perhaps the greatest setback, is that it's about 20minutes longer than it needs to be. A few too many side conversations linger on minor plot details, and falsetto character development. Yet, upon my revisit I found these scenes to be far more telling of the Kurosawa viewpoint on life. Hidden here is his opinion of cops, and what poverty can lead men to do. The sort of things found stamped throughout all of his work. It's just that he's done it a bit better else-where.

Stray Dog is Kurosawa's directing at its finest. A high entertainment, noir cop thriller, riddled with mystery and morality. Still, it's thinly spread plot will not hit all viewers quite so respectfully.

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Alternate Perspectives:

"I found this movie to be a serviceable ‘cop’ film, but didn’t find myself as engaged as I’ve come to expect from a film from Mr. Kurosawa." - GmanReviews

Got a review of Stray Dog? Email me a link at lifeinequinox@gmail.com and I'll include it here!

Drunken Angel (1948)

DRUNKEN ANGEL

DIRECTED BY: AKIRA KUROSAWA
WRITTEN BY: AKIRA KUROSAWA & KEINOSUKE UEKUSA
OVERALL SCORE: 7.75/10

Blunt alcoholic doctor, Sanada (Takashi Shimura), tries to help a hot-headed up and coming yakuza, Matsunaga (Toshiro Mifune), with tuberculosis. As the two match wits, and very low patience levels, an odd bond slowly develops between them.

"Martyrdom is out of style."

There were Kurosawa films that came before it. There were Kurosawa films that came after it. But I think when you watch an entire director's work, there's always one obvious case that you can point to and say "right there. That's where he started." For Kurosawa, Drunken Angel was that film. Separated from the war by a few years now, away from the strict codes of the studio at the time, Kurosawa's Drunken Angel marked a loud turning point in the director's work. Gone are simplistic uplifting, propaganda stories. In comes hard criticism, well thought out films, designed to confront the viewer on an intellectual level.

That's what I respect most about Drunken Angel. As a stand alone movie, it's not half bad. Kurosawa's emphasis on characters, development, and stage-like scenes creates an intriguing affair for the viewer. It's got action, drama, deceit, gangsters, and a loud mouthed alcoholic father figure. And yet still, it's a movie that shows the viewer the introductory world to Kurosawa. Right from the opening shot. A sewage pool in the middle of a slumville town. Corner of black market, and poverty. Nobody is there because they dreamt it that way. They're there because that's all they know, that's all they are. Poverty, as a feature of the world, and the gangsters, criminals, and situations created from it are the heart of Kurosawa tales.

But what does it matter to us? Should we feel bad for gangsters? As Kurosawa would so boldly say, no. Matsunaga, played to the bone by Mifune in his breakthrough performance, is a sympathetic, but not likable character. He's a hothead, drunk, partier, obsessed with his own image. Sanada, played with the depth and gusto of any Shimura performance, is oddly likable, but not all that sympathetic of a character. He drinks constantly, even using his government allotted alcohol for patients. He's constantly picking fights, and insulting anyone who doesn't operate under his notion of rationality. Both are at the focal point of this tale. Both are characters who fight against their own misgivings. The question is, should one accept them, or fight against them?

In this case Kurosawa goes with the accepting point of view. You are who you are, that's all there is to it. All you can do is try to apply who you are and who you want to be and come up with a middle ground. And here Kurosawa executes his tale to perfection. Drunken Angel is dark, sadism, and yet still optimistic. It looks for the good, exposes the bad, and takes no names. It works because Kurosawa drives the tale no longer than necessary. Each scene has a direct point, and no filler is added to buff up some obscure 6th lead. Still, it does tend to linger, and an odd dream sequence that seems better on paper, may put off viewers. But Kurosawa's final showdown is directed with such raw intensity and great camerawork, it and of itself is worth the price of admission. That's why here, anyone wanting to see the true start of Kurosawa (if I dare say something so insulting), is going to be paid in full.

Drunken Angel is not Kurosawa's best work, but it's not one of his movies that should be so quickly overlook. Beyond just being the tentpole piece for his work with Mifune, Drunken Angel has a strong heart, and the know-how to back it up.

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Alternate Perspectives:

Have you written a review of Drunken Angel? Email me the link at lifeinequinox@gmail.com and I'll post it here!