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Post by Mighty Jack on Dec 13, 2009 11:58:00 GMT -5
screencap from WikipediaWhen you see a transitional wipe in a George Lucas film, when you see almost anything from Sergio Leone, you are seeing bits of Kurosawa. He inspired a generation of filmmakers; names like Martin Scorsese and Tarantino count him as an influence. You can even spot aspects of Akira in (whether he knows it or not) Watchmen’s Zack Snyder. Akira was the father of slow motion in action as we know it today, and the arterial (blood) spurt (though he used it sparingly when everyone else began doing it). He was considered a great editor (he cut or assisted in cuts on his own films daily, which no one does). An innovator in use of the camera, he was without peer when it came to composition. His use of 3 cameras (and not always stilted cameras, but 3 cameras moving with the action) could have been disastrous if not for his detailed, visual mind (Kurosawa started off as a painter, before choosing a new career path in motion pictures). In simple scenes where two characters might be walking down a street, he would have two camera’s shooting at the same time and very close to one another, but set at deferent depths, so he could cut from one to the other, giving dual perspectives on the same shot. He was noted for the his use of deep focus on wide lenses, of shifting movement in front and background so that in a film like Ran, its blending of color is almost like a kaleidoscope. Oh and I can’t forget that sloppy, heavy rain. An element that was prevalent in his movies. For all his technical achievements he was a keen social commentator (something he was rarely given credit for) and wove into his films multi dimensional character studies, which infused the entirety of the human condition in each frame of film. He had his flaws. He could be too didactic for one. And this came to the fore in his final works. In Dreams he has a character simply stand there and give a speech on the horrors of nuclear apocalypse, to the point where it ceases to be film, and becomes a filibuster. Never the less, the majesty, the intimacy, the genius of a Kurosawa film resonates so brightly that he can be forgiven his lapses. Though highly celebrated, he also endured much criticism from his peers, most of it spurious and petty. He was disparaged for being too westernized in Japan and later, knocked as too old fashioned by the new guard. But he was steeped enough in Japanese history and folklore to be not fully understood by the west (Americans who knock Ran as being unreal and over the top, are failing to understand its Noh roots) Despite his epic talent, he sometimes struggled to get projects off the ground and at one point, in the early 70s became so despondent over his life and career that he attempted suicide. American filmmakers, acknowledging their debt to him, rally to his side offering support artistically as well as financially. Akira returned, rejuvenated and created his final masterpieces, culminating with Ran. Thereafter he settled into quiet, personal films before his death of a stroke at the age 88 on September 6th 1998 This thread is dedicated to exploring his art - the masterpieces he committed to film. I also ask that you don’t look at this as “my” thread. I invite everyone who was moved by Sensei’s work to contribute his or her thoughts, opinions and information on this cinematic journey. And please don’t be reticent to correct any factual errors I make. I’m not an expert and am eager to learn more about the man I consider, with Alfred Hitchcock, the most technically innovative and brilliant director of our age. His Directorial FilmographySanshiro Sugata/Judo Saga (Sugata Sanshiro) (1943)
The Most Beautiful (Ichiban Utsukushiku) (1944)
Sanshiro Sugata Part II/Judo Saga Part II (Zoku Sugata Sanshiro) (1945)
Those Who Tread on the Tiger’s Tail (Tora no o wo fumu otokotachi) (1945)
Those Who Make Tomorrow (Asu o tsukuru hitobito) (1946)
No Regrets for Our Youth (Waga seishun nu kuinashi) (1946)
One Wonderful Sunday (Subarashiki nichiyobi) (1947)
Drunken Angel (Yoidore Tenshi) (1948)
The Quiet Duel (Shizukanaru ketto) (1949)
Stray Dog (Nora inu) (1949)
Scandal (Shubun) (1950)
Rashomon (1950)
The Idiot (Hakuchi) (1951)
Ikiru (Living/To Live) (1952)
Seven Samurai (Shichinin no samurai) (1954)
I Live in Fear/To Live in Fear (Ikimono no kiroku) (1955)
Throne of Blood (Kumo no su-jo) (1957)
The Lower Depths (Donzoko) (1957)
The Hidden Fortress (Kakukshi toride no san akunin) (1958)
The Bad Sleep Well (Warui yatsu hodo yoku nemuru) (1960)
Yojimbo (1961)
Sanjuro (Tsubaki Sanjuro) (1962)
High and Low (Tengoku to jigoku) (1963)
Red Beard (Akahige) (1965)
Dodes’ka-den (Dodesukaden) (1970)
Dersu Uzala (1974)
Kagemusha (The Shadow Warrior) (1980)
Ran (1985)
Dreams (Yume) (1990)
Rhapsody in August (Hachigatsu no kyoshikyoku) (1991)
Madadayo (1993)Up Next!
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Post by Mighty Jack on Dec 14, 2009 11:08:09 GMT -5
Seven Samurai (Shichinin no samurai) (1954)Hassled continually by a nasty band of brigands, a group of farmers seek out several reluctant samurai to defend their small village. Kurosawa uncharacteristically uses lot of close up and bases his heroes on actual SamuraiThough I enjoyed my trip through the world of silent film, that thread sometimes felt like writing a paper for a College class. Therefore I’ve decided to keep this on a more intimate, relaxed level. While I’ll no doubt toss in some historical and film school facts, I’m not going get obsessed with this, nor will I worry about keeping it chronological. Lets start at the beginning. Well… my beginning. I was first introduced to the name Akira Kurosawa because of critics Siskel and Ebert. It was during their glowing reviews of “Ran” that I heard the title “Seven Samurai” and of the brilliance of the director behind both films. Considering myself a cinephile (yes, I can be pretentious too) I absolutely had to delve into this man’s movies. Living in a tiny city, “Ran” wasn’t playing at our theaters, few art house or foreign films did (which forced me to make my enjoyable treks to Seattle’s annual film festival). But I had an ace in the hole, I managed a video store, the biggest, locally owned (by my father) store in the city. It was a thing of beauty and I doubt even the best video stores in Seattle could surpass it. I’d done a lot to boost the foreign film section, and now our shop was about to house the most extensive collection of Kurosawa films in town. That’s how Seven Samurai found its way into my video player. I can’t say I was completely blown away at first. In my naiveté it seemed the acting was a bit over the top. But I was hooked and won over by the humanity and characters. I was also fascinated by the history. To such a degree that I immediately made my way to the library and gobbled up everything I could find about Japanese history, in particular samurai history. With reading grew understanding. I started to ‘get’ the Seven Samurai. And with each viewing it grew in greatness. When I first saw it I believe it ran about 193 minutes (it used to be worse, after the premier Toho cut an hour from the movie!) Over the years they’d find more footage and I’d eagerly watch it again. It now runs 207 and that’s still not long enough. It’s one of those rare films where I don’t feel its length and am disappointed when it ends. I want more of these people and their lives. For all the adventure of the story and Kurosawa’s technical brilliance, it was the people who populated the movie that I loved most of all. I love the cool, silent master swordsman. The scene where he is challenge to a duel was a work of art. The way the two men stood, the way the silent master held his sword, and the fluid way he moves, the effortless way he made his killing slash was so well choreographed, and yet so economic in its movements. I loved the scene where wise Takashi Shimura (one of the best actors to work with Kurosawa and a method actor before their were method actors) saves a child. It is so beautifully staged, so brilliantly scripted and Shimura’s performance is understated and warm (the guy had such a smile. You couldn’t help but love him). And then there was Toshiro Mifune. He was brooding, full of little ticks (scratching face and tummy his favorite). Originally he was to play the silent warrior, but Kurosawa felt they needed a lighter element and a bridge between the farmer and the ronin so they added a 7th samurai and Mifune was recast in that role (his was the one samurai not based on a historical figure) Though not tall, he never the less loomed large. The way he’d strut and command the screen whenever he was on made him seem bigger than life. But he was quick too. Watch him wield a sword - man he was violently fast. Even at age 40 in Yojimbo, he moved like a man half his age. Here he’s a false samurai - loud, uncouth and used for broad comedic relief. Seven Samurai, with On The Waterfront stand as my favorite movies of all time. I’ve watched them many times on many formats and they remain as fresh and wonderful as ever. This movie is genius on all phases: Script, direction, story, score, acting, camera, cinematography and most exceptionally, the editing. You name it and it was done expertly. In closing: Kurosawa fans have acquired a powerful ally these past few years. Criterion films have been releasing the director’s catalog in sharp looking prints, complete with insightful commentary tracks and extras to die for. Even the trailers are must see because Toho would often use alternate takes for their previews. So you can watch scenes not found in the movie. Seven Samurai comes in a 3-disc edition, with informative booklet that is an absolute must have for any Kurosawa fanatic.
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Torgo
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Post by Torgo on Dec 14, 2009 11:35:20 GMT -5
I love Seven Samurai. But I haven't been eager to pick it up because of it's high DVD price tag. Maybe sooner or later.
I haven't seen anything else on his filmography, I'm afraid. However I did recently rent Dreams from NetFlix. I was particularly interested in this one because it was co-directed by his best friend and master Kaiju director Ishiro Honda (Godzilla, Rodan, Mothra, War of the Gargantuas, all the greats). Looking forward to giving it a go.
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Post by Mighty Jack on Dec 14, 2009 11:49:07 GMT -5
I just got the 3 disc DVD at Amazon for $22, I'm not sure if it's still on sale but it's a beautiful release and a great deal.
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Post by angilasman on Dec 14, 2009 17:10:08 GMT -5
Criterion's 3-disc Seven Samurai set is the best DVD that I own. The remastered picture, the incredibly informative and entertaining special features - even the packaging is uber-cool!
I'm a huge fan of Kurosawa. I'm lucky in that my public library has a great international film section. Because of the high cost of his DVDs it's only occassionally that I get one (or and Criterion!). That's why I watch out for Barnes and Noble's %50 off sales! I have Ran and Dersu Uzala ( very underrated) wrapped up under the Christmas tree waiting for me.
I find Dreams to be a bit mixed - the nagative comment in this first post isn't withourt merit, but as an anthology it warrants different consideration - I think the blizzard segment and the ending segment are pitch perfect short films.
If anyone is interested in Akira Kurosawa they have to pick up his memoir: Something Like and Autobiography. He doesn't go into his craft as much, it's a much more personal tale and you realize just how much of himself he put into his films.
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Post by The Mad Plumber on Dec 14, 2009 19:53:12 GMT -5
I wanted to educate myself to some of the works of Arika Kurosawa, but it was much to my chagrin to find that the video rental carried no films by him. Thus far, I've not seen a complete Akira Kurosawa film. I'll have to stay tuned to your article.
When I think of compelling director photographer, I tend to think of Kubrick's first few beginning scenes in Dr. Strangelove; the movie seems to have photography that I don't think I've seen in other films. Hitchcock also has some good photography in Vertigo.
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Post by Mighty Jack on Dec 15, 2009 0:19:26 GMT -5
Rest asured angilasman when I eventually speak more fully on Dreams I'll give it its due. In short I agree it's a mix and that there are moments of great power and beauty within it.
And "Seven Samurai" was worth every penny, that's a great disc. I also recently found a used copy from a private collector, in perfect condition for the Yojimbo/Sanjuro release that cost me around 20 bucks and those both look great too. So when you can find a deal on these expensive releases it's well worth the purchase.
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Post by Mighty Jack on Dec 15, 2009 0:22:32 GMT -5
Rashomon (1950)It’s a mystery… who are these men seeking shelter from the storm in the ruins of a temple? Why are their brows furrowed in knots of despair? 2 of the men (a Priest and a wood cutter) were witnesses in a trail and tell the third their account hoping he can add some illumination. The story concerns a triangle of husband wife and interloper. Within this triangle there’s a rape and a murder. During the course of the film the truth of what happened will be told from different perspectives. None of them match up. Was there a rape? Was it even murder? Every synopsis you read will tell you that this is a film that examines the nature of truth. But for Kurosawa, he felt Rashomon was an exploration on the nature of reality. And in that light Rashomon takes on new meaning, though it never provides complete clarity. Truth? Few are intentionally lying, they all believe their side as it’s told. They’ve bent reality to fit the truth they (need to?) believe. What I find fascinating is that these tales are being told by a character, filtered through their perceptions… but are being relayed through another character, who is filtering it through their perceptions… which is ultimately being interpreted by the director Kurosawa himself. The picture is a knot. The tangled woods themselves, the setting for this tragedy, add to this ambiguity. Our own eyes are often not allowed a clear view. As we see their stories the actors shift from natural performance to theatrical poses and extreme over acting (Toshiro Mifune will chew scenery like he never will again). It’s as if during the telling of their side of it, they (or the person relaying it) are embellishing the tale with melodramatic flourishes – the people seen in flashbacks are like puppets in a play and we become aware that we are not seeing the thing as it is, but rather are being offered a choreographed performance, pulled from the storytellers mind. Still, kernels of... (is "truth" the word I'm searching for here?) manage to pepper the screen. One of the witnesses, the woodcutter seems honest… but look at his expression in the background as the medium tells the dead man’s side of the story. Later, he changes his account, but theirs something fishy, something he’s not telling. How trustworthy is he? Is he a thief… or worse? Watch Rashomon with a casual eye and your wasting your time. It will not have any weight or meaning. Watch only on one level and you miss just how truly magnificent it is. Over think it and perhaps you start adding things that were never intended… the very film then involves you in your own personal contemplation on reality. In Rashomon I delighted in Kurosawa, the great editor. I marveled at Cinematographer Kazuo Miyagawa’s stunning and ground breaking camera work and lighting techniques. The scene in which a casual breeze alters the course of everyone lives, is a small but memorable display of these gifts joined in genius. Kazuo’s shot tracking Takashi Shimura through the woods thrilled even his talented director. The film made Kurosawa an international star, won prizes, including an Oscar and it changed the way Japan viewed its own product. Though a hit at home, they perceived it as a purely Japanese film, the western world wouldn’t understand it. They were surprised when Italy requested it for entry into one of their film festivals – soon the world became enthralled and filmmakers influenced by its powerful story.
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Torgo
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Post by Torgo on Dec 15, 2009 0:44:20 GMT -5
That sold me. Rashomon is next on my NetFlix list.
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Post by Mighty Jack on Dec 16, 2009 0:23:06 GMT -5
^Hope you enjoy! On to 2 of my all time favorites... Yojimbo (1961) Sanjuro (1962)These are the movies that would have a heavy influence on Sergio Leone and the spaghetti western in general. They are connected but very different in tone. Toshiro Mifune is the Clint Eastwood ‘man with no name’ prototype. Though he calls himself Sanjuro, he changes his last name when asked… based on whatever it is he first sees on the landscape. He is a lone Samurai, smart and feral. But beyond that, who he really is and where he came from we never know. In Yojimbo he enters a town and the first thing that greets his eye is a dog, running through the streets with a human hand in his mouth. It’s a remarkable scene, oft imitated, and it tells you everything you need to know. Our protagonist has walked into hell on Earth. The strange thing is, the film is a comedy. One of the blackest, nightmarish comedies I’ve ever seen. There are two warring factions of businessman and yakuza vying for control of the city. Sanjuro is bored so he decides to play one against the other, but it’s a tricky game and one slip could spell disaster for the lone swordsman. Kurosawa is using Japans own history, drawing from that period that saw the end of the era of the Samurai. But Akira decides to warp reality to his will. In this instance, it is the way of Bushido that sends the new industrial age into chaos and self-destruction - and survives… at least for a while longer. Kurosawa’s use of composition and framing is impeccable, his story is such a twisting coil that I had to seek the aid of the commentary to fully track and understand it. Sanjuro on the other hand is a lot lighter, so much so that many speculate whether it’s a true sequel. Though Yojimbo is the more masterfully made film, Sanjuro was more entertaining. In this one Toshiro Mifune’s wandering swordsman helps out a group of naive samurai rescue their uncle from a corrupt official. It’s a more straightforward tale, nowhere near as dark and the humor more overt (the heads of the young samurai popping up through floorboards for one). It still features many of those brilliant Kurosawa touches and is one of his most purely enjoyable pieces. It ends with a sudden and explosive arterial spurt. It’s not something Akira will often revisit with such, uh, splash. But it will excite Japan’s new guard filmmakers so much they’ll use the visual to excess, which continues to this day and was used in ample quantity in Tarantino’s “Kill Bill” series. The duel involved coming up with a new, non traditional move. To strike first, Sanjuro pulls his sword with his left hand as he sweeps across his opponents heart, he uses his right hand and pushes on the dull side of his sword. Blink and you’ll miss it, it goes by that fast. All told, this contrasts between films: Dark and visceral Yojimbo, and the lighter comedic adventure Sanjuro, makes for an interesting and worthwhile double feature that I’d highly recommend undertaking. Of note: A very fun cameo in Yojimbo – that Samurai leaping over the fence, who stops for a moment, looks back at Mifune and smiles before heading off on the road out of town… that’s Susumu Fujita, the star of Kurosawa’s first directorial effort, “Sanshiro Sugata”. A wink from Akira’s first star to his current one. Takashi Shimura has 2 very small roles in both films. Just 7 years removed from his part in the Seven Samurai, 10 from his starring turn in Ikiru - Takashi looks frail and has few lines. It is sad to see him in such a state… while not a traditional lead actor; he left behind a superb body of work and moved us with several unforgettable performances. As long as I remain on this Earth, I will never forget him.
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Post by Mighty Jack on Dec 17, 2009 12:53:00 GMT -5
Scandal (1950) Kurosawa makes like Frank Capra and pulls out the sentimental corn. Toshiro Mifune plays a motorcycle-riding painter who offers a lift to a famous singer, as they both happen to be staying at the same hotel. Photogs from a gossip magazine spot the two, snap a picture and before you know it the Schmidt hits the fan as a lie is published as truth.
Mifune is matinee idol handsome, honest and good hearted. Takashi Shimura is his crooked attorney, hired when Mifune decides to sue the rag. A lot of the sentimentality is drawn from the attorney’s daughter, a sweet angelic youngster who is dying of tuberculoses (the #1 cause of death in Japan before WWII/ After the war, stomach cancer took that role – the disease that befell the protagonist in Ikiru)
This early directorial effort is not his slickest effort, it’s a bit static and slow for a comedy, but it has its funny moments. Side by side with these laughs are several tears and a moment of redemption (interestingly he doesn’t push the romantic angle). It’s not a great flick, too black and white across the board - despite being one of Kurosawa’s lesser efforts, I found myself interested in the story (many speculate that Akira was satirizing American films). This is largly forgotten today, dwarfed by the movie that would follow, Rashomon.
One Wonderful Sunday (1947) Filmed just 2 years after the A Bombs fell on Japan, Sunday is an often depressing, sometime uplifting tale of Yuzo, and his fiance, Masako, a finiancially poor couple who spend the day together, the only day of the week they have.
It’s a simple, small story, but not an insignificant one. The director is an artists, even in small scale and he offers deft touches, such as the backdrop of the the ruins of a war torn city, blended with signs of the new era popping up here and there. This was Kurosawa’s only foray into the Japanese common-man drama known as shomin-geki. It is stylaistically different as he uses a lot of camera movment and edits (as opposed to the wipes he’d become known for).
There are times when the darkness becomes oppressive, and this aspect wont appeal to sunnier souls. Kurosawa also wasn’t a profit as it appears that he sees nothing but blacker days ahead… and not the economic and industrial boom that was to come. But he does offer some hope, the broken-down couple keep striving, keep dreaming, keeping reaching for a brighter day. Kurosawa wisely leaves their futures open and it is up to us to decide whether they eventually find their dream. I'd like to beleive that they make it.
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Torgo
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Post by Torgo on Dec 17, 2009 14:06:23 GMT -5
^ Yojimbo (1961) Sanjuro (1962)These are the movies that would have a heavy influence on Sergio Leone and the spaghetti western in general. Not to mention that Yojimbo was "re-imagined" as Desert Heat starring Jean Claude Van Damme. A Van Damme take and Kurosawa. I'll give you a minute to let that sink in.
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Post by Mighty Jack on Dec 18, 2009 1:59:12 GMT -5
To think of the actors who have played Yojimbo or characters based on him: Mifune, Eastwood, Willis and... Van Damme? Next --- I should be expecting Carrot Top, followed by the end times.
A heads up, my next reviewed film, "Ikiru" will pop up on Netflix instant viewer on the 21st.
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Torgo
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Post by Torgo on Dec 18, 2009 11:26:16 GMT -5
I put some Kurosawa on my NetFlix the other day, Rashomon and Yojimbo respectively, and they both go instant the same day. Maybe NetFlix hit a Kubrick high like you MJ?
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Post by Mr. Atari on Dec 18, 2009 17:30:26 GMT -5
Everyone in the world needs to watch Ikiru at least once before they die.
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