• It’s the 3rd archiveable (and very impressive) film I’ve seen from Kobayashi—we have Harakiri in 1962 and Kwaidan in 1964
  • From the opening credits you know this is an artistic work—we have multiple shots of gorgeous architectural structures- straight lines (I believe of the Lord’s opulent house). The patterns almost like a Saul Bass credit sequence
  • Mifune is brilliant in the lead- he is so defeated (self admittedly “henpecked”) in the beginning- it’s a slow burn film and a slow burn performance for Mifune. He keeps it internal for the first 90 minutes (roughly ¾ of the film) as does Kobayashi with the violence. Mifune is bearing slowing worn down by the lords (higher classes), his wife, it’s almost like the Michael Douglas falling down “enough is enough” sort of thing
  • Again for the most part it’s a domestic film- not an action film until the final barrage
  • It’s a statement on classes. I guess Kobayashi was a conscientious objector in the Army (I believe during WW2 which is hard to imagine in Japan) so many of his films, this certainly, have the metaphor of defying unjust orders. It’s a personal battle here of the classes and what is right— insubordination
  • Not many- but early on there are some disorienting unintentional jump cut editing transitions
  • It’s intelligent and procedural—it’s going to challenge the patience of action fans—and the action, when we do finally get to it is realistic and matter of fact. It’s not romanticized—it’s as reluctant as the characters who really don’t want to fight
  • Haven’t placed it yet but there’s a reoccurring shot of the entrance of Mifune’s house I like
  • On both Ebert’s “great movies” collection and the criterion—probably a sign this is a pretty good film
  • Turning point in the narrative—90 minutes in he says “I’ve never felt more alive” as he makes a stand (and basically decides to die/fight)
  • One of the best segments in the film is a freeze frame montage during a flashback when Yoko Tsukasa (playing Ichi Sasahara) tells her husband a story. I wish the technique was repeated elsewhere.
  • Places like a western for sure—another samurai western though this is a deeper film closer to the Anthony Mann psychological westerns or some of the anti-hero hombre Martin Ritt-type—though this has a showdown at the end that has to make you think of Leone— it is a gorgeous final showdown (see pic)—the camera is active throughout the battle and we have some great angled shots. It also repeated a shot (film form) from the very opening when the two characters (then they were friends or co-workers at least) were testing weapons (Mifune is a weapons dealer basically)—there is such reverence and respect between these two reluctant warriors
  • It’s an ambitious final 20 minutes- very sad—well choreographed
  • HR- back half of the top 10 of the year quality for me after one viewing