Kurosawa. Kurosawa has two films that many cinephiles triumph as the best, or one of the 5 or so best, of all-time. He has a consistent narrative worldview, is a dynamic editor- specifically in action sequences, and boasts a filmography of great depth. From Scorsese: “The term ‘giant’ is used too often to describe artists. But in the case of Akira Kurosawa, we have one of the rare instances where the term fits.”
Best film: Seven Samurai. This is actually fairly close with Rashomon. They are both magnificent films- one a tightly-wound narrative atom-bomb—the other a powerful epic saga. Both are clearly very influential which I’ll get to more in stylistic traits.
total archiveable films: 16
top 100 films: 2 (Seven Samurai, Rashomon)
top 500 films: 6 (Seven Samurai, Rashomon, Ran, Yojimbo, Throne of Blood, Ikiru)
top 100 films of the decade: 7 (Seven Samurai, Rashomon, Ran, Yojimbo, Throne of Blood, Ikiru, High and Low)
most overrated: Ikiru is the choice. It’s #112 on TSPDT and that’s #3 for Kurosawa. I have it at #453 of all-time and #6 when ranked amongst his oeuvre. I love the film (simply overrated because of the lofty consensus ranking) but I find the unending wailing by the bureaucracy in the last 30 minutes or so tough to get through. I just wish it wasn’t there or it wasn’t emphasized so much.
most underrated : Yojimbo. TSPDT has it as #399 and I have it at #273. I have no idea how to explain how TSPDT underrates this film and its remake (Leone’s Fistful of Dollars) so much. It’s probably Kurosawa’s most accessible and enjoyable film and it’s still packed with directorial flair and one of Mifune’s best performances. The sequel, Sanjuro, isn’t nearly as good, but is still entertaining (simple Recommend/archiveable for me). A runner up for underrated here is Hidden Fortress probably best remembered now as the film that launched or most heavily influenced Star Wars. It isn’t in the TSPDT top 1000 or Kurosawa top 12 and that’s wrong.
gem I want to spotlight: Ran. The compositional visual beauty of the long shots and mise-en-scene detail are masterpiece worthy—Kurosawa makes great use of every extra, color flourish in the frame, and set piece (whether it’s the mountains in the final climax battle, the valley in the opening, or the castle on fire (picture above) in the film’s best scene/segment. Second to the pictorial composition I have to praise the formal elements Kurosawa goes back to again and again with the shot of the clouds and meditating on dreams and fate. Based on Shakespeare’s King Lear but set in Feudal Japan. Gorgeous bright primary colors—a reminder of the work when Kurosawa first went to color along with some of the early color experimentations like Godard with contempt, Antonioni with Red Desert and Fellini with Juliet of the Spirits. There are really only two types of shots here in the film—there is the long shot (battle sequences mainly and establishing/landscape shots) and the medium shots where most of the dialogue is delivered. The long shots are stunning and I frankly wish it was more of running time— Kurosawa stages the battles so beautifully—and he uses the frame almost like a Tati film—the dialogue-laden (though always sharp, engaging and a fantastic narrative) does get a little visually monotonous. Costume design best Oscar win. The continual self-interest in every character as an ongoing theme is nothing new to Kurosawa- he’s been doing it brilliantly since Rashomon. The entire cast is superb but Tatsuya Nakadai as Lord Hidetora Ichimonji is amongst the best performance of 1985 as is Mieko Harada as Lady Kaede as the Machiavellian wife of Lord Hidetora’s eldest son. The battles sequences with no audio except the non-diegetic music score is sublime—color guards. It’s almost ballet like. I may be reaching here but I think the long shot battle sequences with the extras is also a bit of a statement on the sheep-like or ant-like order-taking sacrifice for essentially nothing. It’s not as apparent a criticism as say Chaplin with the sheep in the factor cutaway in modern times but still. The film has gravitas like the godfather. The shot of Nakadai’s character leaving the burning castle, down the stairs with the red and yellow color guards on both sides is a jaw-dropper. “it’s a mad world. Only the mad are sane”—dog-eat-dog nihilism as per always with Kurosawa. Meditation on the downfall of pride as well. End is a fitting long shot.
stylistic innovations/traits: It’s impossible to talk about action sequence direction without talking about Kurosawa. The use of slow-motion photography, crisp editing, combined with his dog eat dog worldview and cynicism (which is a great match for the adaptations of the bard as we’ve seen) are all traits of the great master. You can see it readily in Sam Peckinpah for sure. While Kurosawa was influenced by John Ford (his Samurai film is the Western) he influenced many more in the West in turn. We have George Lucas of course, Leone and then back to the east with John Woo. Kurosawa is one of the great editors taking Eisenstein’s montage model for energy and the rush of the action scene but intermixing longer shot for compositional beauty and formal structure. Kurosawa’s nihilism fits the Shakespeare adaptations (and Peckinpah again). I have to confirm this but I believe the shot from the ground up to the heavens or sun through trees is actually from Kurosawa and I think I’ve been attributing it to Malick all these years. Lastly, since I didn’t get a chance to mention it above Rashomon and its manipulation of the narrative structure—going to non-linear– is something I mention all the time—whether it’s Jarmusch’s Mystery Train or the work of Tarantino—genius and influential.
top 10
- Seven Samurai
- Rashomon
- Ran
- Yojimbo
- Throne of Blood
- Ikiru
- High and Low
- Hidden Fortress
- Kagemusha
- The Lower Depths
By year and grades
| 1948- Drunken Angel | R |
| 1949- Stray Dog | R |
| 1950- Rashomon | MP |
| 1952- Ikiru | MS |
| 1954- Seven Samurai | MP |
| 1957- The Lower Depths | R |
| 1957- Throne of Blood | MS |
| 1958- Hidden Fortress | |
| 1961- Yojimbo | MS/MP |
| 1962- Sanjuro | R |
| 1963- High and Low | |
| 1965- Red Beard | R |
| 1974- Dersu Uzula | |
| 1980- Kagemusha | |
| 1985- Ran | MS/MP |
| 1990- Dreams |
*MP is Masterpiece- top 1-3 quality of the year film
MS is Must-see- top 5-6 quality of the year film
HR is Highly Recommend- top 10 quality of the year film
R is Recommend- outside the top 10 of the year quality film but still in the archives
This list is a joke. You want to put 1-4 above Akira then fine but 12 is absurd. The inspiration he gave and the amount of times he was copied shows you that. Any list that has this man below 5 is created by a fool
@ EJ–certainly entitled to your opinion. I have a dear friend who is a sharp critic and cinema-lover and indeed I believe he’d have Kurosawa #1 but to say i’m a fool for having him outside of the top 5 is incorrect… this consensus list here has him at #10 and that is the average of many critics’ lists http://www.theyshootpictures.com/gf1000_top250directors.htm . I’m going to guess your knowledge of the auteurs from 1-11 on my list isn’t what it should be (or where mine is)– and that’s taking nothing from Kurosawa- who is a genius.
The fifth picture, where you say “another highlight of mise-en-scene in Kurosawa’s work”, is not from Kurosawa. Its Kinachi Okamoto, Sword of Doom, 1966. It is, in my opinion, second or third best Samurai Movie of all time, after Akira Kurosawa’s “Ran”, and maybe Harakiri or Seven Samurai.
@Aleksandar — thank you– removed it and added Sword of Doom on my list to see. I was searching for pictures of Yojimbo and this came up and I swore it was from that. Appreciate your assistance here.
Are you undergoing a new Kurosawa study currently? Anyways. All the shots you picked, were EXACTLY the same ones I screenshoted too. The pink flame in high and low, the cage, singing shot/scene in Ikiru (one of the greatest scene in cinema history), the shot if 7 samurai etc.
My ranking is similar with the exception of High And Low. I’m eager to know your thoughts about it when(or if) you revisit it on your new Kurosawa study. Same with Ikiru.
I do however agree with your placement of Kurosawa(very near top 10) and I also do think he is the 2nd best Japanese director after Ozu.
@Azman– yep- I’m a few films into the study- trying to catch them all and trying to do them in order.
My ranking:
1. Rashomon
2. Seven Samurai
3. Ikiru
4. Throne of Blood
5. Ran
6. High and Low
7. Yojimbo
8. Red Beard
9. Dersu Uzala
10. The Hidden Fortress
11. Kagemusha
12. Sanjuro
13. The Bad Sleep Well
14. Drunken Angel
15. Dreams
Are you sure The Quiet Duel (1949)is not good enough to be in the archives?I thought it was very good.
hello, drake i think your view of kurosawa is almost limited to samurai films(your thinking of ikiru as most overrated films and the 5 first spot of your top 10 prove that)and that explains why kurosawa has a relatively low rank in your list of the best directors(i said relatively because 12th is not that bad).for me who has kurosawa among his favorite directors films such as ikiru,red beard ,high and low,dodesukaden and dersu uzala are incredible movies.Your view is the same as someone who view John Ford essentially for his western.i agree with you about what you say about the comment post by “ej”(say that you are a fool because kurosawa is not in the top 5 is completely crazy) but I found you a little condescending and pretentious when you say “I’m going to guess your knowledge of the auteurs from 1-11 on my list isn’t what it should be (or where mine is)”.to prove your statement you refer often to the site they shoot pictures(who is excellent) but i think that you saw the list made by the bbc in 2018 of the 100 best foreign language films of all time made by 200 critics all over the world kurosawa is the most cited directors above fellini,bergman and well above tarkovski ozu and antonioni.
@beaucamp– thanks for the comment here and for visiting the site. Read EJ’s comment again– ridiculous comment. That comment deserves the condescending response. I don’t talk to people that way unless they come in talking like that.
You, on the other hand, have a very logical and measured response here. I think you make several good points.
I will, myself, be moving Kurosawa up when I update the page. If you search through them or just search “kurosawa’ (sorry they are not hyperlinked yet) you’ll find reviews for almost every Kurosawa film.
The TSPDT consensus directors list, which has Kurosawa 10th, takes the BBC list into effect
thank you for taking the time to read my post and for your very elegant and polite response.when i mentioned the bbc list it is because it is one of the most recent and important lists.i agree that kurosawa is at his very best in samurai films like rashomon and seven samurai the same as john ford is at his best in western like the searchers but these 2 films tend to hide the greatness of the rest of the work of kurosawa.only these two films are mentionned masterpiece in your opinion for a director of the caliber of kurosawa it’s a small number.I think you already figured it out even though I don’t agree with you on certain point I never thought you didn’t like kurosawa or that you didn’t appreciate his work (the simple fact that you put it 12th on your list proves that you attach great importance to his work)
@beaucamp– it sounds like we’re mostly on the same page- if you have time check out my pages on The Bad Sleep Well, High and Low and Ikiru especially– these are all written after my page here on Kurosawa. I hadn’t seen The Bad Sleep Well yet and was flat wrong on both Ikiru and High and Low
Drake has added many more masterpieces for Kurosawa since he wrote this page – Ikiru: http://thecinemaarchives.com/2020/06/16/ikiru-1952-kurosawa/, The Bad Sleep Well: http://thecinemaarchives.com/2020/07/14/the-bad-sleep-well-1960-kurosawa/, High and Low: http://thecinemaarchives.com/2020/08/04/high-and-low-1963-kurosawa/. I would also include Ran (http://thecinemaarchives.com/2017/12/05/ran-1985-kurosawa/) because, although the review calls it an MS/MP border, it is in the masterpiece range of the top 500 list:http://thecinemaarchives.com/2019/04/10/the-best-500-films-of-all-time/ . Yojimbo is also listed as an MS/MP: http://thecinemaarchives.com/2020/07/21/yojimbo-1961-kurosawa/. Although I may be missing some, I believe those are all the films Drake has added to the masterpiece or near-masterpiece level.
yes i will.also i forgot to congratulate you for your website he is truly excellent I would consult it and share my opinion frequently
@beaucamp – thank you for the kind words– excited hear from you in the future
Haha I hadn’t read that comment. Drake. Now that you’ve gone through Kurosawa’s studio, what do you think of the criticism for its low location? did it serve as feedback? (removing the vulgar and rude part)
@beaucamp. I must say there is some truth to this, it bothers me when people only think of him because of samurai movies, his other movies are just as good.
It bothers me when they call him “the samurai dude” I’ve even heard people call Ikiru boring as hell
So considering the massive Kurosawa study you embarked upon last year, do you think he might displace Bergman for 3rd, or hell even Kubrick for 2nd or Hitchcock for 1st?
@Zane– You know honestly I haven’t even thought about it. Sorry I don’t have a better answer. I was very impressed with Kurosawa– and clearly my #12 ranking of him here includes me being flat wrong on Ikiru and High and Low and adding The Bad Sleep Well to a pretty elite class of films. So I mean I know Kurosawa will go up– I’m just not sure where he’ll land. I have to wait and sort of do the math and that math will be mostly based on my updated top 500 (which I’m expanding to 1000). And I don’t think I’ll even start on that until next year.
It’s not a problem that you haven’t done the calculations for the directors’ list yet, it doesn’t really matter to me that much.
I’m excited for when you release the top 1000 next year. I also remember you said you’d expand the directors’ list to 500 and then might do a best 100 DP’s, which will be very nice to see. But you should finish updating the yearly pages first.
Will you be updating your decade pages before then too?
@Declan- yes, I did the decade pages at the same time as the top 500- or within a month or so
@Drake Have you seen Kurosawa’s Rhapsody in August (1951)? I couldn’t find a page on it here
@Anderson- I have not
1. Sanshiro Sugata (1943) – R/HR
2. Sanshiro Sugata Part Two (1945) – R
3. The Men Who Tread on the Tiger’s Tail (1945) – R
4. No Regrets For Our Youth (1946) – R
5. One Wonderful Sunday (1947) – R/HR
6. Drunken Angel (1948) – HR/MS
7. Stray Dog (1949) – MS
8. Scandal (1950) – R
9. Rashomon (1950) – MP
10. The Idiot (1951) – R
11. Ikiru (1952) – MP
12. Seven Samurai (1954) – MP
13. Ikimono no Kiroku (1955) – R
14. Throne of Blood (1957) – HR/MS (possibly MS)
15. The Lower Depths (1957) – R/HR
16. The Hidden Fortress (1958) – R/HR
17. The Bad Sleep Well (1960) – MP
18. Yojimbo (1961) – MS/MP
19. Sanjuro (1962) – MS
20. High and Low (1963) – MP
21. Red Beard (1965) – HR
22. Dodes’ka-den (1970) – R
23. Dersu Uzala (1975) – R/HR
24. Kagemusha (1980) – R/HR
25. Ran (1985) – MP
26. Dreams (1990) – R/HR
27. Madadayo (1993) – R
Slight reformatting:
1940s:
1. Sanshiro Sugata (1943) – R/HR
2. Sanshiro Sugata Part Two (1945) – R
3. The Men Who Tread on the Tiger’s Tail (1945) – R
4. No Regrets For Our Youth (1946) – R
5. One Wonderful Sunday (1947) – R/HR
6. Drunken Angel (1948) – HR/MS
7. Stray Dog (1949) – MS
1950s:
8. Scandal (1950) – R
9. Rashomon (1950) – MP
10. The Idiot (1951) – R
11. Ikiru (1952) – MP
12. Seven Samurai (1954) – MP
13. Ikimono no Kiroku (1955) – R
14. Throne of Blood (1957) – HR/MS (possibly MS)
15. The Lower Depths (1957) – R/HR
16. The Hidden Fortress (1958) – R/HR
1960s:
17. The Bad Sleep Well (1960) – MP
18. Yojimbo (1961) – MS/MP
19. Sanjuro (1962) – MS
20. High and Low (1963) – MP
21. Red Beard (1965) – HR
1970s:
22. Dodes’ka-den (1970) – R
23. Dersu Uzala (1975) – R/HR
1980s:
24. Kagemusha (1980) – R/HR
25. Ran (1985) – MP
1990s:
26. Dreams (1990) – R/HR
27. Madadayo (1993) – R
Are these your grades or Drake’s? At first glance, they seem to align with his.
They’re Drake’s. I haven’t seen nearly as much of Kurosawa’s work as he has. I just decided to put them all together on this page.
@Zane-thank you for compiling that!
Sanjuro(1962) really has to be one of his most underrated films. A movie that should be in the TSPDT top 1000 is all the way down at 3313. That’s astonishingly low.
@Anderson- yep, for sure. Probably some sequel bias there.
I just watched it 10 minutes ago, It’s much superior to Yojimbo imo, which I found disappointing and almost one of my favourite Kurosawa so far. Not even the top 1000 is ridiculous.
Hey! Great, great site, really.
A little question: No Ettore Scola? It´s a GREAT director/writer to me.
@Nahu- thanks for the note and for visiting the site. As for Ettore Scola-I’ve seen a few films here and there- but not enough to warrant a spot on the list. Do you have any of his single films deserving of a top 10 spot of their given year-or top 100 of their respective decade?
In my opinion: absolutely yes. “The Family”, “La terrazza”, “Splendor”, “We All Loved Each Other So Much”, “Ugly, Dirty And Bad” or “Maccaroni” are really great movies. And Ettore was very regular: “The Dinner”, “What time is it” and “A Special Day” are very good, even if they are not the best of him.
I was also surprised by the absence of Giuseppe Tornatore, Alex de la Iglesia and Damián Szifrón, great directors with many great movies.
Great site! I read it very often 🙂
Hi!! I don’t know who will respond to this, but I’ve recently started to see a few films from Kurosawa and I wanted to know what should I look for? Like, what are his traits or stylistic things I should be noticing and noting? (Like the Ozu pillow shots and mise en scene). Thanks!
@Jane- Hi and thanks for the comment- appreciate you visiting the site. There is so much there with Kurosawa. Enjoy your study. I watched just about everything he made at some point in 2020 and wrote 25+ pages with notes on them (after this page) but pay attention to the deep focus photography and character blocking.
Hey Drake, as I’ve seen in a comment made by Zane here, No Regrets for Our Youth is only a R to you. I’m curious to see why (I’m not judging your grade or anything, I really just want to know your brief thoughts on the film). I’ve only seen Ikiru, No Regrets, Lower Depths, I Live in Fear and A Wonderful Sunday – but to me, No Regrets for our Youth is a truly remarkable feature, with some stunning compositions/blocking. And I won’t even go into the script. Kurosawa is not subtle – as it seems to be the case with him – but I couldn’t care less about subtlety when you have a script as beautiful as this one.
@Gabriel Paes- thanks for the comment- I do have a page for it here http://thecinemaarchives.com/2020/05/14/no-regrets-for-our-youth-1946-kurosawa/
I’m gonna chime in here. I don’t think No Regrets is really anything too special. It does have some nice compositions and is probably visually more impressive than 90% of what’s being made today, but if I had to pick an early Kurosawa that Drake is underrating, I’d probably go with One Wonderful Sunday, which to me is closer to a HR/MS or even full-on MS.
Nice Drake, going to check out the page.
Pedro, I totally agree with One Wonderful Sunday. It is, alongside No Regrets, a MS to me. The scene where the two characters sort of dance in an abandoned amphitheater is surely one of the most impacting scenes I’ve seen to this day. The break of the fourth wall is also heartbreaking and (maybe) a bit ahead of its time.
Impressive that both No Regrets for Our Youth and One Wonderful Sunday were made in the 40s – this Kurosawa guy was really on to something special.
Do you plan on updating the top 250 directors list anytime soon? Maybe after you’ve finished the yearly pages? Just interested to know whether Kurosawa has jumped up the list into the top 10 after you did a study about a year ago if I remember correctly, with films like High and Low and Ran being now ranked MP.
@Joel- Yes, Kurosawa should move up. I am not sure when I am going to get to update the directors list. In some order I’m going to update the actors lists and then make the top 500 all-time a top 1000- but I do not think either of these will take too terribly long. So maybe I’ll start updating the directors list at the end of 2022 or beginning of 2023.
@Joel
prior to study
Ran – MP/MS
Ikiru – MS
High and Low – did not have grade
The Bad Sleep Well – did not have grade
Stray Dog – R
Sanjuro – R
Red Beard – R
after study
Ran – upgraded to MP
Ikiru – updated to MP
High and Low – MP
The Bad Sleep Well – MP
Stray Dog – upgraded to HR/MS
Sanjuro – upgraded to MS
Red Beard – upgraded to HR
pre-study had 2 MPs, 2 borderline MPs, and 2 MS
post-study has 6 MPs, 1 borderline MP, 3 MS
Thanks for that. Very interesting stuff. Just from a filmography level now, Kurosawa has a very legitimate case for top 3.
@drake
Sounds good. Very interested to see the top 1000. Will there still be a 10 year moratorium for new releases?
@Joel. Yes, I like doing the moratorium. I am sure it frustrates some people but I am in no particular rush.
I am a fan of the moratorium. It’s important for the films to simmer in the film culture for a while and see how their esteem can grow or decrease over that time. And like you said, there is no rush.
@drake You mentioned earlier that you were planning on updating the actors list. It just crossed my mind that you should make a top 50-100 performances list if you have the chance. That would be something I’d really be interested in. Would be fun seeing how Daniel Day Lewis in There Will Be Blood stacks up against De Niro in Raging Bull etc.
Also like a top 50 cinematographers/most beautifully shot films? Maybe something of that nature.
Anyhow, what you’re doing with this website is incredible. By far the number 1 site for cinephiles to come and get knowledge/recommendations etc. Keep up the great work
@Joel- Thank you for the kind words here- appreciate it. I think I’m leaning to just updating the top 100 actors list– but we’ll see.
I saw a while back that your opinion on High and Low changed. How far has it jumped for you in your Kurosawa ranking?
@LeBron Smith- Thank you for the comment and for visiting the site. I need to dedicate some time to this- but it would certainly be top 5. And you are kind to say my opinion “changed”- I was flat out wrong about High and Low.
Drunken Angel HR
Stray Dog HR
Rashomon MP
Ikiru MP
Seven Samurai MP
The Lower Depths R
Throne of Blood MS
Hidden Fortress HR
Yojimbo MS
Sanjuro HR
High and Low MS
Red Beard MS
Dersu Uzula HR
Kagemusha HR
Ran MS
Dreams R
Drake, did you not archive Rhapsody in August or did you simply not see it? I liked it, and how Kurosawa channels a bit of Ozu and even the work of Edward Yang.
@Pedro- I have not had the chance to catch/find this one yet. I was hoping to do it as part of my study in 2020- but as soon as I can get my hands on it I’ll give it a watch. Ozu + Edward Yang sounds very promising!
I’ve now seen all the relatively important Kurosawa films.Should go without saying but his case for being the greatest of all time is as strong as any. Can’t wait to give all these even more viewings to see how they grow on me.
Don’t really have a solid ranking so I’ll just go chronologically.
40s:
Drunken Angel – HR
Stray Dog – HR
50s:
Rashomon – MP (two viewings)
Ikiru – MS
Seven Samurai – MP
Throne of Blood – HR
The Hidden Fortress – MP
60s:
The Bad Sleep Well – MS
Yojimbo – R
Sanjuro – MS
High and Low – MP
Red Beard – R
70s:
Dersu Uzula – R
Kagemusha – MS
80s:
Ran – MP
90s:
Dreams – MP
16/16 archivable
@Harry- Excellent work- thank you for sharing this. What’s next?
@Drake- Over this month I want to do some Hitchcock and Bergman rewatches as well as get to some new films from them I haven’t seen before.
@Harry- Wow- the big ones. Good for you- no time like the present.
After the Kurosawa study, how many MPs is he up to?
@Matthew – @Zane re-posted Drake’s updated ratings above. 6 MPs + Yojimbo which is MS/MP so 7 total
Woah. Kurosawa is gonna skyrocket up the directors list if drake ever gets around to updating it
@Matthew – He has a strong case for # 1 in my opinion, a film as great as Throne of Blood is only like his 8th or 9th greatest film. No real weaknesses as he checks off all the boxes:
1. All time great MPs including a film with strong case as best ever in Seven Samurai
2. Deep filmograhy
3. technical abilities; deep focus shots, blocking, and camera movement amongst other skills
4. consistent worldview/themes across filmography
I can’t comment as I have only seen a handful of his films. I do seem to be one of the only (or maybe the only) person on this site that prefers Rashomon to Seven Samurai though. Both are in GOAT territory regardless
@James – I’ve been watching Kurosawa since Jan 1st, 13 so far and re-watching High and Low tonight. it seems for me at least that he is the definitive #1. Will get a post out when I’m done witt the five remaining I’ve never seen before. I’d have at least six of his films in my top 100 for sure which is Kubrick numbers, yet Kurosawa made almost three times as many films as Kubrick ever did.
I do consider Kurosawa to be a master of the long-shot and colour usage too which even further boosts his case.
@Matthew – consider yourself lucky, I wish I could experience Kurosawa’s films for the 1st time again. I don’t think its crazy to put Rashomon as his # 1. Its amazing how both still feel so fresh even today
@Harry – When I made my top 100 list somewhat recently I placed Seven Samurai at # 3 and High and Low at # 12. High and Low is my personal favorite Kurosawa film even though I think Seven Samurai is the (slightly) objectively better film.
I am of the belief that Kurosawa has 7 MP which I would rank as follows
1. Seven Samurai
2. High and Low
3. Ikiru
4. Rashomon
5. Ran
6. The Bad Sleep Well
7. Yojimbo
I can’t wait to see where Kurosawa lands. It’s possible he has 3 films in the top 30 with Drake’s updated thoughts on High and Low. The Bad Sleep Well is also a top 100 lock, and Ikiru has a chance to be top 100 as well.
The Quiet Duel (1949)
The Quiet Duel has a masterful opening, rain leaking into the surgery room as the Kurosawa blocks the doctor’s operating. All we can hear is the sound of rain dripping as a nurse catches it in a bowl. A close-up of the scalpel that kicks off the tragedy as Mifune perseveres through these conditions to save the patient.
Mifune’s performance is much calmer and internalised compared to his other youthful efforts. His quiet sad gazes do all the work. In the scene where he confronts the patient he just saved on whether or not he has syphilis (that he would have caught) a noisy convoy of army trucks drive past, Mifune is silent but this is Kurosawa showing through sound-design he’s exploding on the outside. Shimura is also here as Mifune’s father, great to see these two paired up.
At 13 minutes there’s a glorious deep-focus shot with a nurse leaning against a corridor, two workers deeper in the background then a man in her foreground seated. At 17 minutes the camera tracks Shimura through the hospital, offering a great frame of him through a doorway then in the next shot he’s shown through a window. At 19 minutes Mifune and Nurse face away from each other in an Antonioni-like shot. At 35 minutes Mifune and his romantic-co lead are shot from behind a face that obstructs them, then the camera tracks along right to left following them and their conversation.
An interesting narrative and one of Kurosawa’s more tragic lead characters. Recommended.
The film is easy to find on Youtube:
https://www.youtube.com/watch?v=3gMQ2gKtS0A&list=WL&index=67&ab_channel=JAHPiRaT
Like many here I am a Kurosawa fan. I have him, Kubrick and Bergman as my top 3, although I vacillate on their order.
If I were to make a case for Kurosawa as number one, I would say he had Kubrick’s capacity for variety in themes and material, with Bergman’s natural artistry and humanity.
On the other hand, I don’t know if I would place even the best of his films as being the equal of a 2001, or Persona. This is my only knock against him.
One thing is for sure – his consistency over decades is astounding: Rashomon and Ikiru in the ’50s, the Samurai films and High and Low in the ’60s, Dersu Uzala in the 70s, Ran in the 80s, even 1993’s Madadayo to me is an exceptionally well-crafted film. Not all of them were masterpieces, but so many were great and archivable. I consider him superior even to Kubrick is this regard.
Going to do a full on Kurosawa Study, planning on watching almost all of his films with the exception of 2 or 3 of the earlier films
Sanshiro Sugata (1943)
Notes:
Kurosawa Study let’s go
Starts off set in 1882 in small town
4:04 marital arts gym
5:13 camera pans counterclockwise inside martial arts gym with a discussion on Judo
11:11 death before dishonor
11:52 darkened images of characters
13 min shots focusing on a discarded shoe becomes the subject of a montage
14:28 filling frame with people in hectic moments in small town
15:40 tracking shot as Sugata meets with martial arts master who is not easily impressed
20:25 Sugata jumps in waters to prove his loyalty and dedication
23:04 nice use of lighting to contrast for shot at night
25:25 repeated close up shots on flower brightening up
26:04 best composition so far with Sugata standing under bridge with a couple of people above and the master off to the side of the frame
33:55 2 depths of field
34:44 wipe edit
40:40 frame in frame inside residence
43:25 title cards used to relay narrative details
44:10 low angle shot
49:34 nice frame using wood fence and multiple depths of field
51:27 dissolve image
57:44 conflict as Sugata’s opponent is the father of a girl he likes
1:00:36 blurry POV shot after hard hit during match
1:01:58 quick change to overhead shot after another vicious throw
1:07:00 door as framing device
1:08:33 wind intensity increases severely
1:09:33 shot of open field with hills in the background
1:11:12 long shot with subjects near center of frame
1:15:32 fight scene intensity heavily connected with weather, high winds in particular
Thoughts:
Kurosawa apparently had a strong desire to do a martial arts film
While this is certainly minor Kurosawa it shows plenty of promise and great things that would come later on, but many aspects of this film are seen throughout Kurosawa’s filmography later on
the final fight scene on the hill during a high windstorm was impressive in term of compositions and the building of tension
The great Takashi Shimura in the 1st of 22nd collaborations with Kurosawa
It’s a relatively short film clocking in at 79 min which works fine, it is definitely worth a viewing
Verdict: R
The Men Who Tread on the Tiger’s Tail (1945)
Notes:
Set in the 12th Century this film starts with a small group of men walking through a forest area known as the “Kaga Woods”. The are disguised as monks
3 min a series of shots edited using wipes
4:25 chirping noises in woods area
7:15 camera panning slowly counterclockwise
9:40 camera holds on the Porter who is telling stories to group of 6 men disguised as Monks, the Porter comes to realize that the men he’s encountered are the ones from the story
10:47 extreme close up on face of frightened man
16:16 singing narrator
21 min blocking, frame filled
25:50 excellent composition, symmetrical
32:25 slow zoom in and pan as tension continues to build
36:00 tension building
38:06 rapid editing montage followed by thumping score
41:27 3 depths of field
45:50 shot of open field and sky
49:38 effective slow zoom out revealing positions
50:40 tiger paw symbol
58:29 porter in middle of frame in open and empty field
Thoughts:
A bit unusual with the 59 min running time, you can’t really call it a Short but not quite long enough as a Feature Film
Heavy use of natural sounds such as birds and animals
Shots of characters moving through heavily wooded area would be improved upon a great deal in Rashomon of course, 5 years later
It’s a well told story although very dialogue heavy stretches, its minor Kurosawa but even minor Kurosawa is still worth a viewing for sure
Verdict: R
No Regrets for Our Youth (1946)
Notes:
Starts with disclaimer about this based on fictional characters
2:36 open fields
4:36 running through forest area using jump cuts
5:53 rapid gun fires interrupts idyllic opening
7:35 newspaper headlines as narration, college professor fired for social/political views
14:58 window as frame
16 min montage of shots of students and Japanese military clashing
20 min expelled professor speaking with his small group of devoted students
22:32 shot with bars in foreground like a prison cell
33:40 walk in park with Hara character and a male suitor, some nice framing with the two potential married couple in same frame looking different directors
36 min series of dissolve edits following bad news for Hara character involving a potential love interest
48 min several shots of Hara walking back and forth down the street while looking into a building
55:20 use of shadow in dark apartment
59:36 transition to Hara and new love interest sitting in field like opening scene
1:06:40 following interrogation scene after Noge arrest, Yukie sits in prison cell with superimposed image of ticking clock over prison cell
1:08:05 close up on Takashi Shimura’s character smoking cigarette and informing Yukie that Noge was working as a spy
1:09:50 Yukie has flashbacks while sitting in dark prison cell to early scenes running through fields
1:17:25 strong composition during night with latern in foreground after Yukie and Noge’s mother dig grave for Noge who died in a prison cell
1:29:00 series of low angle shots of Yukie and Noge mother working out in fields of farm while occasional voiceover from Noge
1:37:18 pan over rice fields destroyed due to Noge’s being outed as a spy
1:44:20 montage of life back in peacetime Japan
1:45:10 professor has old job back and gives speech
Thoughts:
Kurosawa directs one of Ozu’s go to actresses, Setsuko Hara, for the 1st and I believe only time
If The Men Who Tread on the Tiger’s Tail (1945) had the feel of being based on a short story then this film has the feel of being based on a novel
I actually enjoyed this more as the film progressed as it started off with preachy moments, and later becomes more focused on character than ideology
Still not a major work but definitely worth a viewing
Verdict: R
One Wonderful Sunday (1947)
Notes:
2:50 young couple, Yuzo and his fiancée, Masako, meet up for a date although neither have much money
4:40 young woman insists on having a fun Sunday while young man is pessimistic about being broke
5:58 nice composition using frame in frames inside future apartment complex with white picket fence in foreground
11:40 couple intrigued after overhearing room available for rent
14 min comical scene involving poor man doing his best to discourage couple from renting but they are so desperate nothing fazes them
17:30 playing baseball with children in street reinvigorates Yuzo
23:12 nice shot as couple are visible in reflection of glass door for Cabaret
28 min hilarious scene where no one in club believes Yuzo knows club owner
30:47 mirror shot
32:40 great shot from behind the couple as they sit on a tree stump
34:17 camera tracks young boy walking clockwise and standing in front of couple in middle of frame
36:02 creative frame using fence post and Yuzo’s arm
39:17 trip to the Zoo makes Yuzo smile
47 min nice tracking shot of the couple running through street to catch a train in time to attend concert
50:35 inflated ticket prices leading to fight
1:04:36 weather reflects the mood, as a depressed Yuzo watches the downpour outside after Masako leaves his apartment getting tired of his constant misery
There is a slow stretch from about 60 min to 76 min but picks up again after
1:19:52 sudden burst of optimism from Yuzo who starts play acting owning their own business
1:25:40 swing scene with moon in background has several great frames
1:33:25 high angle shot of couple on empty stage continuing their play acting as wind picks up in background
1:43:00 Yuko conducts a fictional orchestra with real music playing as Masako watches on
1:45:20 great composition with lighting from city in background
Thoughts:
Strong Italian neorealism vibe, you have 2 regular/common people trying to find a way to enjoy their Sunday date with very little money, conversations about bleak financial feature throughout the film. Despite the hardships they use their imagination to make the date work, the entire film takes place within a 24-hour period
Forgive me for being Captain Obvious but WW2 really impacts so much of Japanese Cinema in both obvious and more subtle ways
This is a bit different from other Kurosawa films, but I really enjoyed this one, there were some great frames such as the swing scene at night with the full moon in the sky. You see one of Kurosawa’s great skills in using weather to reflection characters moods, here with a rainstorm
Verdict: R/HR
Drunken Angel (1948)
Notes:
Starts with camera slowly panning over slums named by locals “the swamp”
3:18 Toshiro Mifune makes his Kurosawa debut and appropriately it’s with Takashi Shimura, this is 6 years before 7 Samurai
4:28 Shimura as a local doctor, Doctor Sanada, working out of a rundown office and Mifune a small-time gangster named Matsunaga who is seeking medical attention
9:35 Matsunaga attacks doctor in lower right side of frame while female assistant walks in background left side of frame
14:40 Matsunaga spends days at local hangout spot for small time hoods
21 min background on Doctor Sanada who is alcoholic and full of regrets about his own career
24:01 wipe edit
26:48 pan over swamp to Matsunaga playing guitar in background of frame
30:20 Matsunaga lighting cigarette and wearing black jacket sitting in Sanada’s clinic which ends in physical confrontation
37:13 low camera angle inside house, a common Ozu trait
41:02 to 41:44 a series of great blocking and framing
43:10 great camera pan from inside house and then over the swamp to Matsunaga playing guitar
50:40 the classic just one drink, then wipe edit to Matsunaga absolutely trashed as he drinks with Okada, a fellow hood who just returned from a 4 year prison sentence
53:24 coming home party at club, slow zoom out then fast zoom in on singer/dancer performing with an entire band playing in background
55:28 another fight between Sanada and Matsunaga after he shows up drunk to clinic
57:49 smoke filled gambling den with camera zoom in
1:01:31 mirrors shot with 3 Sanada reflections
1:07:23 brilliant framing of 3 characters in frame
1:09:00 strong low angle shot with Sanada’s head at top of frame
1:10:10 slow motion shots of ax to coffin along beach shore followed by Matsunaga running along shore in what is revealed as a nightmare
1:25:15 brilliant dissolve edit from town market to swamp area
1:26:49 close up on knife during confrontation held by Matsunaga who moves in for attack on Okada
1:27:06 series of brilliant triple mirror shot a la Lady from Shanghai (1947)
1:27:30 series of low angle close up shots during Matsunaga’s final fight with Okada
1:32:06 shot from behind Sanada and Nurse looking at swamp
1:34:26 “once a beast always a beast” very Kurosawa line, cynical of human nature
Thoughts:
I’ve enjoyed the first 4 films of the Study, but this is a major step up in quality, also first Mifune film
Frequent cutaway shots of “the swamp” throughout the film, this is kept up all the way
Undeniable chemistry between Mifune and Shimura and sign of much to come. Some of the fights between Matsunaga and Sanada are humorous and reminded me of Breaking Bad when Walter White the cancer patient turned Drug Kingpin gets in physical fights with Jesse Pinkman, his former student/drug partner
Welles Lady from Shanghai (1947) was released the previous year, I wonder if that was an influence on the great triple mirror shot during Matsunaga’s final fight
The ending is very Kurosawa, unsentimental and dog eat dog world
I liked the guitar playing scenes repeated a couple of times throughout the film, juxtaposing art with general ugliness of the area and lifestyle
Verdict: HR/MS
Stray Dog (1949)
Notes:
Starts with shot of panting dog during a hot day during opening credits
A group of police officers are engaging in target practice, this includes a rookie police officer played by Mifune, Detective Murakami
3:54 high angle shot as Murakami loses his service weapon during a hot day and tries but fails to catch the thief in a chase
5:02 Murakami at station reporting his lost weapon
9:01 wipe edit
10:42 “I thought you’d kick the bucket” hilarious
12:42 narrow framing during chase scene
13:03 wipe edit
17:30 Murakami continues chase throughout day and night impressing the suspect who gives him beer and food
18:16 low angle shot with camera behind Murakami and shot at sky capturing the starts at night
18:40 series of dissolves as Murakami continues searching day and night
19:47 extreme close up on Murakami’s eyes while continuing with dissolves as the search continues
23:35 low angle pan across group of working men and women eating
24:59 brief shot of Murakami with back to camera walking empty road in industrial area before being surrounded in crowded areas again
25:53 reflection shot
34:30 wipe edit
36:05 probably one of the earliest films to talk about forensics in the context of crime/law enforcement even if it’s not the focus of the film
38:08 Murakami’s letter of resignation is literally ripped of the spot
39:52 great shot with Murakami in background and we are introduced to Takashi Shimura as Detective Satō in a police room behind a caged window
42:07 three depths of filed spaced out across the frame diagonal
46:05 low angle shot with clouds taking up the majority of the frame
47:47 Japanese baseball game
54:18 Sato calmly smoking cigarette in foreground with Murakami pacing in background
56:35 suspect cornered at baseball gm
1:07:17 dancers on stage
1:10:55 Sato and Murakami close up next to dancer they interrogate
1:12:30 Sato teaching Murakami
1:13:18 at Sato’s house he is greeted by 3 young children, great composition here with sun setting in background of shot
1:14:54 well blocked shot with 2 detectives facing into different directions
1:21:10 excellent composition and frame
1:22:52 Murakami paces in background of shot
1:23:08 Sato swats fly sitting down calm
1:26:00 POV shot looking out back of train
1:26:10 nice pan
1:30:35 low camera setting a la Ozu
1:33:44 fan moving back and forth
1:39:53 nice framing with rain downpouring and depth of field
1:45:00 the entire hotel scene is brilliant suspense as the suspect becomes aware of Sato’s presence and the fact that he knows he is there
1:51:26 depth of field shot
1:54:45 2nd chase sequence between these two as suspect runs from train station into woods
1:56:00 the showdown the film has been leading up to does not disappoint with great compositions
2:01:33 nice conversation between Murakami and Sato who is recovering in the hospital
Thoughts:
Great on a couple of levels; police procedural that also works as a classic buddy film with 2 characters with clashing personalities and of course the age difference is crucial as well; Fincher’s Seven (1995) has a similar dynamic, I like the character traits consistent throughout the film such as Murakami’s pacing
This is another film that effectively uses weather as a crucial detail for not only the purposes of narrative but also atmosphere, we are reminded throughout the film that this is occurring on a very hot/humid day and night with fans, characters sweating, and commenting about the heat
Around 19/20 min there is a great sequence with extreme close up on Murakami’s eyes while showing his search primarily using dissolves
I like that Kurosawa uses some segments with little to no dialogue that consists of Murakami looking for his weapon, you get immersed into the story
There is an overly dramatic yet powerful scene where a teenage/ young adult woman rants to Murakami about the unfairness of the world and the difficulty of living with little money
Brilliant suspense work near the end of the film starting with Sato in the hotel tracking down their suspect, almost Hitchcock like
The final showdown in the woods that the film built up to does not disappoint as there is great compositions
The depth of field work is really impressive as Kurosawa is on the verge of Rashomon (1950) one year later, there are some brilliant compositions throughout the film
Verdict: MS
Scandal (1950)
Notes:
Starts with Mifune as Ichirō Aoye, a painter who is painting on a mountaintop with a couple of onlookers
3:58 attractive woman singing walks into view, she turns out to be famous singer named Miyako Saijo
6:11 wipe edit
9:41 the two young attractive celebrities hear a click that later, and unknown to them was a couple of paparazzi like journalists
11 min montage of image going out to the masses
17:14 Ichirō punches magazine owner followed by montage of as Ichirō and tabloid magazine Amour, making public statements about the incident
21:16 wipe edit
22:34 “you haven’t done any nudes in a while. Am I a lost cause?” hilarious, this is from a girl posing for as Ichirō while having candid conversation about the scandal.
24:25 great use of frame through broken window
25 min Takashi Shimura makes his entrance as a down on his luck lawyer, Attorney Hiruta
34 min of course down on luck lawyer has office on 4th floor of building with no 4th floor (it’s the roof)
45 min background on Hiruta reveals heartbreaking personal life with dying daughter
51:04 frame in frame shot a la Ozu
1:03:00 nice tracking shot of Ichirō riding motorcycle with Christmas Tree set to Christmas music
1:25:00 wipe edits during trial
1:32:32 shot of a devastated Hiruta, grief stricken and ashamed on foreground left side of frame with 3 characters on right side in background
Thoughts:
I enjoyed this despite it not being one of Kurosawa’s stronger films, in fact its one of his weakest if not the weakest so far
Kurosawa started as a painter himself before transitioning to directing
Some dark comedy of sorts I realize that this is not really Kurosawa’s thing and perhaps I am off here, but I found some humor throughout the film like a funny exchange at the 22:34 that I mention above in the notes or the first scene with Takashi Shimura’s pathetic down on his luck lawyer ranting against lawyers
A weaker Kurosawa film but still a Kurosawa film and worth a viewing
Verdict: R
Rashomon (1950)
Notes:
Starts with sign for Rashomon with 2 men under Rashomon City Gate seeking shelter from rainstorm
Shot of structure in city of Heian-kyō in the 11th Century
3:45 commoner makes entrance joining the Priest and Woodcutter played by Takashi Shimura
7:05 “If it’s a sermon I’d rather listen to the rain” hilarious
7:08 rapid edit from close up to long shot
7:44 triangle composition established, this is kept up throughout the film, that is 3 characters in a triangle
8:10 high angle shot
8:30 famous set peaking through the trees shot that Malick would use decades later
10:05 foreboding music building
12 min shot of dead body
12:23 change to woodcutter at courthouse deposition to an off-camera judge
14:42 Mifune as the bandit is shown for the first time at the courthouse
15:37 tracking shot along shore
16 min Toshiro Mifune as the Bandit
16:24 brilliant long shot with cloudy sky as background of frame
16:37 Bandit lying down drinking water from stream
23 min wipe edit
26:35 high surveillance angle on the Samurai’s wife
28:36 break up of triangle with a series of two-shots
29:33 great triangle composition with Samurai in deep focus background inbetween the Bandit and the Samurai’s wife
31:14 sun shot
33:40 sword fight between Bandit and Samurai
37:23 return to films present, with intense rainfall continuing
43 min samurai with hateful look at wife after she was assaulted
51:32 up close shot on demonic roof tile and then cut to shaman at court disposition
54:17 incredible composition with deep focus shot of samurai in background after his wife is assaulted
1:02:35 skillful shifting triangle as Woodcutter walks clockwise
1:07:09 close up on the Bandit’s face showing fear
1:07:55 samurai’s wife in the middle of the frame with husband in foreground and Bandit in background with both rejecting her and trying to “give her” to the other
1:09:00 brilliant frame through the Bandit’s legs creating a triangle
1:11:27 high angle shot of characters in triangle
1:14:44 fight is far less skillful than previous versions
1:19:24 diagonal composition with wood tightening the frame
1:20:42 another diagonal in the frame
1:23:50 diagonal in the frame
1:24:15 downpour then first time a dissolve is used, prior to this only wipes and cuts
1:27:30 frame in frame as Woodcutter walks away from camera carrying baby
Ends with shot of structure/city gate
Thoughts:
An all-time great film that some consider his best work and very lean film clocking in at just 88 min which is quite short compared to some of the epics Kurosawa would go on to make
There are constant changes in camera angles, camera distances, shot lengths, etc. throughout the film, which reflects the nature of this film which questions an individual’s point of view as subjective reality
I love the score, the tension is captured so perfectly in several scenes including the first scene of the Woodcutter telling his 1st story when he is moving through the woods, it is a largely dialogue free scene about in which little actually happens but it establishes the stories atmosphere
As a huge admirer of Malick’s work I have to mention the sun peeking through the woods shots that are shown in this film, Malick uses this to perfection particularly in The Thin Red Line and The New World
Kurosawa uses triangles throughout the film in his compositions, there are several scenes where the camera moves with an individual to maintain the triangle, the deep focus is crucial for maintaining the triangle compositions
Interesting use of dissolves which are used for the first time near that end of film, the weather stops raining and presence of baby alters the mood slightly
Stray Dog used weather very effectively and this is a great Kurosawa trait in general, but this really goes even further in using weather as a character, the rain falling is the first thing I think of whenever I think of the film
Robert Altman talks about this film on Criterion extras and makes interesting point regarding how with film, unlike novels, we don’t need to imagine anything because we see it and this gives it a sense of reliability that what we (audience) see is reality within the world of the film, except in this film that is not the case as we see conflicting stories that make some of what we see not possible
I have to imagine this is a crucial viewing for anyone in film school, there is so much to this film visually and narratively and all in just 88 minutes of perfection
Verdict: MP
@James Trapp- Very well done- certainly one of the landmarks in film history
Ikiru (1952)
Notes:
Starts with medical scan of cancer
3:01 first shot of Takashi Shimura’s character named Kanji Watanabe is a close up him sitting at a desk with mountains of paper behind him, claustrophobic environment
Watanabe is the Public Affairs Section Chief, a bureaucratic position that consists of a lot of paperwork
4:05 he’s only killing time he’s never really lived
4:23 young girl laughs hysterically in office full of middle-aged men
6:50 montage showing non-sense of bureaucracy using series of wipe edits
11:03 two-shot composition with stack of papers separating the two characters
11:10 “a terrible shame, another month and he would set the record, 30 years without an absence” co-workers talking about Watanabe being missing from work, simultaneously hilarious and depressing
13:52 man in hospital talks warning signs about the lies the doctors will tell if you have stomach cancer
16:26 Watanabe gets bad news and reacts bowing his head down
16:38 triangle composition with nurse in background and Watanabe and Doctor in foreground on opposite sides of the frame as Watanabe begs the doctor for honesty which is not granted
20:33 Watanabe sitting in his house and overhears his son and son’s girlfriend casually talking about borrowing money from him in a particularly cold manner
22:45 dissolve edit from photo of wife to memory of her funeral
25:37 baseball bat to memories of watching son, Mitsuo playing baseball
27:58 dissolve as memory evaporates to reality
30:25 gut wrenching scene where he cries himself to sleep while the camera moves to a framed recognition of 25 years’ service to the governmental agency he works for
31:31 paper stacks up as his colleagues wonder where he is
35:27 tells stranger at a bar about his stomach cancer
40 min asks same stranger, who happens to be a “second rate fiction writer” according to himself, how to go about a good night out
43 min slot machine/pinball beginning of party sequence with use of wipe edits
45 min buys a new hat, symbolically new man
46:01 nice composition with bartender in foreground surrounded by shot, wine, and beer glasses with Watanabe and the writer visible in the background of the frame through their reflections in a mirror
46:21 Bar tender in middle of frame flanked by Watanabe and Writer through reflections
47:20 close up on piano keys, slow zoom out to an overhead shot as people dance in piano bar
48:00 another great composition overhead shot
48:48 “Life is Brief” is song Watanabe picks and he sings barely moving his lips
50:40 close up on Watanabe face while singing and tears start to flow from his eyes, Kurosawa holds this shot
54 min packed frame in smoke filled dance hall
57:16 Watanabe and Writer riding in back of car with 2 young ladies singing
58:11 close up on his new white hat and slow zoom out as Watanabe sees the young woman who works with him name Toyo, by chance outside of work
1:03:10 brief triangle composition broken as Watanabe’s relationship with a Toyo is misconstrued as romantic when it’s not
1:05:00 great two-shot
1:12:28 date montage as he feels alive for the 1st time in years aside from the previous night out
1:13:50 Watanabe in foreground and Toyo in background
1:18:50 great composition with 3 characters in a line, 3 depths of field with Watanabe in the background getting verbally chewed out by his son with his daughter in law in the foreground with significantly less light
1:21:43 Watanabe in middle of frame flanked by rows of toys
1:23:26 there is pattern with his face looking wide eyed and straight followed by a slow bow
1:25:10 after excruciating build up, he finally confesses why he wants to spend time with Toyo
1:29:04 extreme close up on Watanabe face after something clicks as he decides that its not too late to do something meaningful and he runs off
1:30:40 mountains of paperwork as Watanabe finally returns
1:31:05 great deep focus composition
1:32:40 the omnipresent narrator announces the death of Watanabe with a funeral picture, right after Watanabe is shown energized for the 1st time after returning to work
1:33:00 funeral with photo and candles at end of table and mourners at table on both sides
1:39 funny how sensitive these bureaucrats are about their public image
1:48:00 speculation as to what caused Watanabe’s change in demeanor
1:49:18 great composition with Watanabe in foreground flanked by 3 people on each side slightly in background, all occurring during a rain storm
1:57:33 great shot from end of table, symmetry
2:02:46 Watanabe stands up for himself for the first time, he doesn’t back down to threats
2:03:27 extreme close ups
2:05:17 realization that Watanabe knew he had stomach cancer
2:06:38 great low angle shot of Watanabe looking up at cloudy sky with high contrast white and black
2:07:50 funny how mourners so quickly changed their views on Watanabe and shortly after promised to live their lives like Watanabe from now on, I’ll save you the suspense, it does not last
2:16:05 confession from police officer that saw him on swing
2:17:02 famous swing scene
2:18:08 great dissolve from swing scene to funeral
2:18:34 frame in frame
2:19:32 again with the hilarious declarations for change all to be followed by a new section chief and things back to status quo
2:22:00 films end with playground scene showing Watanabe efforts were not wasted
Thoughts:
Kurosawa delivers one of the best films of all time again, this is masterful work visually and narratively with a tremendous character study
I will be thinking of this as I progress through the study, but I have to say that Takashi Shimura’s performance here might be the best of any performance in a Kurosawa film although he certainly has stiff competition from many of Mifune’s performances not to mention some of his own, but he is tremendous here. While it is a very different film, I can’t help but think of the Edward G Robinson character from Fritz Lang’s Scarlet Street (1945). I rewatched it a couple of days ago so still on my mind but the sad sack character in that film does have some noticeable similarities as both men (for different reasons) start to come to terms with much time they’ve wasted just going through the motions of life without really feeling alive
This film also serves as a satire/criticism of bureaucracies and their inefficiencies not to mention soul destroying nature. Great mise en scene with the mountains of paper surrounding the desks, accentuating the claustrophobic environment
I generally don’t get that emotional watching film but there are exceptions, and this is one of them; if you don’t feel anything during the swing scene you need to check yourself for a pulse, it’s a beautiful shot with all the frames in frames and with the snow falling.
I like the formal touch of Watanabe singing “Life Is Brief” earlier in film at the bar and then again during the snow scene, same song but very different vibes, the one in the bar is sad and depressing but the swing scene one is of man who is at peace
I love the night out part of the film, there is some great camera movements in the clubs/bars including a shot of a man playing the piano that reminded me of Shoot the Piano Player (1960)
About 2/3 through Watanabe dies off, and then it uses flashback structure from that point on which I thought was smart because otherwise we would have long stretched with characters in single room. The flashbacks prevent long stretches of uncinematic scenes
Funny how mourners so quickly changed their views on Watanabe and shortly after promised to live their lives like Watanabe from now on, I’ll save you the suspense, it does not last
One of the great films ever
Verdict: MP
Seven Samurai (1954)
Notes:
Starts with thumping score during opening credits
3:33 bandits on horses roaming hills, cloudy heavy sky taking up top half of the frame
4:14 overhead shot of village
4:51 wipe edit
6:13 extreme close up on farmer ranting to village about bandits
9:39 another extreme close up this time on wise old man suggesting to hire Samurais
11:54 heavy rain fall
18:10 wind noises accentuated
18:36 Takashi Shimura playing Kambei Shimadamakes his entrance as camera follows his character who is clearly
23:20 Mifune character named Kikuchiyo impressed by Kambei who kills bandit threatening a child
27:05 tremendous composition with multiple layers of depth
32:46 offer accepted with white rice ball
34:40 score more playful/whimsical
36:05 great test that Kambei sets up
42:52 low angle shot as Daisuke Katō makes his first appearance as Shichirōj
48:48 deep focus composition
56:10 triangle composition with Kambei in foreground as they laugh at a drunk Kikuchiyo
1:01:53 overhead shot repeated from near opening
1:05:07 Samurai walking in group with Kikuchiyo in background
1:06:37 Kikuchiyo in foreground under waterfall with onlooking Samurai in background atop waterfall
1:08:55 composition of Samurai making their arrival into Village
1:10:00 camera moving counterclockwise around Village Elder
1:10:46 slow zoom out
1:17:37 long shot of Samurai scouting out village
1:22:00 Kikuchiyo on left side of frame with everyone else on right side of frame, Kikuchiyo has a personality that delights the children which makes sense as he is a like a big kid himself
1:27:00 Kikuchiyo enters cabin with armor
1:28:32 great composition capturing all the Samurai sitting down
1:29:02 close up on Kikuchiyo wearing armor
1:35:40 Lord Kikuchiyo, great line
1:40:32 calm breeze and sun out the following day, Kikuchiyo gives out rice balls to children
1:43:00 camera moving counterclockwise capturing Samurai’s preparing the Villagers
2:00:00 camera is so active in this film, constantly floating through the village
2:01:23 Kikuchiyo riding horse through village captures the essence of his character
2:03:24 extreme close up as youngest of Samurai spends time with girl
2:07:05 POV shot of Bandits from Samurai with window as frame
2:14:50 journey to enemy land includes waterfall and rock structure
2:15:56 thumping score from opening scene returns as Samurai prepare to wipe out cabin of bandits
2:17:39 3 Samurai peeking into cabin, great blocking in this shot
2:19:38 incredible shot of horses in foreground, samurai scattered into middle and village on fire in background
2:20:20 1st funeral, mound of dirt atop a hill serving as grave
2:21:50 Kikuchiyo planting Flag in background of the shot with other Samurai looking on in foreground
2:22:35 long shot from low angle of bandits arriving at the top of the hill similar to the opening scene only here the shot is POV from the Villagers perspective
2:23:38 after nearly 2 ½ hours build up we have battle
2:25:00 a series of medium shots filling out frame entirely
2:32:48 Kikuchiyo realization that baby abandoned during battle is what happened to him as a child from the scene earlier setting this up
2:35:14 great composition with enemy battle line drawn horizontally instead of vertical
2:38:24 fires burning in foreground and background
2:42:31 great composition and use of frame
2:42:47 great composition of all the Samurais in a tight frame
2:46:28 another brilliant frame and deep focus shot
2:53:00 Kikuchiyo fearlessly running through hills, never ending energy
2:55:00 Kikuchiyo chewed out by Kambei for leaving post and selfishly grabbing for glory
3:00:40 great shot of the mound with the graves
3:04:50 flute like music as the youngest Samurai and Shino embrace
3:09:31 Kambei stops Shino’s father from the beating
3:10:30 tremendous composition and blocking as Kambei and Manzo in foreground at bottom of the frame with onlookers in background
3:12:52 another great shot using foreground/background beautifully
3:13:30 overhead shot as heavy rain begins on eve of Final Battle
3:16:38 start of Final Battle
3:21:21 Kikuchiyo with one final burst before dying
3:22:22 brilliant shot with Kambei announcing out loud the victory as the rainfall continues to pour before transitioning to a sunny day with music playing and Villagers happy
3:24:12 the surviving 3 Samurais stand in foreground looking up at the 4 graves on the hill of the fallen
Thoughts:
This film is as good as any for greatest of all time as it works at every level:
– Gripping narrative
– Carefully structured
– Skillfully shot action sequences
– Its great art and entertainment and despite its near 3 ½ hour run time its paced perfectly
– Humor and comradery
If Kikuchiyo were a real person alive today, he would have his own reality TV show and probably have a YouTube Channel
Mifune is amazing but Takashi Shimura is not far behind him, they are playing opposites here of course with Mifune’s Kikuchiyo as the young and brash one, highly animated and verbal. Shimura’s Kambei is wise and experienced and commands respect without having open his mouth, he chooses his words carefully and is always observing everything around him. I like the way he chews out Kikuchiyo for selfishly grabbing for glory, as always, the chemistry between Shimura and Mifune is perfect
Despite the intensity of the battle sequences and scenes showing the desperation of the farmers there is actually quite a bit of humor in the film, it never goes too far or becomes a distraction but instead helps to balance out the mood from becoming endlessly bleak
Like Rashomon the rainfall is crucial in adding to the atmosphere, especially the last Battle, which is just 10 minutes of perfection, in fact, the only other director who seems to love using the Five Elements of Nature as much as Kurosawa is Tarkovsky, in this film he uses Wood, Fire, Earth, and Water to great effect
The 1st hour immerses us into the world of the film and introduces all the characters, the film is patient but never lags or has any scenes with no purpose
In the last hour there are more medium and close up shots making the battles more intimate
The camera movements during the battle sequences are tremendous, Kurosawa seems to prefer counterclockwise movements in this film
Around the 142 min mark there is a great low angle shot of the Bandits from the Villagers POV, this was the inverse of a shot in the first couple of minutes that was a high angle shot of the Village from the POV of the Bandits, from that point on I don’t think there were any other shots from POV of Bandits
As great as Rashomon and Ikiru are I still believe this to be Kurosawa’s magnum opus, of course at the end of the study I will think it all over but for now each time I see Seven Samurai it just seems to reinforce its greatness
Verdict: MP
I Live In Fear (1955)
Notes:
4:15 family court meeting
5:10 Takashi Shimura as court mediator
6:20 Mifune playing a wealthy old man paranoid about his family trying to take his money
10:54 holographic image superimposed during court hearing
11:50 Mifune’s character wants to move family to South American out of fear of a Nuclear Holocaust
22:55 film in the movie
23:43 wipe edit
29:10 flash of bright light after plane noises terrifies the old man
32:55 nice composition inside house with framing
37:12 great blocking with 4 characters
45:45 debate on Mifune’s character and whether he should be declared legally incompetent
1:06:20 nice foreground/background shot with Mifune character holding a young child in a protective fashion
1:12:40 family meeting with everyone sitting in circle looks like a potential intervention, Mifune makes rambling argument pleading for family to go to Brazil with him
1:16:55 bars in frame
1:27:48 again using bars that look like prison
1:29:34 Mifune’s character stands alone after factory burns down
Thoughts:
Following up Rashomon, Ikiru, and Seven Samurai is daunting to say the least, none the less this is certainly not a major work by any means
Mifune is an amazing actor, while this is probably the weakest film so far of the study, Mifune actually pulls off the performance playing a 70-year-old man one year after playing Kikuchiyo in Seven Samurai, the youngest most energetic and immature of the 7 Samurais
Verdict: R (Fringe)
Just finished Madadayo, the last Kurosawa film I needed to see.
This is my ranking, that top 6 is the strongest ever I swear and I’m constantly shuffling them around. Kurosawa is the greatest.
1. Seven Samurai – MP
2. Rashomon – MP
3. Ran – MP
4. High and Low – MP
5. Ikiru – MP
6. The Bad Sleep Well – MP
(1-6 in my top 50 of all time)
7. Yojimbo – MP
8. Dreams – MP
9. The Hidden Fortress – MP
10. Sanjuro – MS
11. Kagemusha – MS
12. Throne of Blood – HR/MS
13. Stray Dog – HR
14. Druken Angel – HR
15. Dersu Uzala – HR
16. Red Beard – R
17. Dodes’ka-den – R
18. Sanshiro Sugata – R
19. Madadayo – R
20. The Idiot – R
21.The Quiet Duel – R
22. The Lower Depths – R
23. I Live in Fear – R
24. One Wonderful Sunday – R
25. Rhapsody in August – R
26. The Men Who Tread on the Tiger’s Tail – R
27. Scandal – R
28. No Regrets For Our Youth – R
29. Sanshiro Sugata 2 – Not in the archives
30. The Most Beautiful – Not in the archives
@Harry – nice were you doing a Kurosawa Study recently? I’m going to rank all the films at the end of the Study as always but I already know its going to be difficult.
@James – I watched 18 of his films in like 2 weeks back in January but never got to Madadayo. Just cracked out so finally ready to share my ranking. I got Ran booked in for a rewatch this Saturday though
In my mind, Kurosawa is the only one who can challenge Bergman for the title of “greatest director of all time” (well, Kubrick and Hitchcock could claim that title too, but that’s about it), so I definitely agree with you there. That being said, seeing Red Beard so far down the list hurts a lot. That’s ok though. I’m aware of the fact that I usually put more weight on the screenplay that most people on this website do and that’s precisely why I’m so in awe of that particular film, which stands out in his catalogue because it is so beautifully written. Kurosawa directed some masterful plays, but Red Beard is his greatest novel.
@David O. – I would be happy to give it another shot, it has many admirers, Matt Harris who posts here said its one of the most perfectly composed films so I’m sure I could be missing something with just my one viewing.
*Dersu Uzula is R not HR
Throne of Blood (1957)
Notes:
Starts with dust storm and singing narration
5:50 back and forth close ups to medium shots with overhead shots
9 min series of wipe edits
9:18 close up on face as he orders death
9:40 glorious low angle shot in forest at sky except for the fact that there is no sunlight during this thunderstorm as Mifune makes a powerful entrance riding on a horse at high speeds
10:39 tracking shot through the vines of the forest
12:42 over the shoulder shot of mysterious tent in forest with a singing ghost
13 min heavy use of white in depicting the ghost
15:45 triangle composition with ghost in middle
16:55 triangle composition from behind ghost
18:50 evaporation of ghost after giving out prophecy
20:20 thick fog continues
25:03 reverse tracking shot flanked by rows of men holding torches
27:13 abrupt change of scenery to clear sky daytime
28:16 Isuzu Yamada as the Lady Macbeth character, high ambitions
34:45 strong composition
38:01 foreboding score
43:30 dissolve
45:03 cutaway shot to moon as animal flies by
47:17 field of depth shot
48:20 wiping blood off hands, literally
50 min wipe edit used to transition call of murder to intense battle scene without any establishing shots
1:01:14 strong composition with layers of castles in background as
1:02:48 great two-shot as distrust grows quietly
1:03:18 long shot, low angle
1:09:50 triangle composition
1:11:28 camera pulls back revealing ghost that only Taketoki Washizu can see
1:12:00 multiple shots which all characters are on outside of the frame in an L shape
1:18:04 symmetry in composition with 3 layers of depth
1:20:07 great use of opening door as frame and slow zoom out
1:23:30 low camera set as soldiers ready for battle
1:27:57 Mifune intense facial expressions talking to ghost
1:28:32 back and forth between Mifune and Ghost with heavy white fog around ghost
1:29:36 high angle long shot
1:32:32 best shot of film with Mifune facing camera standing on balcony with soldiers on ground level
1:33:37 low angle shot of Mifune giving speech on balcony
1:38:24 deep focus on Mifune in back of frame
1:40:14 blood will not wash away from Lady MacBeth
1:42:42 the moving forest, heavy with white fog
1:44:50 barrage of arrows is appropriate ending for this film
Ends with singing narrator
Thoughts:
First Kurosawa film in the study that has supernatural elements though I wouldn’t really call it a Horror Film exactly
The fog is another version of Kurosawa using nature as a character similar to him using weather as character like Rashomon with the rain
Isuzu Yamada is great here, more than holds her own with Mifune and one could argue gives the best performance, but Mifune is great here as always especially in his final 5-10 minutes when he makes his passionate speech and then in the death scene. I don’t know if anyone plays unhinged quite like Mifune, just like in Rashomon and Seven Samurai this is a physical performance with his body language/movements during his high energy scenes
This story is perfect for Kurosawa and his “dog eat dog” worldview, this is my favorite version of MacBeth although the Polanski version is near this level in my opinion but if forced to pick, I would go with this one
Bookends with singing narrator and with shots of thick fog
Verdict: MS
The Lower Depths (1957)
Notes:
Starts with low angle shot and camera floating
2:17 kids dump garbage into the area
6:40 hierarchy in spaces
9:22 triangle composition
10:22 deep focus shot
15:38 3 layers of depth
18 min Mifune
19:39 slanted angle
31 min low camera position
38:28 deep focus shot with 3 levels
40:38 triangle composition
50:42 impressive composition
51:18 “lies trump truth every time”
59:02 Mifune involved with melodrama
1:12:30 nice silhouette work
1:14:15 great composition with characters all over the frame, shot held for a couple of minutes
1:20:20 man in corner makes another outburst
1:22:04 triangle composition
1:22:22 wood pillars diagonal
1:26:04 character popping out from seemingly nowhere eavesdropping
1:27:10 great triangle composition with Isuzu Yamada’s character in background behind wooden bars
1:42:56 “better not to get involved” very Kurosawa like, dog eat dog world
1:49:55 triangle composition
2:00:32 wood bar divides frame
Thoughts:
Certainly not a major Kurosawa work but thoroughly enjoyable with many of the Kurosawa regulars giving solid performances; some of the first 45 min or so of Seven Samurai had some comedic moments with the villagers; this is an entire film of that
While the overall setup is relatively uncinematic there are some composition and deep focus work, and triangular compositions are impressive
Wood pillars appearing diagonal in certain shots reminded me of some of the shots toward the end of Rashomon
The camera is set low much of the film like Ozu
There are some great low angle shots, usually of Mifune who unsurprisingly gives the best performance although definitely solid all the way around
Verdict: R/HR
The Hidden Fortress (1958)
Notes:
Starts with camera following two men who are facing away from camera, we learn these men are lowly peasants Tahei and Matashichi
2.39 to 1 aspect ratio
5:10 wipe edit
5:24 low angle of walking up hill
8:22 heavy white fog similar to Throne of Blood
10:53 low angle shot from POV of peasants in the pit
13:13 shot of stampede of men during prisoner revolt, prisoners in white clothes and guards in darker clothes
19:45 Mifune appears on screen, he is shown in a triangle frame within gap in rock, this grand entrance is appropriate given his character’s stature within the film, this is contrasted with Tahei and Matashichi who were first shot with their backs to the camera
19:50 great depth of field
29:38 high angle shot overlooking
30:54 great long shot with Mifune below
32:32 foreground/background shot
36:51 princess makes 1st appearance standing on highly elevated rock as peasants look up
45:03 triangle composition
51:31 Princess overlooking surrounding landscape
1:01:41 nice diagonal formation as they bit farewell to the Fortress
1:06:02 beautiful shot wading through shallow waters
1:10:53 beautiful composition with divided frame and background/foreground work
1:15:15 tracking shot through village
1:28:31 one on one battle with Mifune’s character
1:30:02 over shoulder shot with Mifune POV
1:35:45 would this be a Kurosawa film without rainfall
1:44:30 frame filled to brim during ritual involving burning fire in center of the frame
1:47:23 trees as framing
1:54:57 nice composition with the full moon in the background
1:57:57 Tahei and Matashichi crying about what they think is the end for them, which is contrasted hilariously with the Mifune character’s bravery and honor
2:01:27 nice use of shadow with Mifune in center of frame
2:08:00 Mifune, Princess, and her decoy are saved by a last-minute deflection
2:09:52 long shot of mountain as they make their escape of horses
2:15:45 shot resembling Rashomon at the courthouse
2:16:14 triangle composition
2:17:15 a surprisingly happy ending but I don’t mind as it is fitting with the rest of the film
Thoughts:
Kurosawa gives the closest thing to Comedy in this study so far, it’s basically an action/adventure film with comedy that is a bit different than any of his previous works
I think this is his first widescreen film with the 2.39 to 1 aspect ratio and there are some beautiful long shots, particularly the one near the end when they make their escape, Kurosawa uses the widescreen to full effect in this shot with the 3 characters riding away on horses spaced out evenly across the frame
The score is magnificent, very fitting for this type of adventure film
The Star Wars reference is always mentioned with this film in almost all of the articles/reviews that I read, but to be honest I’ve never been a Star Wars guy, though I have not tried to watch any of them since I was a kid so perhaps, I’ll give it another chance at some point.
The big Star Wars talking point seems to be, amongst other things, that the film focuses on two seemingly insignificant characters, Tahei and Matashichi. Their lack of courage and unworthiness is hilariously contrasted with the Mifune character’s overt bravery and honor. Speaking of Mifune, I am yet to see him gives anything other than a tremendous performance, here he shows off his immense physical abilities with a great sword fight sequence
There seems to be an influence from American Westerns which makes sense given Kurosawa’s professed admiration for John Ford
Several impressive long shots, especially the one near the end when Mifune and the Princess make their escape, riding off on horses
While this is not one of his all timers, it is as purely enjoyable as films get, this is also one of the few times we get a happy ending in a Kurosawa film, but it should be noted that the ending is actually quite fitting given everything before it, many times with Kurosawa a happy ending would ring false but that is not the case here
Verdict: MS/HR
The Bad Sleep Well (1960)
Notes:
2:25 Starts at wedding in upscale ballroom, with symmetrical composition with elevator path flanked by lines of people on both sides
2.35 to 1 aspect ratio
6:30 great composition with deep focus
7:57 series of close shots
8:16 incredible shot with host in foreground and long table with about 10-12 people on each side, deep focus
9:03 composition with 4 in background standing facing camera and 2 sitting in foreground facing away from camera
Nishi played by Mifune is the groom and is marrying the daughter of an executive at Public Corporation, a company involved in shady dealings who are being investigated for corruption which is why you have reporters attending wedding trying to get information
11:46 several high-level executives introduced by medium shots one at a time
14:48 classic Kurosawa with selfish characters, here a man who is supposed to be giving wedding toast but instead uses the moment to “plead his case to the prosecutor” as one of the members of the press hilariously points out
17:20 Nishi’s future brother-in-law gives him a toast
19:05 wedding cake moved to front of room, cake s a replica of a Corporate Building with an arrow sticking out of a window, great series of reaction shots after seeing the cake
20:45 the opening act is over, start of 2nd act begins with newspapers as narrator
27 min anonymous letters to prosecutor
28:42 wipe edit
30:35 low angle shot then another wipe edit
32:12 after pan long shot which moves to medium then close up
33:03 long shot of Wada near top of mountain through heavy fog
33:55 Nishi rescues Wada before he can kill himself
36:47 great blocking in composition
39 min Wada watches his own funeral, literally
42:40 extreme closeup on Wada’s eyes watching his own funeral in shock
45:05 low angle shot from corner of room showing how large office is
49:36 bank safety box contains photo of office building with X on room similar to Cake
56:18 “ghost of Wada”
58:30 nice framing on faces in car
1:03:42 frame in frame
1:08:24 nice composition with Vice President Iwabuchi making roast chicken in foreground and daughter in background, Iwabuchi is shown as complex character as he’s ruthless businessman but seems to care for family
1:12:02 great triangle composition as character in background literally has back to wall literally cornered
1:14:01 great blocking
1:25:00 big reveal
1:31:31 triangle composition with Nishi in foreground
1:38:12 zoom in shot followed by rapid zoom in further
1:40:36 split screen with Tatsuo eavesdropping, great blocking
1:41:53 great composition with camera over Nishi right shoulder with his back to camera
1:55:22 triangle composition with Moriyama in background
2:01:58 effective use of body language as Nishi cannot look his wife in eyes as she asks about the truth regarding her father
2:10:50 high angle shot
2:14:00 Iwabuchi coldly deceives his daughter
2:26:15 shot of train and sound accentuated as transition to Iwabuchi giving official statement explaining away all of the horrible events
2:28:56 sons and daughter disown Iwabuchi
Thoughts:
This may be my favorite narrative of any of Kurosawa’s films outside of Seven Samurai, it’s a powerful narrative complete with revenge, plot twists, false identities, characters faking deaths, and double crosses; on the surface this might sound closer to an Alfred Hitchcock film but make no mistake about it this is pure Kurosawa
I love that opening 20 min, I mean the entire film is amazing but that opening is just incredible with immaculate compositions
Blocking and framing throughout the film is impressive, excited to compare with High and Low (1963) coming up soon
I love the frequent references to the room throughout the film most famously with the wedding cake but this room is referenced throughout the film as a symbol of the blatant corruption
I have read many Kurosawa articles and rankings of his films and I rarely see it in the top 10, that is partly due to how many incredible films he has but I think it’s also a clear indication that it is underrated by the consensus
Kurosawa is able to critique Japanese business corruption but avoid making it preachy
At this point Mifune can play (convincingly) a Samurai, low level gangster, Bandit, a paranoid 70-year man, and here a vengeful yet patient businessman
Verdict: MP
@James Trapp- Well done James. This one blew my hair back
@Drake – thanks, I am already dreading having to make my final rankings for the study lol
@James Trapp – great work on the study so far. I finished a Kurosawa study in January. A great time.
I’m curious, does anyone here have Rashomon above Seven Samurai? For years I had Seven Samurai edging it. But I moved Rashomon (barely) ahead after my Kurosawa study.
@LeBron Smith – It’s funny you mention this because I was thinking about it earlier this week. I plan on making a top 1000 (hopefully in a year or two) and ranking Rashomon, Seven Samurai, and High and Low will be a nightmare. Right now, I feel confident about the ranking of Kurosawa’s four other masterpieces:
#4. The Bad Sleep Well
#5. Ikiru
#6. Ran
#7. Yojimbo
But the other three could go in any order. It’s a lot different than directors like Scorsese or Coppola, where I feel confident in the order of their three colossal masterpieces.
@LeBron Smith – thank you, its the 19th director Study I have done. So far no one has more than 5 MP. Kurosawa so far has 4 MP.
As of now I would rank the MPs
1. Seven Samurai – as great as the others are I am confident in this one
2. Ikiru – razor thin between this is Rashomon
3. Rashomon
4. The Bad Sleep Well
@LeBron-Smith – I do. I finished a Kurosawa study in late July last year and it was an incredibly rewarding experience. Seven Samurai is the untamable beast, but I can’t shake Rashomon’s more subtle brilliance. I have it as the best Kurosawa film and probably somewhere in my top 15 of all time.
Yojimbo (1961)
Notes:
Starts with Mifune’s nameless Samurai wandering aimlessly with back to camera
3:38 flipping stick to choose which direction to wander
4 min young character leaves his family of farmers for the opportunity to make money
4:50 nice foreground/background while splitting frame
9:56 great camera movement tracking Mifune fearlessly walking though the village
13:21 great triangle composition with camera set behind Mifune character’s head
15:50 Mifune reveals his plan to Restaurant Owner; play the two gangs against each other and profit off them
19:30 serious sword skills
20:04 wipe edit
22:45 hilarious parenting advice as Mifune overhears a couple of the higher ups in the gang planning to kill him after using him
28:24 full use of frame, depth of field with 3 planes
31:26 triangle composition with Mifune at top center of frame looking down at the 2 gangs facing off
39:02 it wouldn’t be a Kurosawa film without at least one scene taking place in the rain
42:40 shot of empty streets, ghost town like
45:48 low angle shot with heavy dirt wind
49:37 wipe edit
51:39 strong composition and use of blocking with Mifune in foreground
55:53 nice two shot inside Restaurant
59:30 another shot of faceoff between the 2 gangs who are standing on opposite sides in town square
1:04:10 triangle composition
1:06:00 nice doorway frame
1:13:22 chaos in streets
1:13:56 great pan across the town with bodies scattered throughout the streets
1:23:00 Mifune takes savage beating when discovered he’s a double agent
1:29:21 silhouette image crawling through town
1:32:34 great frame in frame using doorways
1:33:38 chaos in the streets use thick layers of smoke
1:39:10 genius plan works
1:41:39 amazing composition with hanging man’s lower body in foreground and Mifune in background
1:42:18 classic Western Standoff as wind blows dirt
1:43:30 slow advances on both sides and long shot becomes medium shot
1:44:47 Mifune orders young farm man from opening scene to return to his parents
Thoughts:
While this is not Kurosawa’s best film, it may be his most purely entertaining one, it’s a similar to how I feel about Hitchcock’s North by Northwest
Despite the violence the film is not as dark in mood as you might expect it to be if someone were to describe the plot, in fact it is often quite humorous
The widescreen is used well, there are a number of shots that have two characters on opposite sides of the frame, the widescreen is especially in the gang showdowns which could be straight out of Westerns, in many ways these functions like a Western but only everyone uses swords instead of guns
Frequent use of triangle compositions, many of them use over the shoulder shots from Mifune’s POV
I like how Mifune sends the young character from the opening to go back to his family of farmers
It’s another marvelous performance from Mifune who never fails to deliver. I love Fist Full of Dollars (1964) but Yojimbo is superior in my opinion, actually the more interesting question is who gives a better performance between Mifune and Eastwood. I love them both, probably need another viewing of Fist Full of Dollars but I imagine its close
The restaurant owner is a good complementary character for Mifune, they have a solid rapport throughout the film as sort of uneasy partners working together
I am fine with the relatively happy ending as it fits into the film, it is certainly not forced as I said above this is lighter in mood than most of Kurosawa’s other films
Verdict: MP
Sanjuro (1962)
Notes:
2:28 already make use of 2.35 to 1 with window shot of group of Samurai in a meeting
3:54 symmetry across frame
4:24 Mifune walks into frame from dark room after eavesdropping on meeting
8:20 danger approaching while music from Yojimbo is activated
9:25 great composition with spectacular blocking
14:04 shot makes good use of widescreen, spacing out individuals across the entire frame
19:55 low angle shot through wood frame
26:06 Mifune sitting in dark corner, for the 2nd time in the film he is present in a scene without being visible
31:33 frame in frame
35:05 montage of pond
39:21 Mifune, the center of attention, in middle of frame surrounded by the entire crew
55 min group of samurai make interesting suggestion taking 2 who trust Mifune’s character and 2 who do not
57:50 reverse tracking two-shot
59:50 great composition as framed is filled with multiple depths of field
1:03:30 Mifune with the insane sword skills he displayed in Yojimbo
1:06:32 Mifune in foreground with the clan in background sitting
1:09:33 even sitting down Mifune has power over all the other Samurai’s standing next to him
1:13:26 another strong shot with the two women in the middle of frame flanked on both sides by Samurai
1:18:45 exited samurai’s are quite a funny sight
1:19:33 ticking noise as suspense is about to ramp up
1:23:10 nice background/foreground work and use of flowers as frame
1:23:20 impressive deep focus shot and splitting of screen
1:33:18 great tension built with quick but deadly results
1:35:18 clan bowing to Mifune in final shot
Thoughts:
A worthy Sequel that is not quite as good as the original but very strong none the less
Again we have Mifune playing a lone wolf type who essentially serves as an agent of chaos, he literally yawns in several scenes, clearly this character relishes watching his plans play out, he does seem a bit more subdued in this film compared to Yojimbo though it’s a great performance as usual from Mifune though I think he’s stronger in Yojimbo
This one does not have same level of visceral energy as Yojimbo, but it does have tremendous compositions and an entertaining narrative
Like Yojimbo the mood is lighter than a lot of other Kurosawa films
Verdict: HR/MS
High and Low (1963)
Notes:
2:28 Starts with Mifune’s Kingo Gondo, a wealthy businessman, his company manufactures women’s shoes staring out his high-rise house which looks over the slums
4 min Gondo argues with fellow executives of shoe company over a maneuver to take over company with Gondo’s support via his stock shares
6:01 lower camera as Gondo’s head near level surrounded by shoes on table
7:22 amazing compositions beginning, here Gondo in foreground and with his right-hand man in middle ground and other 3 executives in background as tension starts to grow
9:12 Mrs. Gondo awkwardly asks why men are leaving without Gondo showing them out
11:05 two young children playing with toy guns in house, one is Gondo’s kid the other the son of his chauffeur
11:44 triangle composition
12:28 Kurosawa making use of widescreen placing Gondo and wife on opposite sides of frame
13:26 Gondo on phone in foreground
17:33 phone call comes from kidnapper claiming to have Gondo’s son, he wants $30 million
18:44 Gondo’s son appears, and it turns out the friend was kidnapped since they changed clothes the kidnapper mixed them up
20:39 police arrive disguised as delivery men, great composition with 3 depths of field
21:48 Tatsuya Nakadai’s police inspector in center of frame and only person wearing black suit
24:21 wipe edit
28:38 Gondo far off on right of frame, everyone else scattered
31:20 maybe best shot so far, amazing blocking with Gondo taking phone call and Inspector and 3 other police stand surrounding the phone
37 min Gondo tells detectives he won’t pay
40:03 Gondo’s right hand man in foreground with back to camera with Gondo in middle ground on left frame and 3 detectives in a bunch on the right
41:27 triangle composition as Gondo becomes suspicious of right hand’s motives for hesitating to take check
48:20 great framing and foreground/background work with 3 detectives in foreground on left side of hiding from kidnappers view through open windows
49:09 Gondo makes call to Bank to make payment
50:00 min Gondo for a second is alone in frame as he looks out window in full body shot
53:08 Chekhov’s gun with powder in capsules planted in suitcase money, these emit distinct pink color if burned
54:48 Gondo impresses detectives as he starts assembling suitcase and speaks about learning the craft of making shoes as an apprentice
55:20 Gondo in foreground on left side of frame
56:10 close up shots of detectives on train
1:00:06 POV shot from detectives looking out from inside of train during money exchange scene
1:01:47 the 4 detectives watch father reunited with son with deep focus
1:02:00 frame in frame looking for the 1st time at Gondo’s house
1:02:42 kidnapper shown for the 1st time in upside down reflection
1:05:35 8mm footage from recording conducted during train money exchange
1:07:21 great blocking with group huddled around detectives
1:10:50 Bank is not so sympathetic to Gondo’s sacrifice
1:13:00 police meeting is interesting to see old school police work
1:14:42 pan along Mt Fuji
1:15:37 chimney is background remind me of Ozu
1:22:08 humor to break up tension
1:24:42 nice framing using door
1:33:44 the father feels guilt for Gondo’s situation
1:34:40 nice shot of mountain and sea in the background from an elevated location
1:35:39 makes perfect use of widescreen and framing with young boy on far right of frame and father and detectives on far left
1:39:22 nice camera pan to left and reframe
1:43:24 close up of villain reading newspaper
1:48:40 the pink smoke emits from factory, even though it’s not black and white film I though of Red Desert (1964) with the yellow smoke
1:52:50 brilliant police work
1:56:33 full on surveillance on suspect
2:00:07 Jazz Clubs popular in Japanese films around this time, the great Seijun Suzuki would frequently use them in his films
2:02:02 suspect with reflective sunglasses
2:13:23 Royal Shoes, Gondo new Company in busy area of the city
2:14:00 flowers give a sort of irony to the situation here as the suspect is on his way to commit murder
2:15:15 suspect arrested
2:17:00 Kurosawa holds the frame without dialogue
2:18:10 face to face through the prison wall, Gondo and the Kidnapper
2:18:53 superimposed image of Gondo’s face over Kidnapper
2:22:10 Kidnapper shaking
Thoughts:
This is not only my favorite Kurosawa film but my favorite foreign film period and probably top 5 or 6 favorite films ever with Psycho (1960), Zodiac (2007), Chinatown (1974), Double Indemnity (1944), The Godfather (1972)
Kingo Gondo is one of the coolest names imaginable, Mifune is great as always, it is easy to take his greatness for granted in this Study as its one amazing performance after another
Here is my post on the films page for this site, I posted this in 2021:
“I am not even really sure which half of the film I prefer, the 1st half with its immaculate blocking and framing or the 2nd half with its immaculate police procedural/thriller. While the 2 halves are distinctly different, they still feel like they are a part of the same film, cohesive. This differs from a film such as Full Metal Jacket (1987) which has a phenomenal 1st half but (relatively) weak 2nd half and more importantly the halves feel like they are 2 different films, you don’t have that problem here.
There is an energy to this film that never lets up for even a minute and despite its 143-minute running time there are no unnecessary scenes or subplots. The narrative is tight and focused.
Mifune is obviously amazing, that basically goes without saying but Tatsuya Nakadai is one of the most natural detective performances I can think of. I love the dedication to showing the intricate details of the investigation and the tactics used (it’s also cool to see old school police work predating all the modern technology used in today)
A lesser director would have found some way for Gondo to make some miraculous maneuvers to save his fortune at the 11th hour, not here and the film is better off for it.
A huge MP in my book and my #12 all-time film.”
I stand by all of this; I will do another top 100 soon but I think my ranking will probably be the same or very close
The last 20-25 min is a tremendous thriller with a coordinated surveillance on the Kidnapper including a scene where he is followed through a Jazz Club (these seem to be popular in Japanese films around this time, Seijun Suzuki loved using these settings)
The high angle and low angle shots are used consistently throughout the film with more of the high angle shots in the first half which makes sense given most of it takes place in the Gondo Mansion
The shots of the detectives huddled around Gondo during the phone calls are some of my favorite compositions of the film although the shot with everyone looking out the window at the pink smoke might be my single favorite
Gondo himself makes an interesting character study, there is more to him than meets the eye and he earns the inspector and detectives respect over the course of the film. He has an indominable work ethic and views his work as a craft, not merely business which sets the plot in motion as his views and priorities conflict with the other high-level executives who only care about profits. Gondo speaks his mind and is direct in addressing people, but he also is shown in several compositions standing away from the group while pondering and contemplating in many scenes with Kurosawa positioning him on the opposite side of the frame, match great use of widescreen format
The final showdown settles nothing really which is a perfect ending for this film.
Verdict: MP
Red Beard (1965)
Notes:
Starts with a young Doctor named Noboru Yasumoto, taking a tour of hospital
5:04 tour of hospital for new employee
5:11 two -hot on opposite sides of frame
11:08 triangle composition, this is first shot of Mifune’s character, the titular Red Beard
12:37 wipe edit
18:50 the four doctors eating are evenly spaced in frame with shadows to the left
20:30 Noboru Yasumoto is arrogant jerk
21:46 tree divides frame separating Noboru and young woman at hospital
23:01 another shot with tree dividing frame
35:16 Beard’s shadow signifies his presence over Noboru who is laying down in bed
40:34 great foreground/background work as Beard is on left side of frame facing camera and Noboru on right side facing away from camera
49:37 patients huddled up watching over dying man while Noboru stands in background looking on, he is only person not wearing same clothes making him as an outsider
52:56 great foreground/background work with Noboru facing away from camera in foreground watching 3 children eating in background
53:18 frame in frame using door
59:43 close up on patient near the end
1:19:16 high angle shot with building roof used as frame
1:22:20 nice foreground/background work with silhouette image in foreground and woman and child in background faces away from camera as chimes noises continue
1:24:51 wide frames used effectively in showing characters emotional distance from each other
1:29:15 close up shot with full moon in background
1:29:25 nice frame with 2 characters back-to-back in different depth levels
1:47:40 nice blocking with 3 faces in frame with 3 depths of field
1:52:00 intermission
1:58:00 another great two shot with strong framing
2:04:55 film’s progressively becoming tighter with close ups and two-shots
2:08:28 wind becoming more intense
2:12:48 two with characters positioned facing the same direction on opposite sides of frame
2:25:00 back visiting with family
2:25:38 nice foreground/background work here
2:28:10 nice splitting of the frame
2:29:55 great blocking with 7 or 8 characters staggered throughout the frame
2:35:02 physical barrier used to break frame in halves
2:40:40 nice framing using surrounding tree branches
2:48:14 nice formal detail in repeating a scene from early in the film as the 3 doctors eat side by side
2:53:10 overhead shot of little boy surrounded by doctors and his family as he recovers from poisoning
2:58:25 vertical shot with camera set at bottom of well and pointed up toward the sky
3:00:00 wedding scene has several nice compositions, symmetrical frames
Thoughts:
This is the 19th film of the study so far and only the 2nd film that I had not viewed before
While its not one of their major works it is certainly a worthy performance for Mifune’s final Kurosawa film even if it is not one of his best.
Mifune set such a ridiculously high bar with his performances in Rashomon and Seven Samurai, yet he has not let me down once. His versatility is far more impressive than it may initially appear, as I noted in my review for The Bad Sleep Well (1960)
“At this point Mifune can play (convincingly) a Samurai, low level gangster, Bandit, a paranoid 70-year man, and here a vengeful yet patient businessman”
Well now you can add Doctor and Mentor onto the list
I am not so sure the 3-hour run time is justified though it does character arc for Dr. Noboru Yasumoto
Verdict: HR
Dersu Uzala (1975)
Notes:
Part 1
Set in 1902 in far East area of Russia called Ussuri
2:34 montage of establishing overhead shots
3:27 Russian expeditioners marching and singing walking through a forest region
16:48 Dersu leads pack of expeditioners who doubt his abilities
23:18 rainbow present in upper left frame
23:42 incredible shot with the sun and moon visible in the same shot, the right side of frame contains sun and is basked in red
38:38 Dersu and The Captain and two others take off from the rest of the group
40:30 long shot of Dersu and The Captain before returning to medium shot a few seconds later
42:30 intense windstorm moving left to right over frame
45:38 ominous music as silhouette images move across center of frame
51:37 sun is shown in isolation in background in lower center of frame
52:57 gorgeous shot of Dersu lying on grass as intense windstorm begins
54:02 stunning shot with red lit background during windstorm
1:00:58 splendid use of red lighting from the sun
1:01:41 another beautiful shot, this one silhouette images surrounded by red lighting
1:07:50 Dersu bids farewell to the Captain and his 2 associates alongside a train track
Part 2
Set in 1907
1:11:00 snow and ice breaking in river as water flows pick up
1:12:07 The Captain travels with expeditioners until significant change in landscape
1:17:52 amazing tight frame of The Captain and Dersu are reunited by chance
1:18:26 shortly after reunion there is a great shot of The Captain and Dersu on far-right side of the frame in foreground while the rest of the expeditioners are in far left side of frame in background
1:24:27 green/blue tint as 3 men positioned diagonally across the frame
1:39:11 Dersu stuck in river hanging on for his life as tree is cut down
1:44:00 black and white photograph montage
1:45:30 tiger walks into frame
1:46:26 Dersu shoots at Tiger which is devastating experience for Dersu
1:57:50 increasingly defeated man
1:58:55 high winds knock ice hanging from tree back and forth creating chime like noises
2:04:50 great splitting of frame with The Captain and his wife on the right side of frame and Dersu showing a bear tooth to The Captain’s son on the left side of the frame
2:11:55 Dersu is grateful to The Captain but cannot handle life in this society
2:15:15 The Captain devastated but probably not surprised
Thoughts:
Kurosawa makes his only non-Japanese film
Dersu is a fascinating individual, but the film is also a story of friendship, an unusual friendship between two men of different ethnic backgrounds and cultures
Apparently, Kurosawa had wanted to make this film much earlier but was unable to because of issues with the Soviet Government not allowing foreigners in the area the film was shot
Visually there are some stunning shots of nature, none better than an incredible shot around 23 min with the sun and moon visible in the same shot, the right side of frame contains sun and is basked in red. There are some amazing shots in red lit background during and shortly after the windstorm
The windstorm sequence is thrilling with Kurosawa showing off one of his greatest talents; infusing nature and the elements into his narratives, often its rain like in Seven Samurai and Rashomon but here he incorporates wind and the harsh winter to amazing effect
The nature vs society is a common trope in films in general and Kurosawa explores it here
Verdict: HR
@James Trapp – keep up the good work here- enjoying these updates
@Drake, there have been whispers that Kurosawa will shoot up in the next directors update, are there any credence to these rumors?
@Christopher- Well the study certainly opened my eyes to how wrong I was about a number of Kurosawa films- almost all in his favor.
Kagemusha (1980)
Notes:
This is the 160-minute version of the film; I know there is a 180-minute version as well
Starts with three men dispersed throughout the frame (plus a shadow along the background) with the man in the background and center of frame commenting on the similarity in appearance of the man in the foreground while man on left side of frame is positioned ever so slightly to middle ground demonstrating the power structure. Takeda Shingen is the powerful leader of the Takeda Clan
1:20 the man on the right of frame is a thief who was about to be executed until the emperor’s right-hand man noted he would make a useful double for the emperor
3:36 double is agitated by disrespect pointing out the emperor has killed more people then he could ever imagine
5:06 emperor admits to his wickedness to double
7:14 tracking shot as soldier covered in mud runs through multiple groups of soldiers wearing various uniforms
10:25 frame in frame
13:50 flu
14:00 frame filled to brim with soldiers with red and green flags, frame curves toward right due to elevation increase of a hills
14:51 low angle shot of castle, incredible architecture
17:10 an image that is museum quality painting, as orange/red sun light spills through the frame which has multiple depths
18:03 another specular visual as the red sky stretches throughout the frame with silhouette images of men on horses in the background
21:30 triangle frame through wall
26:26 Takeda Shingen briefly exits casket he’s being smuggled in and speaks final words about 20 seconds later
27:36 camera pans left as troops move along on foot and some on horses carrying flags
29:19 red/orange sun setting
31:38 The Thief removes mask to small group of men who are discussing how the death of Takeda Shingen will impact them going forward
32:34 high angle shot of spies looking down a hill toward men on horses preparing for battle as they true to determine if it is the real Shingen or a Double
34:36 they believe it is the real Shingen
38:55 profile shot of enemy of Shingen who believes he must be dead or wounded
42:25 rapid zoom in on the deceased body of Shingen
43:19 great composition with The Thief in the center of frame after being caught trying to steal and accidently discovering the death of Shingen
48:26 nice foreground/background work as The Thief is untied
49:32 great composition and multiple depths of field and use of frame
51:48 spies watch the sinking of Shingen’s body
54:20 a sign explains away what the spies witnessed to maintain the story that the Shingen is still alive
1:00:30 camera placed low as The Thief makes his first public appearance trying to act the part of their leader, The Shingen
1:01:35 hilariously it’s the young child who immediately recognizes that the man sitting in front of him is not the real Shingen and eventually everyone is able to laugh it off
1:13:35 the horse is not allowing The Thief to ride it but given that he has been presumed to be sick The Thief points out that Shingen should avoid riding the horse
1:14:38 a joke is made about Shingen dealing with his mistresses
1:21:40 The Thief walks out of frame and camera follows his shadow instead of him
1:23:30 symmetrical frame
1:24:49 frame in frames with symmetrical shot
1:27:40 first battle sequence since early in the film, great blue/purple colored sky in background
1:27:50 red sky in background during battle sequence with silhouette images fighting
1:28:08 another shot with the red sky in background
1:31:17 great mise en scene with frame filled to brim with camera set low and The Thief in the background of the frame
1:33:17 the subordinates accurately deduce the purpose of the attack which was to see if The Thief really the true Shingen is, they plan to use the response to the attack to gage this; they look to The Thief who in this frame is faced away from camera
1:33:30 rapid zoom out
1:37:29 amazing dream sequence with expressionist painting
1:39:33 wakes from nightmare
1:39:55 great camera pan across top of castles as battle nears
1:41:49 great shot resembling split diopter
1:51:35 montage of carnage following battle
1:52:50 Shingen and crew stand strong in foreground and men on horses approach from background toward camera
1:52:59 flash to red background that alternates between red and blue/purple flashes (more expressionism similar to dream sequence)
1:53:30 nice foreground/background work
2:02:56 close up shot on The Thief held for several seconds then cuts to dead soldiers scattered on battlefield
2:07:35 profile shot
2:10:38 great blocking and foreground/background work
2:12:14 great blocking as The Thief is finally exposed as an Imposter
2:13:50 strong composition as The Thief and his men sit in a circle and thank him for his services
2:17:02 high angle shot of Shingen’s funeral
2:21:32 painterly image of men on horses near water with blue/gray clouded sky as background which soon becomes rainbow across top of frame
2:25:00 nice shot with The Thief looking on while positioned in foreground of the frame with soldiers positioned for battle in background
2:29:10 final battle occurs with many deaths offscreen as rapid edits made during shooting down of the horses and soldiers
2:33:33 slow motion shots of soldiers last moments before death including The Thief himself a couple of minutes after
Thoughts:
This is only the 3rd Kurosawa film of study I had not watched previously; I have read many people (on this site and elsewhere) refer to this as a dress rehearsal for Ran, not a bad dress rehearsal. While this is not a MP, I was very impressed
There are several of the most stunning shots in any Kurosawa film although they are spaced out with much of the film shot fairly straightforward visual style
This is a good time for a reminder that Kurosawa has a painting background, and he puts it to good use here with some of best moments are incredible with some of the best images in the film being shot with highly expressionism, these include shots with a red sky or sky background
Roger Ebert’s reviews points out “If he is unmasked, he is useless; as Shingen’s double, he can send hundreds of men to be killed, and his own guards will willingly sacrifice their lives for him. But as himself, he is worthless, and when he is unmasked, he’s banished into the wilderness.”
From Ebert again:
“The film he finally made is simple, bold, and colorful on the surface, but very thoughtful. Kurosawa seems to be saying that great human endeavors (in this case, samurai wars) depend entirely on large numbers of men sharing the same fantasies or beliefs. It is entirely unimportant, he seems to be suggesting, whether or not the beliefs are based on reality — all that matters is that men accept them.”
It’s a fascinating character study but also a great mediation on power and societal hierarchies as so much of the film revolves around making The Double authentic to the point where they do not have to worry about the fraud being exposed
Verdict: MS
@James – one of my favourites, really happy to see you give a high grade here. Not sure it isn’t a masterpiece myself.
@Harry – yeah, one of the few films in the Study that I had not previously watched. Kurosawa’s use of color is tremendous, the red/purple sky, solid red background with silouette images, the rainbow shot, and best of all of them the nightmare sequence, these are all stunning. There are some impressive slow pans along the edges of the castle before a couple of the battle sequences which ramps up the tension. There is a shot I love at 1:21:40 where The Double walks out of frame and camera follows his shadow instead of him. It is not at the same level of some of his MPs but there is some great blocking in some of the compositions like one shortly after he’s been exposed as an imposter. Tatsuya Nakadai is a phenomenal actor, I think Kurosawa’s 3rd best after Toshiro Mifune and Takashi Shimura.
@Drake – I can’t remember was Tatsuya Nakadai on your original top 100 actor list?
He is tremendous playing the lead in both Kagemusha (1980) and Ran (1985) and is arguably the 2nd most important character in High and Low (1963) after Mifune. I really loved his performance in all 3 of these films. He also plays significant characters in Yojimbo and Sanjuro.
But its not just Kurosawa, he worked with Masaki Kobayashi 11 times including the lead role in Harakiri (1962) which some regard as a MP or near MP. He has a significant role in Samurai Rebellion (1967) and he played the lead in The Human Condition Series, which I have not seen yet.
He has 173 acting credits according to IMDB, of course many of these are smaller roles and films that are not Archive Quality so obviously those won’t help him much on these lists but it’s still worth mentioning as it shows his dedication to his craft, I mean the guy is 90 and has acting credits as of 2020
@James Trapp- He was not, the original list is on the De Niro page I believe.
@Drake – got it, thanks
@James – you need to watch The Human Condition ASAP. Myself, Declan, Zane and RujK all consider, at least the third part to be masterpiece level which should tell you something. Tatsuya Nakadai will blow you away, its one of the best performances in one of the greatest efforts of the 1960s.
@Harry – I think its on Criterion, thank you the suggestion I’ll add to my watch list. I am definitley convinced at this point that Tatsuya Nakadai is the 3rd best of the Kurosawa actors. I am finishing up Ran later today so will share thoughts on his performance there.
Ran (1985)
Notes:
Starts with gorgeous painterly shots bright green topography with men on horses and bow and arrows
2:08 long shot with men in bottom right of frame
2:38 camera positioned low as men chase Boars they are hunting
5:04 an aging Warlord, Ichimonji Hidetora, sits in center of frame flanked with 5 men to right and 2 to the left, strong use of bright primary colors (red, yellow, blue) in clothing worn by the 3 sons
Blue robe is worn by Saburo, Yellow robe is Taro, and Red robe is Jiro
5:20 Kyoami is basically the Shakespearian Fool providing entertainment on standby
5:38 perfect blocking with camera positioned low and capturing 5 men with heads turned in foreground who are taking up almost half of the frame vertically
6:55 the Lord falls asleep during
9:05 cutaway shot to cloud then cut to the 3 sons concerned for their father
9:47 great blocking with the 3 sons huddled around the Lord who has terrified look on his face after waking up from a nightmare
10:15 close up on Lord Ichimonji Hidetora
12:12 another cutaway shot to a cloud that takes up the majority of the frame
12:42 painterly image with Hidetora in the center of the frame, again the use of color is striking
13:42 Lord transfers power to sons, thunder in background as decision announced
16 min the transfer of power announcement is ostensibly supported by two of the three sons
18:50 Sanjuro mocks his father’s plans of splitting up power pointing out the ruthless nature and code he has lived his life by
21:47 cutaway shot of cloud
23:15 long shot before transition back to medium shot
25:55 composition with several beautiful women kneeling to Taro’s wife
26:08 high angle shot
27:02 the Fool spontaneously starts to mock Ichimonji Hidetora
30:13 Ichimonji Hidetora kills man with arrow
36:26 Ichimonji Hidetora wearing gold colored robe matching background wall
38:50 low angle shot captures top of castle and clouds in background of the frame
43:15 low angle shot of young woman singing facing away from camera toward sky in background
44:11 “its worse when you smile” says Ichimonji Hidetora to a girl whose family he killed, yet she does not hate him which is far worse to him than if she hated him
48:18 Ichimonji Hidetora realizes two of his sons have betrayed him in his eyes although as they point out he renounced his power
49:39 as gates close Ichimonji Hidetora becomes only person in the frame
51:51 slow pan down as approaching army comes into focus
55:40 Hidetora discovers a decree has been issued banning him for premises
59:10 blue/gray fog permeates through frame shortly before beginning of violence
59:53 castle shot in isolation; the Castles are some great set pieces with their architectural style
1:02:08 a brutal montage of violence during battle sequence with bodies scattered throughout the frames often with multiple arrows sticking out. Non-Diegetic accompanies these scenes
1:03:52 maybe best shot yet, a stunning shot of light peaking through a cloud, the image fills most of the frame as battle ravishes on
1:04:52 another shot similar to the one mentioned above
1:07:20 excellent foreground/background work with low angle shot of castle and Taro killed by arrow in the foreground
1:10:10 haunting close up of The Lord as everyone around him is being mercilessly slaughtered
1:12:36 stunner of a shot as The Lord evacuates the burning Castle with both armies (red and yellow) standing outside
1:14:24 The Lord leaves the area as The Castle continues to burn in the background
Kurosawa holds shot and The Lord exits in defeat and devastation
1:15:38 close up on the burning Castle
1:16:08 intense wind blowing grass back and forth
1:23:03 The Lord comes in touch with another of his victims who again treats him well and even plays the flute for him
1:32:04 Lady Macbeth exercises power
1:39:10 montage with rock and stones breaking up frame
1:40:00 close up on The Lord’s face wearing a comical hat
1:41:41 The Lord shot in isolation
1:49:18 frame in frame, symmetrical
1:58:15 high angle shot of The Lord and The Fool near the bottom of pit demonstrating their insignificance
1:59:00 tracking shot of men riding horses through shallow water
2:00:23 one of best shots of the film with 3 men backs to camera in the foreground and army in background of frame on a hill
2:01:24 low angle shot as Jiro yells declaring a battle is about to happen
2:06:03 nice foreground/background work with different levels of elevation
2:11:30 one of best compositions with excellent use of multi depths of field and use of multiple elevations
2:20:15 Saburo and The Lord are reunited
2:28:40 heart breaking moment for The Lord, Saburo
2:35:20 brutal death via the sword
2:36:02 painterly shot as chaos continues near castle
2:36:36 another gorgeous shot with sunset in horizon
Thoughts:
Kurosawa directs this like its his final film because at the time he thought it might be. He put 10 years into it as he actually painted every single scene which is insane. I mean its known that Hitchcock would draw sketches aka storyboard every scene. But Kurosawa actually painted the storyboard for Ran, a near 3-hour epic which is just absurd
I was impressed by Kagemusha, but this film Is clearly superior visually with far fewer uncinematic stretches
The battle sequences are pure genius, the first one is about an hour into the film and lasts 10/15 minutes or so. It is a purely visceral experience as Kurosawa drains out all the dialogue and all diegetic sounds during montages of brutal violence. It is shot at a rapid pace, creating a disorienting effect, and capturing the utter
madness of war as opposed to the perspective of any one character like a more traditional war scene
The use of color is phenomenal throughout the film from the bright primary colors of the Robes of the 3 sons, this is partly a story telling device to distinguish between the factions, but I think there is also something ironic about the bright colors of the Robes of the 3 sons given the bleakness and unforgivable violence that follows. And of course just the aesthetics of it, this is a visually spectacular film, one of Kurosawa’s most beautiful
Operatic story telling complete with loyalties, betrayals, double crosses, father/son dynamics, and power struggles; big themes that Kurosawa. There is some comedy however, most of it coming from The Fool that gives the film some occasion levity without overdoing it
It may not be quite as consistently impressive visually, but it is certainly near the level of Barry Lyndon with its painterly shots throughout the film, unlike Barry Lyndon there are some stretches that are somewhat quiet cinematically. The Castle burning down is one of the most indelible shots in all of Kurosawa’s filmography
Verdict: MP
Dreams (1990)
Notes:
Sunshine Through the Rain
Starts with young child standing outside with use of frame in frame with dripping water
4:48 young child wandering through woods, shown in corner of frame
7:35 surreal imagery with Kitsune, Japanese folklore
10 min mother concerned for her child after he witnesses Kitsune
12 min mark a Cinematic painting with a rainbow across the frame and mountains in background
Peach Orchard
14:33 young boy see’s girl in pink dress but she disappears when boy tells other girls
15:15 nice doorway framing
16:25 camera zooms out revealing multiple rows of people dressed in masks, dressed for Hinamatsuri, a religious Japanese holiday
19:07 beautiful use of the entire frame
24:14 child alone standing in middle of frame
The Blizzard
26:45 4 men are struggling to get up a mountain in a heavy snowfall
A blue/gray color palette blurs their faces
33 min one of the men yells encouragements through heavy snowfall limiting a clear vision
37:27 Yuki-onna (Japanese folklore) appears
The Tunnel
45 min Japanese commander walking into tunnel and experiences aggressive dog
50 min the commander crosses paths with a soldier killed in combat who is now a Yūrei, which is a ghost in Japanese folklore
51:48 the Yūrei, face and heads blue, overlooks parent house
55:55 the commander now faces rows of Yūrei who are marching through tunnel and do not seem to realize they are dead
56:54 frame filled to brim
Crows
1:05:00 multi-color painted bridge as art student travels looking for Van Gogh
1:07:33 Van Gogh is played by none other than Martin Scorsese
1:08:50 use of close ups noticeable here
1:10:24 color muted temporarily only to be used heavily a few seconds later
1:10:55 surrealism as art student runs over landscape of Van Gogh style artwork
1:13:10 zoom out from collage world
Mount Fuji in Red
1:13:45 an intense atmosphere with crowd of people running from the Volcanic Eruption
1:14:44 dark red and orange color palette
1:17:25 nuclear reaction
1:20:45 dark purple/red fog
The Weeping Demon
1:21:07 starts with long shot of man moving through field of rocks, possibly aftermath of volcanic eruption
1:34:44 pink/purple puddles of water
Village of the Watermills
1:39:15 man walks through a peaceful village with watermills and children playing\
1:44:38 close up on faces
Thoughts:
Kurosawa tries something quite different here, using 8 stories for this approximately 2-hour film, about 15 min each story
The stories are surreal and full of beautiful imagery, nice work for production design
The use of color is strong, Kurosawa puts his 1st artistic love, painting, to good use with vivid use of color like some of the best shots of Kagemusha. Expressionism
This is a personal film for Kurosawa as it’s the 1st film in about 40 years that he and he alone wrote the screenplay, he apparently used personal experiences as well as dreams as inspiration for these stories along with Japanese folklore
Verdict: HR/R
Madadayo (1993)
Notes:
Set in 1943, starts with professor, based on real life person named Hyakken Uchida, joking with his students but then announcing his retirement
4 min it is clear the professor is well-liked by his students
16:30 professor announces 60th birthday to students who visit him in his house with his wife
17:40 table filled with students on both sides and professor at head of table in his house, in background of the frame facing the camera, set up similar to funeral scene in Ikiru (1952)
20:20 horse story
25:18 frame in frame composition showing Professor’s new home after his house was destroyed during air raids, we learn this via voice over narration from one of the students
34:18 triangle composition and nice use of framing
41:12 cutaway shot to the moon
47:19 the professor chugs a huge glass of beer, takes me back to my college days
1:02:27 nice composition with the empty beer bottles and glasses in the foreground
1:05:15 camera pans to Professor’s new house his students had built for him
1:10:45 great blocking with Professor in the foreground and his students and wife behind
1:25:15 great blocking with close up on the Professor in the foreground who is crying in despair about his lost cat with two of his students in background of composition, also in close ups
1:47:02 camera set low with the Professor in background of composition
1:52:18 the beer glass again, the Professor chugs in front of room of students
1:54:18 presented with flowers by daughters of his (former) students as this banquet is no longer all an male party
1:56:41 light dims, nice shot of Professor blowing out candles on Cake
Thoughts:
Kurosawa’s final film is a simple yet effective story, it is almost something you would sooner expect from Ozu than Kurosawa. It’s far from a MP but a nice film to go out on
Tatsuo Matsumura is solid playing the lead role of Hyakken Uchida, but I would have loved to see Takashi Shimura if not for the fact that he passed away 11 years earlier. Chishû Ryû would have interesting as well, he actually worked with Kurosawa before, the 3rd of these collaborations was just 3 years prior in Dreams (1990), however Chishû Ryû actually passed away in 1993, the same year this film was released
Verdict: R
Final Ranking and Grades:
Study Summary:
Kurosawa is on my Mount Rushmore aside Martin Scorsese, Stanley Kubrick, and Alfred Hitchcock. His case is just about as strong as anyone for GOAT status. I covered 24 of his films in the study and all are worth viewing in my opinion
He has 7 MP; this was my 19th Director Study and so far, no one else has more than 5. Films as strong as Throne of Blood and Stray Dog are only his 8th and 9th best
Unlike some of the other Director Studies I have done so far like Welles or Malick, Kurosawa took a bit before he made a MP level film but once he hit his stride, he went on some of the most incredible runs imaginable. In fact, you could argue that he was the Best Director of the 50s (probably 2nd to Hitchcock) and the 60s (though this might be a bit of a stretch)
The trio of Kurosawa, Toshiro Mifune, and Takashi Shimura has to be amongst the greatest ever. The only one I would put ahead would be Scorsese, De Niro, and Pesci
Kurosawa incorporates nature and the 5 elements into his films as well as anyone, certainly Tarkovsky and Malick are right there as well. Weather plays a crucial role in so many of his films. Just think of the rain throughout the main timeline of Rashomon or the final battle in Seven Samurai. There is an amazing scene in Dersu Uzala where the titular character and a Russian Captain survive a brutal windstorm in Siberia. Think of the hot summer day in Stray Dog or the snow falling around Takashi Shimura’s character as he sings peacefully on the swing set in Ikiru (1952)
Kurosawa is such a master at compositions, Rashomon (1950) uses so many amazing deep focus and triangle compositions that it took me almost 3 hours to watch the 88 min film as I kept pausing to takes notes, I adjusted my note taking after that a bit otherwise watching say Seven Samurai (1954) would have taken like 8 hours. Speaking of Seven Samurai, the camera movement, particularly during the battle sequences is just incredible. Kurosawa was a huge admirer of John Ford’s work, particularly his great Westerns. The influence goes both ways between Kurosawa and other legends such as Leone who essentially remakes Yojimbo (1961) with Fist Full of Dollars (1964)
Kurosawa takes on contemporary issues in films like The Bad Sleep Well and High and Low; both films work well as they fit into the “dog eat dog” worldview that Kurosawa demonstrates consistently throughout his filmography. His films that are critical of modern-day Japanese problems never come across as preachy though. And of course, Kurosawa is not someone who would ever be accused of being overly sentimental
Kurosawa’s is more versatile than some give him credit for. Not only does he have films across multiple genres, but even within genres there is diversity. For example, think of how different Seven Samurai is from say The Hidden Fortress or Yojimbo in terms of the mood/atmosphere as the two ladder films are much lighter and less serious and have relatively happy endings
Here are my final rankings for Kurosawa, it was not easy to do, in particular the MPs. As much as I love and respect all of his MP’s I am confident putting Seven Samurai at # 1. In fact, the only two films I currently have ranked higher is The Godfather (1972) and Raging Bull (1980). So I am confident that Seven Samurai (1954) is his ultimate MP. # 2 through # 5 are all really close; that is High and Low, Ikiru, Rashomon, and Ran are all really close. The Bad Sleep Well and Yojimbo are the other 2 MP’s. That’s right Yojimbo is only his 7th best film, which is absolutely ridiculous, most directors would kill to make a single film that great
Below the MPs you have films like Throne of Blood, Stray Dog, Kagemusha, and The Hidden Fortress. These are great films that are only his # 8 – # 11
Below that you have Sanjuro, Drunken Angel, Red Beard, Dersu Uzala, and Dreams as the # 12 – # 16 and then after you have the simple R
Kurosawa’s final film Madadayo (1993) is a simple story but a nice film to end his legendary career on even if it’s not one of his best films. Ran (1985) was released 8 years prior was in a way Kurosawa’s last major film, he really went all out with that one putting over 10 years old work, the man actually painted every scene on the storyboard for a nearly 3-hour film
Final Ranking
Seven Samurai (1954) – MP
High and Low (1963) – MP
Ikiru (1952) – MP
Rashomon (1950) – MP
Ran (1985) – MP
The Bad Sleep Well (1960) – MP
Yojimbo (1961) – MP
Throne of Blood (1957) – MS
Stray Dog (1949) – MS
Kagemusha (1980) – MS
The Hidden Fortress (1958) – MS/HR
Sanjuro (1962) – HR/MS
Drunken Angel (1948) – HR/MS
Red Beard (1965) – HR
Dersu Uzala (1975) – HR/R
Dreams (1990) – HR/R
One Wonderful Sunday (1947) R/HR
The Lower Depths (1957) – R/HR
Madadayo (1993)
Sanshiro Sugata (1943) – R
No Regrets for Our Youth (1946)
The Men Who Tread on the Tiger’s Tail (1945) – R
Scandal (1950) – R
I Live In Fear (1955) – R
My ranking of Kurosawa`s films that I`ve seen:
1. High and Low MP
2. Seven Samurai MP
3. Rashomon MP
4. Ikiru MP
5. Ran MP
6. The Bad Sleep Well MP
7. Yojimbo MP
8. Throne of Blood MS
9. Stray Dog MS
10. Red Beard MS
11. Sanjuro MS
12. Kagemusha MS
13. Drunken Angel HR/MS
14. Dersu Uzala HR
15. Sanshiro Sugata R/HR
16. The Quiet Duel R
17. The Idiot R
18. Sanshiro Sugata Part Two R
20 Best Performances
1. Shimura- Ikiru
2. Mifune- Yojimbo
3. Mifune- Seven Samurai
4. Shimura- Seven Samurai
5. Mifune- Rashomon
6. Nakadai- Ran
7. Mifune- Throne of Blood
8. Mifune- High and Low
9. Mifune- The Bad Sleep Well
10. Mifune- Stray Dog
11. Shimura- Stray Dog
12. Nakadai- Kagemusha
13. Harada- Ran
14. Yamada- Throne of Blood
15. Yamazaki- High and Low
16. Mori- Rashomon
17. Kyo- Rashomon
18. Mifune- Red Beard
19. Mifune- The Quiet Duel
20. Shimura- Drunken Angel
I like your list. It’s very close to how I would order mine and I agree that Kurosawa has no less than 6 MPs. Like you, I’m high on Red Beard and think it’s underrated by just about everyone. Kurosawa easily makes my top 5 and would contend for #1.
Kurosawa really might be the best director of all time. I have actually also seen Dreams (1990) recently and it would probably rank between Dersu Uzala and Sanshiro Sugata.
How does you ranking look?
@RujK – I noticed we both have 7 MP and all the same films in a slightly different order. I admire you putting High and Low (1963) at # 1. It is my personal favorite and just might be his best work although I still can’t quite put in over Seven Samurai
1. Seven Samurai
2. High and Low
3. Ikiru
4. Rashomon
5. Ran
6. The Bad Sleep Well
7. Yojimbo
@James Trapp- how would you rank Mifune performances in the Kurosawa collaborations?
Not James Trapp but I’d definitely put Scandal on the list.
@RW- I will put Scandal on my watchlist. Is it also a good movie, or is it worth watching just for Mifune?
@RujK – Scandal is solid! Kurosawa doing a courtroom drama
@RujK-Not the highest of praise for Scandal here. Looks like it is near or at the bottom of Kurosawa’s 27 archivable films.
https://thecinemaarchives.com/2020/06/04/scandal-1950-kurosawa/
Personally I’d put it a lot higher. I found it one of the most emotionally affecting of the Kurosawa films.
Good question, so it’s tricky because he is so great on a per minute basis in Rashomon. He’s so commanding if Yojimbo and the solid but lesser Sanjuro but plays more complex characters in The Bad Sleep Well and Drunken Angel. I actually find ranking performances more difficult than films for that reason. But here it goes:
1. Seven Samurai
2. Yojimbo
3. High and Low
4. The Bad Sleep Well
5. Drunken Angel
6. Rashomon
7. Throne of Blood
8. Sanujuro
9. The Hidden Fortress
10. I Live In Fear
Red Beard would definitely make the top 10 but I have only seen it once and need another viewing to place it. The Lower Depths and especially Scandal are lesser Kurosawa films but he is solid in both.
Would you agree that his greatest performance is in Samurai Rebellion?
@RW – No, but I have seen Samurai Rebellion just once and it was a few years ago so would need another viewing but from what I recall it is an impressive film and performance.