I have written about Kurosawa before - and about the place he has in film history, and in my history with film. This post in particular from a blogathon 5 1/2 years ago lays out a lot of my doubts, but then again, it has always seemed as if I have to explain my reservations about him. He is, you see, a towering figure - a crucial figure in film history. I mentioned it in the Ritchie post last month - the ways Japanese film changed the criticism of films; and in a very real sense, it is Kurosawa that did it. Now - given that importance, given the quality of his films, ranking him 5th among Japanese directors might need some explanation.... Well - maybe the best explanation is that I'd put at least 6 Japanese directors in the top 20 - 3 definitely in the top 10 and 2 more who move in and out depending on my mood.... I am, that is, a fan.
And so? I will turn to the films:
1. Seven Samurai - This is one of the Great Ones. A big sprawling spic that never flags, with a host of clear and distinct characters, with spectacular action scenes that are, themselves, always completely coherent and clear. Technically, dramatically, politically, a magnificent achievement. After all.
2. High and Low - A medical students kidnaps the son of shoe magnate, but gets a chauffeur's son instead. What will the executive do? This becomes many things - a first rate police procedural; a first rate character study, of 2 superbly wrought characters - the student is pathetic and cruel and desperate... But Gondo, Mifune's character, is something truly other than else. He goes from the ruthless businessman of the early scenes to a kind of reluctant hero, until in the end he becomes godlike. Kurosawa's contemporary films were always tightly bound to their places - he used city streets and locations to great effect throughout his career, and this one has some of the best examples of it. But he could also use a set - the scenes in Gondo's house start stagy, but become increasingly deft - the whole film is structured that way - from the claustrophobia of Gondo's house, the the different claustrophobia of the train, to the scenes in the city, on the train, to the streets of Yokohama, the bars and hangouts. One of the most Langian of films - Kurosawa someone who could do credit to Lang...
3. Rashomon - A film that has become the symbol for unreliable point of view and multiple perspectives. (As well as being the strange example of a crime story where all three protagonists confess to the actual crime, in order to exonerate themselves.) Though also a thrilling piece of filmmaking. It is great looking, dynamic and exciting, and Kurosawa here, as in most of his films, uses pacing - the delay/gratification cycle - to great effect. It was the first Japanese film to make a sensation abroad - obviously successful, and a useful introduction, as it brings together a few tendencies in Japanese films. Chambara, women's melodrama, heroic samurai melodrama (for lack of a better term) - and a kind of realistic undercutting of those genres, all in one film.
4. Stray Dog - A cop loses his pistol on the bus - he tries to track it but it is used by a thief, who is a kind of double to the cop, to hurt other people. An extraordinary film, making great use of its setting - the location shooting, the heat, the themes of doubles and pursuit and the poisonous horror of the Gun. Even this early in his career, Kurosawa was a very self-conscious filmmaker - it feels like a precursor to new wave practices, with its documentary sections, its text and divided images, and so on. It prefigures High and Low, with its police procedural story, its urban settings, its dopplegangers - but it;s fully formed more than a decade before.
5. Ikiru - An old bureaucrat learns he is going to die. He does not know how to die, his son is a jerk, hetries partying but isn't very good at it, he takes a shine to a girl, but that is unwise - but she guides him to the idea of making a park, and he grows obsessed and dies happy. It moves slowly, but Kurosawa's style - his use of delay and indirect release - requires space to work correctly, and it does. This is Kurosawa's most Capraesque film, and seems very clearly modelled on some of Capra's works. The theme of the individual vs the system; the structure of the film - (voiceover, flashbacks, the bifurcated structure even), even things like the epiphany in the snow - that conjure up ideas and moments from Capra's films. Though maybe you're getting to Kurosawa's limits, here - he is not quite up to Capra. There is an element of caricature in Kurosawa that isn't quite there in Capra, and things in this film are almost always what they are - good, bad, weak, small. Watanabe's family, say, is not the ambiguous force it is in Capra's films - there is none of the way families or societies sustain and destroy, the doubleness of everything in Capra. (That's the rhealm of Ozu more than any Japanese director of that age). But none of that takes it from being a great film...
6. Yojimbo - Kurosawa may not have admitted it, but it's a transparent Red Harvest adaptation, and a damned fine one. Even more than Seven Samurai, it's a Japanese western (that of course immediately turned into an Italian western...) And as formalized and aestheticized as the Leone's to come - widescreen, dusty streets (or pouring rain) fire and death; people moving in strange dancelike ways - more noticeable than usual, even, for Kurosawa (who likes dancelike movement). With that hard-boiled twist on the western mythos, the stranger coming to clean up the town....
7. Ran - Kurosawa does Lear. Story - a great lord retires, leaving son #1 in charge - son #3 makes a fuss and is banished. However it does not take long for #1 to start bullying dad (egged on by his wife), and not not long after that before the sons are at one another's throats and everything goes to hell. All stunning to look at and maybe even better to listen to. Everyone dies, except a blind boy, perched atop the walls of his family's ruined castle.
8. Kagemusha - A thief is made the double of Lord Shingen during the wars between Shingen (Takeda), Ieyasu (Tokagawa) and Nobanaga (Oda). Shingen is killed not long after and the thief becomes his double. He fools the old man's grandson and concubines, as well as spies and his own men, but he is discovered from trying to ride a horse. He is injured and banished and mocked, while Lord Shingen's son goes to war and is defeated easily. (Guns again.) This is interesting historically, being much closer to actual events than most of Kurosawa's period films - set in the 1570s, the rise of Oda and Tokugawa - ending with the battle of Nagoshino, when 3000 riflemen destroyed the Takeda army, in something like a precursor to Cold Harbor or the Somme.
9. Throne of Blood - MacBeth on Mt Fuji - which Satyajit Ray singled out as one of the things that made Japanese cinema great - those real places... It is a handsome and haunting film, a horror film, as much as anything, with its ghosts and murders and madness and its strange smoky spaces....
10. Sanjuro - sequel to Yojimbo, not quite as tight and clean, but still very entertaining. Here, Mifune is a ronin who joins up with 9 idealists who are trying to undo a villainous superintendent. Tatsuya Nakadai plays the superintendent's right hand man. Very harsh parody of Japanese manners, samurai ethos and the rest, as Mifune constantly outsmarts and outfights everyone as if he's already read the script. And an old woman - who seems silly and weak and caught up in the web of politeness, but who proves consistently to be the only one as smart as he is...
