Akira Kurosawa

When writing this blog post I almost become overwhelmed by all the things I could say about Akira Kurosawa; his impact on film-making and other film-makers, his philosophy and poignant messages cleverly infused throughout his movies, or even his professional relationship with actor Toshiro Mifune. There is so much information about him and so many things to discuss but that is too big a scope for this here blog. So instead, I will highlight some of his movies that I formed a connection with and the reasons why. I am sure there are themes or concepts that I am missing but I have a chorus concert that I need to get to tonight so time is limited.

I will start off by stating that I am a very visual person and tend to connect more to imagery than words. In this sense, it is understandable that I would appreciate Kurosawa’s films as they tend to be quite visually stunning. I am not surprised to hear he was a painter before a filmmaker.

Rashomon

Ever the film student’s obsession, Rashomon is an examination of truth shown through the rape of a young woman and subsequent murder of her husband, the trial that occurs thereafter, and – to get even more meta – an interpretation by others involved after the trial. The testimony of each of the parties involved in the rape and murder differ vastly and show different perspectives.  It’s a slow moving but visually striking movie that has coined the term, “the Rashomon Effect,” meaning contradictory interpretations of the same event by different people.

When I think of Rashomon, I immediately remember the testimony of the murdered husband, given through a medium. The blowing fabric and the bizarrely placed eyebrows haunt my memory of this movie. And that is something that Kurosawa does well.

Ikiru

I called Rashomon slow moving, but in comparison with Ikiru the movie was more like an action film. Ikiru can be tough to get through but the payoff in the end is so great. The film is split into two halves; during the first we see an aging bureaucrat diagnosed with terminal cancer, seeking to make something of his life before the cancer inevitably takes it. The second half shows a conversation at his funeral where others discuss the turn of events in the man’s life that led him to make a change in the community.

Ikiru stars Takashi Shimura, a regular in Kurosawa films. Shimura perfectly encaptures this depressed man’s life and his seeking for greater meaning. The poster for the movie shows a scene representing the turning point in the man’s life.

Dreams

Dreams is a wonderful exhibition of what Kurosawa can do when adding color to his already beautiful contextual imagery. Made later in his life, it is a collection of short films, each an embodiment of a dream. This films excels in showing Kurosawa’s concept of the world and his place in it, as well as his attention to detail and forms. I love this scene where a young boy observes a kitsune (fox) wedding in the woods on a rainy day. The movement of the “foxes” is meticulously stunning and then it is later juxtaposed with the young boy being told by his mother to seek forgiveness from the foxes who expect him to kill himself for intruding in their space.

Seven Samurai

Not being a fan of samurai movies in general, I was surprised by how much I enjoyed Seven Samurai. This is because, much like Joss Whedon, Kurosawa takes a step back to give a larger perspective while simultaneously giving attention to the smallest of details. The overall plot is this, a village is attacked by bandits who take all of their crops, so to prevent this from reoccurring they enlist the help of seven samurai to protect the village. In the process, we see the hoarding, violence, and shaming from the villagers that arise out of fear.

The final scene in the movie is perhaps the most poignant. While the villagers are joyously singing and celebrating their victory over the bandits, the remaining samurai reflect on what was lost in order to maintain the villagers’ security.

Kagemusha

Kagemusha is another film that serves as an example of what can be done when adding vibrant colors to Kurosawa’s movies. This movie is said to be a precursor for Ran (Kurosawa’s critically acclaimed adaptation of King Lear). In Kagemusha a thief is brought in to impersonate a deceased lord in order to trick opposing clans and avoid attack. I personally prefer Kagemusha to Ran and I think that is due to images likes the one below. It seemed like Kurosawa was like, “Red everywhere! Red! Red! Red!”

The other thing that struck me about Kagemusha was the practice of Japanese forms. At the time I saw this movie I had begun practicing zen meditation and was able to recognize some of the formalities in the movie. Again, Kurosawa had his eye on the details.

These are Kurosawa films that I have found most inspiring but he did have a long and fruitful career. I am constantly seeking new films by the man to enjoy so please feel free to make recommendations. There are layers upon layer in his films and sometimes they require repeated viewing.