Drunken Angel

A Streetcar Named Desire. La Dolce Vita. Mean Streets. Some Like It Hot. These are the films responsible for starting famed actor/director collaborations. It's hard to say if the world of cinema would've been the same without them.

One such collaboration is Akira Kurosawa and Toshiro Mifune. The most famous entries of their sixteen film collaborations were those of the samurai genre (Rashomon, Seven Samurai). Those were the films that rightfully earned them (and Japanese cinema in general) worldwide recognition.

Their first film wasn't one in the samurai genre. Instead, it was a crime (or, more accurately, yakuza) film called Drunken Angel. Many themes of Kurosawa's later films, but there's one aspect of Drunken Angel that's very prominent: the way Mifune channels his character's rage.

An amusing note on the characters Matsunaga (Mifune) and Dr. Sanada (Takashi Shimura). Both have their respective vices (Matsunaga living it up, Sanada drinking) yet they have no intentions whatsoever to limit them. Even when Matsunaga is diagnosed with tuberculosis (and Sanada's a doctor, for crying out loud).

Drunken Angel not only shows the beginning brilliance between Kurosawa and Mifune, it also displays to the fullest the backdrop of a recovering Tokyo. That's thanks to Takeo Ito's meticulous eye. If you're a fan of Kurosawa like I am, you'll definitely love Drunken Angel.

My Rating: *****

The Bad Sleep Well

Like I said yesterday, foreign directors are a bit of a blind spot for me. I have seen a handful of films from several directors of the foreign field, but still I feel as though I am lacking with this spectrum.

One director I have watched a great deal of is Akira Kurosawa. I have seen his samurai epics Seven Samurai, Rashomon and Ran, as well as modern-day films like High and Low and Ikiru (my personal favorite). Yet I feel like I have yet to see his most important work.

I saw The Bad Sleep Well, which many call Kurosawa's take on Hamlet. It's a very interesting tale, but it felt a bit too long in several scenes. Still, Kurosawa's style is marvelous to watch unfold.

Starring Kurosawa regular Toshiro Mifune, The Bad Sleep Well blends Shakespeare with film noir. A combination that might sound odd to some, perhaps, but they are actually very similar in their themes. Anyone familiar with both can wholeheartedly agree.

Like I said, The Bad Sleep Well is good but I can't bring myself to call it great. I might like it more on a re-watch, but for now I'm sticking with my current thoughts on it. Anyone who's a fan of Kurosawa will be bound to like it.

My Rating: ****1/2

Ran

Akira Kurosawa is without a doubt one of the masters of cinema. His films could be treated as art, both visually and from a storytelling aspect. (No, Univarn didn't hack this site...or did he?)

When most directors get older, their work starts to lag. Not Kurosawa. The man was seventy-five when Ran was released. Some people have remarked that this was the kind of film that would have failed disastrously had Kurosawa attempted to make it early in his career. Seeing the final results prove they were right.

Kurosawa varied from heartfelt (Ikiru), gripping (High and Low) and stunning (Seven Samurai, Rashomon). Ran fits into all three. Not one moment feels wasted in its 160-minute running time. You can't claim that with most films.

There's a stunning turn of events as Ran wears on. Shortly after his trust towards his sons is betrayed, Lord Hidetora (Tatsuya Nakadai) goes through a startling transition. He becomes delusional. His skin becomes as white as his hair. He literally becomes a ghost of his former self.

Ran gets up there with Lawrence of Arabia as epic filmmaking at its finest. Every small detail works wonders in the long run. It's proof that Kurosawa most definitely knew what he was doing during the duration of his career.

My Rating: *****

Ikiru

What would you do if your time on earth was to run out in a matter of time? Some would live their lives up in the little time they have. Others try to do something they'll be remembered for. In the case with Kanji Wantanabe (Takashi Shimura) in Akira Kurosawa's Ikiru, he does both.

Upon finding out of his stomach cancer, his life starts to spiral out of control. He tries to live up what's left of his life, but that doesn't fill the widening void within him. If you notice, he feels good when he makes someone else happy. That sets something off in his mind.

Wantanabe doesn't tell anyone of his cancer. Well, he tries to tell his son (he has a Mildred Pierce sort of relationship with him), but is shut out when he does almost speak up. In fact, Wantanabe is viewed with contempt by his relatives. Can you blame him for keeping his cancer secret because he didn't want to hurt anyone else?

The previous Kurosawa movies I saw (Seven Samurai, High and Low, Rashomon) all move at a fast pace. Not Ikiru. It moves at a pace slower than the rest. It might be a bother to some, but not to me. Plus, the slow pace gives us time to develop feelings for the characters.

In short, I loved Ikiru. It captures many emotions and feelings that so many movies try so hard to get. Also, if you don't feel anything from that shot of Wantanabe on the swing, don't even talk to me.

My Rating: *****

Rashomon

Akira Kurosawa is one of the most prolific foreign film directors out there. For good reason too. He knew how to convey the many different personalities the human race has.

Rashomon, one of his most famous films, is one such example. Four people are involved in a crime, and all provide insights on the crime. Who is right about what has happened?

However, all four do agree on one aspect of the crime. The other aspect is what's up for debate. This is what makes Rashomon interesting. The film doesn't agree or disagree with any of their stories. It just rolls with them.

As with the personalities, Kurosawa showcases several of them: the (supposedly) honest working man, the damsel in distress, and the cocky troublemaker. Knowing Kurosawa, he blends these roles in to work wonders.

Rashomon is both one of the best foreign films and one of the most influential. After all, there are so many movies and TV episodes that owe a thank you to Kurosawa. One to miss? Think again.

My Rating: *****

High and Low

Not to offend Ryan, but I haven't seen much of Akira Kurosawa's work. But believe me, I'm trying really hard to catch up.

Having seen only Seven Samurai beforehand, it was interesting to see Kurosawa make a movie in a modern setting. (In this case, 1960's Japan.) We get a glimpse of the country at that time. And, boy, is it gritty.

High and Low also features several Kurosawa regulars, including Toshiro Mifune. They give immense depth to their performances as they try to find out who is responsible for the crime that is so unthinkable.

OKay, now I'm starting to see why several movie lovers I know love Kurosawa so much. And being the criminology freak that I am, I was bound to love it. Indeed I did. After all, it showcases perfectly the anatomy of a crime.

My Rating: *****

Seven Samurai

Last year, I developed a greater appreciation for foreign films. I saw Ingmar Bergman's The Seventh Seal, Francois Truffant's The 400 Blows and Fedrico Fellini's 8 1/2. And just recently, I saw Akira Kurosawa's masterpiece Seven Samurai.

A village is at risk for being pillaged by a group of bandits. Several of the villagers go to another town to find samurai to guard their village. After seeing the heroic deeds of Kambei (Takashi Shimura), they ask him to help the village. He accepts, and soon five more samurai are recruited. It isn't until the clownish but determined Kikuchiyo (Toshiro Mifune) joins in and complete the troupe.

Sure, the movie's over three hours long, but it goes by like that due to the strong story-telling by Kurosawa. The action is gripping and the movie is beautifully shot. Now I know why a certain blogger is so in love with this piece of cinema history.

My Rating: *****