The tale involves nine straight-laced, by-the-book, narrow-mined, and lunkheaded young samurai, who want to barrel in and rescue the chamberlain of their clan, being held prisoner by the clan superintendent Kukui (Masao Shimizu). Meeting at a temple to discuss their plans, the samurai are interrupted by loud yawns from the back room. Emerging from his slumber is Sanjuro (Toshiro Mifune), and he greets the group scratching and yawning. Admonishing the group, he grumpily tells the innocents, "People aren't what they seem. Be careful. You'll never suspect who the worst are. Be careful." As if on cue, Kukui's army sneaks up on the temple, commanded by canny samurai mercenary Hanbei Muroto (Tetsuya Nakadei). Hiding the nine samurai in the temple floorboards, Sanjuro beats back Moroto's men and grumpily offers to help the boys: "I can't stand by and watch you blunder your way to your deaths." The rest of the film consists of Sanjuro maneuvering Muroto away from his armies so that Sanjuro can wipe out the bad guys in dazzling displays of swordplay, but Moroto returns to the scene.
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Dodes'ka-den certainly isn't like any Kurosawa film I've ever witnessed. A junkyard shanty-town of misfits, perverts, gossips, and criminals is its setting... and yet we begin on a note of gleeful innocence. Adrift in a dream life that casts him as a streetcar operator, a young mentally-retarded man (Yoshitaka Zuxhi) prepares his make-believe trolley for its short journey through the slums, all the while repeating the word "dodes'ka-den" which translates, literally, to "clickety-clack." The young man seems to be the central figure and audience proxy for the five or six stories that litter Kurosawa's dire landscape and, fittingly, as the film progresses we see less and less of him.
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If Akira Kurosawa's The Hidden Fortress sounds a bit familiar, it should: It's the basic story line of not only George Lucas's Star Wars and The Phantom Menace but also Hayao Miyazaki's Princess Mononoke and countless other space operas and anime features in which a ragtag group has to bring a wayward princess through hostile territory to the safety of her throne.
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Based upon Ed McBain's 87th Precinct crime novel, King's Ransom, Kurosawa transforms this pulp source into a morality play of good and evil with the stakes a man's redemption of his soul in a heartless world. High and Low is the English translation of the Japanese Tengoku to jigoku, but a more accurate translation would be "Heaven and Hell," and that is what the film conveys -- Heaven being the high-rise luxury home of National Shoe executive Kingo Gondo (Toshir? Mifune), high on a mountain overlooking the squalid Hell of juke joints, prostitutes, dope alleys, and poverty below.
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In an early scene two opportunist samurais are introduced and both of them are wearing flags that identify who they are and what clan they come from. Mifune, who plays Taektoki Wahsizu, has a caterpillar on his flag and his samurai partner Miki (played by Minoru Chiaki) has a rabbit. These symbols seem innocuous enough, but if you had a choice, who would you trust: a creepy crawly caterpillar or a soft bunny rabbit?
Continue reading: Throne Of Blood Review
Kurosawa adapted his script from two short stories by Shugoro Yamamoto about a brothel in a seaside village during the Edo period (Tokyo before 1868). The Sumida River runs through Okabasho, separating the red light district from the gentry and allowing men certain freedoms from social restraint. Into this island of ill repute, and into our brothel, comes Fusanosuke (Hidetaka Yoshioka) a rather puny looking Samurai, fleeing from an altercation in which he wounded a senior Samurai. Besides having that Samurai's colleagues and local police on his tail, he's been ostracized from his father and family for the affront.
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Murakami's superior refuses the resignation he proffers, and the hunt is on. In this Murakami is assisted by the older, wiser detective Sato (Kurosawa regular Takashi Shimura), a cop with a less impetuous style. (Any Danny Glover/Mel Gibson correlation you might wish to make here would only cheapen Stray Dog while elevating an undeserving Lethal Weapon series.) The plot is thickened when Murakami's gun (the "stray dog" of the title) is used in brutal assaults on an ever-growing number of innocent female victims.
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The film opens in 16th century Japan. Two warlords, Ieyasu (Masayuki Yui) and Nobunaga (Daisuke Ryu), take on a third, Shingen (Tatsuya Nakadai), for control of the country. So far, Shingen has them on the run. But a lucky sniper gets off a round that may or may not have killed the warlord. While his enemies wonder, a wounded Shingen demands that should he die, his passing be kept a secret for three years, lest his rivals be emboldened. When Shingen finally gives up the ghost, it's up to his brother Nobukado (Tsutomu Yamazaki) to come up with a plan to carry out those wishes.
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Based on Akira Kurosawa's Dreams -- a film consisting of, you guessed it, a bunch of his dreams put on film and strung together one after another -- Kurosawa didn't have dreams any more interesting than you or me. George Bush's dreams -- that I'd like to see. Saddam Hussein's dreams -- that'd be a hoot! But a creative filmmaker naturally has kooky, inspirational dreams. And of course they're complete nonsense.
Continue reading: Akira Kurosawa's Dreams Review