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Sanjuro Review


Very Good
One of the biggest hits in Akira Kurosawa's film career was 1961's Yojimbo, the genre smasher with Toshiro Mifune's instantly legendary performance as Sanjuro, that shambling and bedraggled ronin who roams the countryside looking for food, shelter, and cash for anyone who will pay him to kill. So successful was Yojimbo that Kurosawa's studio prevailed upon him to rework a script he had been working on, turning it into a Mifune vehicle with Mifune reprising his role as Sanjuro. And within a few months it was written, shot, and in the theaters. The result of this rush job by Kurosawa was Sanjuro -- a quieter, gentler Yojimbo.

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.

Continue reading: Sanjuro Review

Dodes'ka-Den Review


Very Good
Dodes'ka-den, Akira Kurosawa's first color film, premiered in New York in the summer of 1971 to mixed reviews and, even for foreign fare, lousy box office. A major argument held that the filmmaker simply didn't know how to use color. The film didn't hit Chicago theaters until 1975 and his next color feature, the vibrant Dersu Uzala, wouldn't hit American shores until 1977. Perhaps out of respect, Dodes'ka-den was nominated for an Oscar, which it lost, rightly, to Vittorio De Sica's The Garden of the Finzi-Continis.

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.

Continue reading: Dodes'ka-Den Review

High And Low Review


Excellent
"Don't get too close, but don't take your eyes off him!" exhorts Chief Detective Tokura (Tatsuya Nakadai) to one of his assistants in Akira Kurosawa's intense crime drama High and Low. Tokura could just as well be directing the camera operator doing the distant setups in Kurosawa's distinctive telephoto lens manner. Kurosawa's style serves to optically mash all the actors together onto one confining plane as they uncomfortably breathe down each other's neck. The images populate the widescreen frame like a pressure cooker that is ready to blow up. And in High and Low, blow up they do.

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.

Continue reading: High And Low Review

Throne Of Blood Review


Excellent
Akira Kurosawa's Throne on Blood is primarily known for one great scene at the very end that involves the famous actor Toshiro Mifune and about one hundred arrows. Up to that point, though, it is an excellently acted, well directed, and gorgeously shot Japanese reworking of Shakespeare's Macbeth.

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?

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Ran Review


Extraordinary
The average movie enthusiast has probably heard the name Akira Kurosawa mentioned with reverence in pretentious film-snob circles or in almost any film school, but chances are the average movie enthusiast probably hasn't bothered to ever really watch any of Kurosawa's films, which is a real shame. For in these films lies the expression of unbelievable talent - a poetry of motion and color - created and painted by a true master of the art of modern cinema. Now in theatrical reissue, casual moviegoers once again have the chance to see Ran, Kurosawa's masterpiece, on the big screen.

Kurosawa's closest colleagues addressed him as "sensei," a respectful and affectionate term meaning "teacher" or "master," and for good reason: He is without question, the master of Japanese cinema and an artist whose film legacy spanned 50 years of moviemaking. He influenced filmmakers such as Lucas, Spielberg, Coppola, Scorsese and countless others. For example, the movie A Fistful of Dollars was really nothing more than Western remake of the Kurosawa film Yojimbo, and The Magnificent Seven was a remake of Seven Samurai. The Academy of Motion Picture Arts and Sciences recognized Kurosawa four times in his career, and Ran has won countless awards, including Best Film from the esteemed National Society of Film Critics. The film was Kurosawa's obsession for more than 10 years and he feared that the movie would never be made. When it finally did get financing, it became Japan's most expensive film ever made at the time.

Continue reading: Ran Review

Seven Samurai Review


Essential
There's probably no point heaping more praise on Seven Samurai after 52 years worth of critics have already done so, but what the hell, here's a little more love for the film.

Akira Kurosawa had about a decade of work -- nothing you've likely heard of -- under his belt by 1954, when he stormed the world with this masterpiece. 3 1/2 hours long, it's a western with a feudal 1600s Japanese sensibility, a format he'd return to frequently. But here it's at its simple best. Some may claim Seven Samurai is complex, but that's hardly truthful: It's about a village of farmers, who learn of an impending attack by bandits intent to rob them of their barley crop... again. They decide to fight back by recruiting seven samurai to teach them to fight, protect the village, and slay the bandits for good. Some will be heroes, some will perish. But we know all along that our samurai will win the day for the village somehow. And that's the gist.

Continue reading: Seven Samurai Review

Ran Review


Extraordinary
The average movie enthusiast has probably heard the name Akira Kurosawa mentioned with reverence in pretentious film-snob circles or in almost any film school, but chances are the average movie enthusiast probably hasn't bothered to ever really watch any of Kurosawa's films, which is a real shame. For in these films lies the expression of unbelievable talent - a poetry of motion and color - created and painted by a true master of the art of modern cinema. Now in theatrical reissue, casual moviegoers once again have the chance to see Ran, Kurosawa's masterpiece, on the big screen.

Kurosawa's closest colleagues addressed him as "sensei," a respectful and affectionate term meaning "teacher" or "master," and for good reason: He is without question, the master of Japanese cinema and an artist whose film legacy spanned 50 years of moviemaking. He influenced filmmakers such as Lucas, Spielberg, Coppola, Scorsese and countless others. For example, the movie A Fistful of Dollars was really nothing more than Western remake of the Kurosawa film Yojimbo, and The Magnificent Seven was a remake of The Seven Samurai. The Academy of Motion Picture Arts and Sciences recognized Kurosawa four times in his career, and Ran has won countless awards, including Best Film from the esteemed National Society of Film Critics. The film was Kurosawa's obsession for more than 10 years and he feared that the movie would never be made. When it finally did get financing, it became Japan's most expensive film ever made at the time.

Continue reading: Ran Review

Throne Of Blood Review


Excellent
Akira Kurosawa's Throne on Blood is primarily known for one great scene at the very end that involves the famous actor Toshiro Mifune and about one hundred arrows. Up to that point, though, it is an excellently acted, well directed, and gorgeously shot Japanese reworking of Shakespeare's Macbeth.

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

Red Beard Review


Bad
I'd never heard of Akira Kurosawa's Red Beard before the Criterion DVD showed up in the mail, but judging from the cover and the talent appearing in it, I expected a swashbuckling samurai flick -- maybe something about a red bearded pirate?

Would that I had done my research. Red Beard is a major miss in Kurosawa's distinguished career, a three-hour opus that can be best described as a protracted retelling of General Hospital in 19th century Japan.

Continue reading: Red Beard Review

Tora! Tora! Tora! Review


Very Good
Very interesting but rambling WWII drama about the invasion of Pearl Harbor. What makes Tora!! so interesting is that it is a joint U.S.-Japanese production, and the story is told from both sides of the fence. The Japanese obsession with fighting an honorable fight is made plain, as is the comedy of errors that led up to the U.S. inability to detect the attack until the bombs were dropping. The film is a very damning portrayal of the U.S. Navy and government altogether, and really gives you a respect for the Japanese, showing just how much worse Pearl Harbor could have been. A must-see for any war buff. Based on the book The Broken Seal.

Continue reading: Tora! Tora! Tora! Review

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Seven Samurai Movie Review

Seven Samurai Movie Review

There's probably no point heaping more praise on Seven Samurai after 52 years worth of...

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Tora! Tora! Tora! Movie Review

Tora! Tora! Tora! Movie Review

Very interesting but rambling WWII drama about the invasion of Pearl Harbor. What makes...

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