Isao Kimura

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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.

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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.

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Stray Dog Review


Excellent
The tone of Akira Kurosawa's blistering 1949 film noir Stray Dog is set in its opening shot: Over Fumio Hayasaka's sake-drunk, Elmer Bernstein-derived score, a dog pants, tongue lolling to the side in tight close-up, while a narrator intones, "It was an unbearably hot day." It is indeed hot - the film is set amid heat as palpably as Rashomon was the forest - and for young rookie detective Murakami (Toshiro Mifune), it's going to get hotter still. His problem is that his gun has been stolen, pick-pocketed from him by a lady thief on a packed bus; in a country where competence is famously bound to honor, Murakami loses not just his gun on that sweltering bus, but his pride as well.

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.

Continue reading: Stray Dog 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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