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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.

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