Akira Kurosawa: 11/02/03 - 11/08/03

[Morticia]

Just as a change of pace, and at your request, we are discussing bodies of works by a particular actor or director. Let's see how you like this!

So -- let's compare and contrast works by the same director, discuss film techniques and choice of cinematographer or composer, what have you.

Run wild, shall we? Discuss!

Akira Kurosawa quote from imdb.com:
"With a good script, a good director can produce a masterpiece. With the same script, a mediocre director can produce a passable film. But with a bad script even a good director can't possibly make a good film. For truly cinematic expression, the camera and the microphone must be able to cross both fire and water. The script must be something that has the power to do this."

[gary1459]

For my money nothing he later did can touch the b/w films he did during the 50's with mifune. Look at the begining of Rashomon. With the woodcutter strolling through the woods. The way kurosawa mixes image and music. Right off the bat you know your in good hands. No explosions, no car chases, in fact the first minutes lack almost any conflict at all untill he comes upon the clothing strewn in the bushes. But with the clever editing of the right images set into motion with music create a rhythum that draws you into that world. It is a classic opening that should be watched by one and all....

[tqpix]

I ordered Rashomon a few days ago. I haven't seen it yet, but I ordered it mainly because of the message it presents--what is truth?

[Issus123]

Originally Posted by tqpix

I ordered Rashomon a few days ago. I haven't seen it yet, but I ordered it mainly because of the message it presents--what is truth?

After watching the movie what I felt was, there is nothing like absolute truth. Concept of truth is expressed by human beings. And in the form of expression, lies the fallacy as his own thoughts, the way he sees things and interprets will automatically embellish the expression. The technique adopted here is brilliant. Usually in a film, an incident is shown from the director's point of view. Hence, when the same incident is shown from another character's POV even though it may be shown differently, the viewer is left in no doubt about the true nature of the incident. Here, Kurosawa shows the same incidents from the characters' POV. He even shows it from a ghost/spirit's POV. But at the end of the film, the viewer is still left wondering as to what truly happened. The riddle is never solved. And that is the message. Hope I was clear. Actually, my answer will seem a riddle unless you watch the film.

[lostwire]

Originally Posted by gary1459

For my money nothing he later did can touch the b/w films he did during the 50's with mifune.

Masterful films for sure & probably the best collaboration to hit the screen, but I believe Dersu Uzala & Ran hold up quite well to that period when he could do no wrong. There's nothing quite so magnificent as a brilliant artist working with complete confidence, but considering all that Kurosawa went through after the sixties it's surprising to see such stand-out films at all.

[Enzian]

I've been on a Kurosawa kick for a couple months now, dispersing his movies throughout my 50+ Netflix queue. I don't enjoy his movies for anything other than the good stories - art takes a backseat. I also enjoy the little cultural porthole his movies allow me. While I'm fairly familiar with most Western cultures, including a passing understanding of most Romance languages and a couple others, Asian cultures are highly obfuscated by both culture, language and space.

I've seen Ran, The Seven Samurai, Rashomon, The Hidden Fortress and Yojimbo.

I've loved them all, except maybe The Hidden Fortress, which did nothing for me. The Seven Samurai and Yojimbo are my favorites, with Ran in another class of movie entirely. Ran is an epic, and qualifies itself into a different pantheon. The 7 Samurai and Yojimbo are like excellent versions of the popcorn flicks of Bay or Emmerich, but with actual, real talent. There's script, plot, action and character arc.

Not to mention the awesomeness that is Toshiro Mifune! He's become a Harrison Ford to me. An icon of awsomeness! His scruffy bearded visage is like a promise of good things! The image of him with an arm pulled through his robe scratching his neck is like seeing Indy with his hat. A samurai sword replaces the bullwhip.

I have Sanjuro at home, and I've seen the first hour or so three times! I just can't get my head out of my ass long enough to plan an hour and a half to sit through it and enjoy it. I fear these interruptions are going to spoil the movie for me.

I'd love to collect all of Kurosawa's movies, but hot damn are they expensive! All Criterions, no less. Some high-falootin' art snob is not my idea of myself. Maybe my priorities will switch around, and I can put his movies on my shelf, someday, but for now, I'll just plug along without them.

[tomdkat]

A few days ago, I watched High and Low and I enjoyed it. I've seen Ran, Seven Samurai, Yojimbo, and The Hidden Fortress and enjoyed them all. I like the way he tells a story.

What is it about Kurosawa that makes his films so great?

Peace...

[Pirate]

Originally Posted by tomdkat

What is it about Kurosawa that makes his films so great?

I could ramble on about my love for Kurosawa and why I think his films are masterpieces that deal with social issues in an unfeigned manor, but I think the simple answer is focus.

Certain filmmaker’s, like Kurosawa, have a clarity of vision and raw focus that just enraptures the viewer. Even his late films like Madadayo have that unwavering focus that effortlessly reveals the truth of the subject.

If you’ve seen most of his more well-known films, give these a look.

• Throne of Blood (may be my favorite in terms of aesthetics)
• Dreams
• Kagemusha
• High and Low
• Stray Dog

I’m not sure what I just said… but I think it’s right.