By Peter Wild
“Most administrators have one movie for which they're identified or potentially two,” acknowledged Francis Ford Coppola. “Akira Kurosawa has 8 or nine.” via masterpieces corresponding to Kagemusha, Seven Samurai, and High and Low, Akira Kurosawa (1910–98) motivated administrators from George Lucas and Steven Spielberg to Martin Scorsese, and his groundbreaking techniques in cinematography and modifying, mixed along with his storytelling, made him a cinematic icon. during this succinct biography, Peter Wild evaluates Kurosawa’s motion pictures whereas supplying a view of the fellow in the back of the digital camera, from his kinfolk existence to his international audience.
After discussing Kurosawa’s formative years in Japan, Wild explores his years as an assistant director at a brand new movie studio and his early motion pictures in the course of and after global struggle II earlier than he gained overseas acclaim with Rashomon. whereas surveying Kurosawa’s striking profession, Wild additionally examines the myriad criticisms the director confronted either inside of his personal state and abroad—he used to be too encouraged by way of Western cinema; now not authentically jap; and he used to be too sentimental, naïve, conceited, or out of contact. through putting Kurosawa and his motion pictures within the context of his instances, Wild is helping us to appreciate the director and the reproaches opposed to him. Cogent and concise, Akira Kurosawa should be crucial examining for someone drawn to the paintings of this masterful filmmaker.
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Extra resources for Akira Kurosawa (Critical Lives)
Film magazine Kinema Junpo ranked it the second best ﬁlm of the year. ’45 Oshima would also nod to Kurosawa again in his ﬁlm Boy, which includes a park scene that is reminiscent of both Ikiru and also the ﬁlm that directly followed No Regrets for Our Youth – One Wonderful Sunday. The commentators who regard No Regrets for Our Youth as a lesser Kurosawa would no doubt argue that his subsequent ﬁlm, One Wonderful Sunday, maintained a downward trajectory. It is certainly one of the oddest ﬁlms in his oeuvre thanks to a ‘fourth wall’ breaking climax that sees the heroine, Masako, played by Chieko Nakatita (who had already enjoyed bit parts in both The Most Beautiful and No Regrets for Our Youth) imploring the audience to help all of the young lovers in the world by applauding.
Concerning a ﬁlm studio much like Toho and including cameos from the likes of Susumi Fujita, the action revolves around the ﬁring of a young script girl and the corresponding unionization of her colleagues – climaxing with a group of strikers singing pro-union songs. ’38 Nevertheless, he disowned the ﬁnished work, didn’t include it in his ﬁlmography and never mentioned the experience of shooting it in his autobiography. The screenplay for Those Who Make Tomorrow, along with a radio play and a script for a ﬁlm called The People of Kanokemaru, which Kurosawa planned to make in 1951, were discovered in his archives in 2011.
34 These days, Scandal is best thought of as a dry run for the inﬁnitely superior Ikiru (Shimura’s Hiruta plays like a distant echo of his performance as the civil servant Watanabe) and has been largely overshadowed by the second ﬁlm Kurosawa made in 1950, a ﬁlm that would change not only the director’s fortunes but also the fortunes of Japanese cinema and, arguably, the fortunes of what is referred to as world cinema in the second half of the twentieth century: Rashomon. 62 4 1950: World Cinema Like pouring water into the sleeping ears of the Japanese ﬁlm industry.