Description

Hailed by critics as one of the most masterfully directed and beautifully photographed films of all time, Kenji Mizoguchi's stunning classic is an eerie tale of misguided ambition and forbidden passion.Two 16th-century peasants abandon their families to seek fame and fortune, but in attaining their desires, both men destroy their lives and bring tragedy to their families.A powerful testament to the illusory nature of happiness, Ugetsu firmly established Mizoguchi's reputation in the West, and helped earn him recognition as one of the world's greatest directors of women. ... Read more

Reviews (13)

What are the Important Things in Life?
Despite some disturbing scenes and issues, this is a beautiful movie. It tells the story of how the search for money and glory can destroy true happiness. What makes the story work is a lot of different things. First of all, the acting is very good. Watching in in subtitles (there wasn't any other option) helped with appreciating this facet of the movie. The scenery and costumes were pretty good as well. The directing was what was the most outstanding. I confess that I have a problem with most modern movies in that they show a heavy dependance on modern technology and declining moral standards. This enables modern films to utilize two avenues of showing more and more which leaves less and less to the imagination. The talent on display in "Ugetsu" shows how directing at its' best was a true art form; greater, often, than the acting itself. There are several scenes that come to mind. As soldiers rape and pillage, there comes a scene of a gang rape of a woman. Everything we see on film makes it clear in our minds as to what has taken place. Yet the only clothing we see removed is a pair of sandals. Another scene involves an erotic encounter in which, again we understand clearly yet are not invited to watch. There are other scenes worthy of mention but I don't want to give anything away. The way this movie moves along is another testament to its' director; Kenji Mizoguchi.

On the negative side, this movie is currently only available on VHS. I confess to being frustrated with all of my Beta movies and now all of my VHS movies seeming to head towards obsolescence. However, I have come to appreciate the quality as well as the other features of DVD's. Thus I found myself immediately focussing on the occassional snap, crackle, and pop of the VHS quality. Still, once I was engrossed in the story (and that didn't take long to happen), it either ceased to bother me or the quality improved and the movie progressed.

There is a timeless message in this movie that will reach out to just about all viewers. It has to do with identifying our values and appreciating what we have rather than what we desire. Sounds like a message we've heard before but I'm not sure it's been presented quite so well before or since.

Remarkable Piece Of Work
Genjuro (Masayuki Mori) makes pottery and dreams of the day he and his family will be rich. Tobei (Eitaro Ozawa) wants to become a samurai. At its core "Ugetsu" is a story about greed, betrayal, & loyalty. But, what makes this movie so good is how subtle its approach is. Director Kenji Mizoquchi doesn't shove these themes down our throats. The movie is not motivated by plot formulas but rather by its characters. It's our understanding and the fact that we begin to feel a connection between them and ourselves that leads us to watch the movie. The biggest praise I can give the film is by saying it's one of those movies you don't want to end. We are too involved and feel we need to know more.

Mizoquchi after this film earned the reputation of becoming a great "women's director", and the performances by Kinuyo Tanaka (who plays Genjuro's wife) and Ikio Sawamura (Tobei's wife) are standouts. And at times do steal the scenes, as does a wonderful performance from Machiko Kyo (Lady Wakasa).

"Ugetsu" is considered by some critics and filmgoers as one of the most beautiful films ever made. It was even once listed in "sight & sound"s poll as one of the ten greatest films ever. And such acclaim is rightfully deserved. It is a masterful piece of work. People should make an efort to see it. It has a lasting effect.

Bottom-line: The kind of movie you wish wouldn't end. Contains standout acting from the entire cast and memorable cinematography. One of the all-time best.

Can life be like that?
This is a very beautiful movie. My favorite scene is where the potter and Lady Mikasa are having what looks like a picnic by the sea. I think it is the most beautiful composition I've ever seen in a movie. And he says "I didn't know life could be like this." Well I guess it can't, but its comforting to see beautiful things.

Truly a fabulous film
Set in the 16th century, Ugetsu is the story of two impoverished families from a small village and the tragedy that befalls both as the male heads of the household seek selfish, illusory goals. It is simply an excellent film; well acted, superbly directed, and a story that is timeless and profound.

Great Ghost Story
This is a beautifully shot movie. Mizoguchi is a great director of the plight of women in old Japan. His sister was sold into the life of a geisha, so alot of his movies speak for his sister. Some of his other notable films are; Sisters of the Gion, and Geisha. ... Read more

Description

Set in the 11th century, this critically acclaimed film tells a compelling story of injustice and suffering.When a kindly governor is exiled, his wife is forced into prostitution, and his son and daughter are sold into slavery to the tyrannical bailiff Sansho.With authentic sets and rich imagery, Mizoguchi chillingly re-creates the barbaric feudal society. ... Read more

Reviews (11)

A man without mercy is no man
There is much praise heaped upon Mizoguchi Kenji's "Sansho the Bailiff," including the box cover calling it "one of the finest films ever made." I probably wouldn't go that far, but it is an excellent movie ranking amongst the best of the genre, standing tall with Kurosawa Akira films such as "Red Beard." It is very heavy, with a strong message.

Like Kurosawa, social responsibility is a strong theme in Mizoguchi's works. In "Sansho the Bailiff," we see a blending of the social classes, as an honest aristocrat is exiled, his wife sold to a brothel and his children made slaves, all because the aristocrat believed peasants deserved happiness as well, and that the aristocratic class had responsibilities to the peasants. Mixed together, you see cruelty and mercy amongst both classes, from the tyrannical Sansho and his friendly son Taro, or the martyred slave Namiji and the cruel Zushio willing to brand another slave on the head with a hot iron.

To this there is the message of mercy. "Be hard on yourself, but merciful to others" is the mantra passed from parent to child. A sacred image of Kannon, the Goddess of Mercy, is a family heirloom, passed down from generations as a reminder.

As in all Mizoguchi's films, it is ultimately the women who suffer, bearing the sins of men on their capable shoulders. Mizoguchi is considered a feminist in Japan, although the standards are different and most Americans would probably not consider "Sansho the Bailiff" a feminist film.

ONE THE BEST TEN MOVIES EVER MADE
Kenji Mizoguchi, unlike his country fellow Akira Kurosawa, did not make movies about Bushi (Warriors). His world is the world of the poor peasants, fallen women and so on. Sansho is unquestionably his greatest masterpiece and one of the best motion pictures ever made. The story is as follows: Father, a good hearted noble, is exiled. Mother is sold as geisha and sent to Sado Island. Children (Boy and a girl) are also sold as slaves to Bailiff Sansho and separated from their parents. A touching and astonishing movie. Beautiful black and white cinematography. A must see for all cinema lovers. Sansho is a wonder, and those who do not like Sansho do not like cinema. This is a must see for all cinema lovers. If you are not overwhelmed by this marvelous movie, NO other movie will!! BUY IT NOW!! You will not regret it. I assure you!

Please release in DVD
I concur with other reviewers. This is one of the finest, most heartbreaking films ever made (the final scene of the mother and son on the beach, with the camera then pulling away to show their utter isolation and insignificance, is unforgettable in its intensity).
Why is there no option to ask for a DVD release? Why are none of Mizoguchi's films available on DVD (other than his 47 Ronin)?

Mizoguchi's masterpiece
This is certainly one of the greatest works in cinema history - an overwhelmingly moving story, exquisitely filmed. I hereby enter my plea for its release on DVD as soon as possible.

A extraordinary masterpiece film
I saw this movie without any prior information about it and I became very impressed about all the camera work. It is really magnificent. I can close my eyes and see some of the images clearlly. I still remember some scenes with my heart full of emotion. ... Read more

Description

Widely regarded as one of the greatest films ever made, Life of Oharu is Kenji Mizoguchi's (Ugetsu, Sansho the Bailiff) self-proclaimed masterpiece.Known for his graceful directorial style and sympathetic portrayal of women, Mizoguchi risked all to tell the devastating story of one woman's fall from lady-in-waiting to concubine to prostitute.Avoiding melodrama, Mizoguchi focuses on Oharu's dignity as she is betrayed repeatedly by her father, her lovers, and society.Saikaku Ihara's classic 17th-century novel is brilliantly realized through a masterful screenplay and the heart-rending performance of Kinuyo Tanaka (Sansho the Bailiff).The film, which won top honors at the Venice Film Festival, earned Mizoguchi worldwide recognition and new artistic freedom as a director. ... Read more

Reviews (3)

tragedy.
Kenji mizuguchi is a famous japanese movie director along with Yasujiro Ozu. He is known for a feminist and he derected movies such as "Ugetsu Monogatari"-story of Ugetsu-. "The Life of Oharu" is the story that basically the life of the woman called Oharu; the story is based on the book by Chikamatsu Monzaemon. This is a tragedy that Oharu who was born in a good family and went down the social classes.
One thing I have to note is the way Oharu moves. It is very graceful and it is as if we are watching traditional Japanese dance. Also, her first lover is acted by Toshiro Mifune, he is in many Kurosawa movies.
I didnt like this movie because Oharu is so passive and her life is so much controlled by men. But, this doesnt mean I discourage people to watch this movie. Everybody has a different taste and I hope you enjoy this movie.

The real "Memoirs of A Geisha"
Unlike the well-intentioned best-selling book, "Memoirs of A Geisha," Kenji Mizoguchi's film set in the 1700s, doesn't fool us with a relatively happy ending. Mizoguchi knew from what he saw happen to his mother's and sister's lives the duplicity and hypocrisy of the traditional role of a Japanese women, who had no choice but to serve men and abide by an odious double-standard. Kinuyo Tanaka's performance as the title character has depth, humor and, above all, realistic emotion. "Oharu" is unforgettable. Mizoguchi, as usual, proves why Kurosawa called him "the master." This film is elegant, filled with graceful camera pans that underline the situations in which the characters find themselves. Filmmaking doesn't get purer or truer than this. Worthy of Shakespeare. And hardly over-sentimental.

Don't Believe Anything Maltin Tells You
Kenji Mizogichi's Saikaku Ichidai Onna, known hereabouts as The Life of Oharu, is a stunning piece of work, and not "cliched" as Leonard Maltin seems to think (is it possible that, having seen too many movies, he can no longer distinguish the good from the bad?). One of Mizoguchi's late, great films. ... Read more

Amazon.com

Featuring the final collaboration between esteemed director AkiraKurosawa (Kagemusha, The Seven Samurai) and actor Toshiro Mifune (Yojimbo, Hell in the Pacific), this 1965 film explores the complex and tumultuous relationship between a doctor and his protégé, and the meaning of compassion and responsibility. Mifune plays the title character, a revered but stern and unbendable physician ministering to the poor in a clinic, driven by a sense of calling to the profession of medicine and to mankind. He is assigned a young brash intern whose rebellious and arrogant attitude threaten to disrupt the hospital and destroy his burgeoning career. Under the intense tutelage of the relentlessly stern doctor, however, the young doctor in training goes from a spoiled wunderkind insulted at having to work at a clinic he thinks is beneath him, to one who appreciates the compassionate nature of a doctor'scalling. A long, intimate, and engrossing film, it displays some of Mifune's finest work as a man whose profound sense of higher purpose touches all around him. An earnest exploration of duty and honor, Red Beard is an unlikely but worthy addition to the enduring legacy of Akira Kurosawa. --Robert Lane ... Read more

Reviews (24)

Touching Classic
As much as I'm a Mifune/Kurasawa fan I was concerned about the movie being three hours long when I saw the beginning. However after the story developed and gave us insight on the various characters I didn't want it to end. As usual the charismatic Mifune gave a powerhouse performance as Red Beard the head Doctor of the clinic who was very compassionate to his patients as well as those who surrounded him. It's just a pity that this was the last project Kurasawa and Mifune did together. Their collaboration remains sheer magic.

Touching last collaboration; epic on the psychological scale
As Kurosawa intended, the story is a morality lesson for us and details the transformation of a vain young doctor by his internship at a clinic for the poor -- headed by Red Beard (Dr. Niide played by the great Mifune-san.) Despite the incredibly realistic set and great performance by the actors, some of the various subplots can seem too melodramatic for even the slightly cynical. However, there are many unforgetable characterizations and bone-chilling scenes (eg. the calling of the name of a dying boy, Chobo, into a well) that portray an ideal of human goodness all too absent from today's films. Mifune shows off his star power in an incredible action scene also...if you need some incentive to sit for this generally fantastic film , which took an excruciating 2 years to make (a very long production for Japanese films then and now.)

One of the master's best.
Having recently seen "Red Beard" for the first time, I was taken by two things. First that Coppola's "White Dwarf" is a clear-cut remake of this film. Second that this one the best three hours I have spent watching a movie in a very long time.
There is a soul and heart in this film that is lacking in most movies and enough to say that it artfully uses it 3 hours with grace.

Kurosawa's many last things
For those of you who don't know, Red Beard is without a doubt the last film of Kurosawa that is absolutely exceptional. Moreover, this film marks the end of many things for the director. First of all, this is the last movie where he works with Mifune. He spent nearly two years making this! It's understandable that they probably had their differences, which must have put quite a strain in their relationship. Red Beard is also Kurosawa's last black and white film. To most film fans of this genre, this is believed to also be his last film that shows so much emotion and complexity towards humans. One of the things I enjoyed most about this film was the cinematography. There are so many awesome scenes that Kurosawa films through wide lenses and long takes (Which I love). The musical score varies in emotion. This also has one of my favorite endings from a Kurosawa movie. While Seven Samurai had to be one of his best, this one was made after more than twenty years of experience from the most famous director in Japan, if not the world. In other words, Red Beard is the highest point of cinematic perfection for Akira Kurosawa.

Red Beard, black and white emotions
Magisterial and impeccably executed, a perfectly designed, crafted, and carpentered movie. But, very stiff and wooden. Kurosawa's films up to Yojimbo were memorable for their sense of tension. Kurosawa always had a sentimental sermonizing streak, which, however, was thankfully held in check with vitality drawn from European and American influences. Red Beard seems to be modeled on the didacticism of Confucius. Kurosawa portrays the character of Red Beard as noble teacher and the poor as the salt-of-the-earth. Just when Japanese cinema was moving in exciting new directions, Kurosawa made his most old-fashioned movie. Still, it's a work of such fine craftmanship, care, and perfectionism, with such dedicated performances from everyone involved that it has to be considered a masterwork if not exactly a masterpiece. ... Read more

Reviews (1)

The Tale about the unending cicle of Nature.
Directed by Keisuke Kinoshita in a Noh play atmosphere, Narayama Bushiko is an emotive film about a poor village and its' tradition to send the elderly to die at the nearby mountain of Narayama. It focuses the desire of a grandmother, who has secured descendence, to go up that mountain; and the reluctance of her son to carry her there. The film is brilliantly directed, with cinematic influences of Russian (particularly Eisenstein's) filmmaking: the dramatic expression on the actors faces, resembling moving pictures, the haunting music that sets the heavy tone to all of the movie... Over all, it's a great movie, sadly overshadowed by the 1983 Shoei Imamura's take on the same story and which won him the Palme d'Or. Personally, I prefer the Kinoshita original film. ... Read more

Reviews (2)

mizoguchi's portrait of the artist
In a career littered with period films this is one of the rare examples where the master Japanese filmmaker Mizoguchi Kenji portrayed an actual historical figure, though "Utamaro and His Five Women" hardly shoots for a factual representation of an artist's life. "Utamaro" does not aim to be a literal biography but is instead an imagining of the great painter in the prime of his career and his relationship with his models - a relationship that mirrors Mizoguchi's own love/hate relationship with women. This film has the formal beauty one expects from the director, but lacks much else that is memorable. Perhaps "Utamaro" is best left for admirerers of the director - initiates to Mizoguchi should look for "Sisters of the Gion," "Osaka Elegy," "Ugetsu," "A Geisha" (aka "Gion Music Festival") or his masterpiece "Sansho the Bailiff" instead. The VHS of "Utamaro" from New Yorker is terribly blurry and also unfortunately out-of-print.

Great
This movie is an odd mix of strong women, and weak men. When taken in the context of a post-war film made during the US occupation, it is an interesenting anti-censorship film. ... Read more

Reviews (5)

Two pigheads are stronger than one
During a wedding celebration Mr. Hirayama (Shin Saburi) makes a humorous speech: Bride and bridegroom are already lovers, his own marriage was not a love-match...His own wife smiles and keeps silent. Other jokes are cracked: it seems that only men who are weaker than their wives beget sons - Hirayama has two daughters...

Setsuko (Ineko Arima), the elder one, is of marriageable age, a matter he is prepared to consider. He has, of course, his own conception of her future. The problem is that Setsuko has her own conception too. And so has her younger sister: "I'm going to find a husband by myself. I know many boys!". Other parents worry about their daughters too: Mr. Shotaru (Chishu Ryu), for instance: his daughter left him after a quarrel. She lives with her boyfriend and works in the "Luna-bar". Will Hirayama please inquire after her health? Her father has not the courage to face her...Hirayama's hypochondriac sister is in Tokyo too. She is hunting for a son in law. Her prey: a young doctor. She is so eager to get her daughter Yokiko married, that she is prepared to undergo a complete medical check-up. But Yokiko is smart: she feigns interest only because she thinks the trip is good for her mother's health...Setsuko and Yokiko agree: "Parents should stop acting as matchmakers". They promise to help each other. The Hirayamas make an excursion with their daughters, probably the last one before Setsuko's marriage. They remember the war. Hirayama hated it, but his wife misses the feeling of fellowship. He decided to speed up Setsuko's marriage...

...Not speedy enough: Next morning, a good-looking young man asks for his daughter's hand. He is in a hurry since he has been transfered to Hiroshima. Originally, Setsuko intended to break the news gently to her father...Hirayama grills his daughter, but she is determined to take the responsibility for her life in her own hands. Hirayama goes to the "Luna-bar" with one of his employees. This young man is well-known in this bar, and the presence of his boss pains him. Shotaru's daughter is happy with her boyfriend. She quarreled with her father because "Only his view counts". Hirayama is able to bring about a reconciliation. But he remains stubborn vis a vis his own daughter. He does not trust her: "Do you have an affair?". Yokiko pounces upon her uncle with a problem: She's in love. But her mother is against her suitor because it's not the one she selected. Since Hirayama does not think highly of his sister, he sides with his niece - and walks into her trap - her story was just fabricated; She hurries to the phone to tell Setsuko that her father consents in her marriage...Hirayama is sulking. He still opposes the marriage he did not arrange himself, and, since he cannot prevent it, he refuses to attend it. He is forced to accept congratulations and listen to his younger daughter's stories how much in love Setsuko and her intended are. Setsuko pretends that she does not mind marrying without her father's blessing, but secretly she cries. At last, Hirayama, still grumpy, agrees to be present. "For what do you need me?" Parents want to have a say...but one cannot live always in the past. When Yokiko visits her uncle again he is able to laugh at her act. She reveals that her mother only pretends to find her a husband: She is afraid to let her daughter go...Hirayama gives her the advice to take her future in her own hands because: "When children are happy, their parents are happy too". He has a bad conscience, because he did not smile once during the wedding. And now his daughter lives in Hiroshima. At last his sister has a good idea: Take the next train!

Another Ozu, another delight. My first one was love at the first sight, my fourth one is already an old acquaintance. No dissolves, the camera looks up to the faces (this makes sense, since the Japanese sit on the floor, except when they sit on the barstool, of course). The faces are familiar, and so is the scenery...Ozu's films offer intriguing insights into the fast socio-cultural changes of post-war Japan. He describes perhaps better than any other director the impact of american lifestyle on a tradition-conscious society. His protagonists are everyday's heroes, not the artistically superelevated figures of Shakespeare's plays or american westerns. I know: Kurosawa's light dazzles. But Ozu's warms.

Entertaining film
Although Equinox Flower may not be in the same league as Ozu's Tokyo Story or Late Spring, it is still a very entertaining movie. The plot centers around the Hirayama family. The father, played by Shin Saburi, seems to enjoy saying one thing, but doing another. At a wedding reception, he praises the bride and groom for choosing to marry out of love. But in his own home, the father is busy preparing an "arranged marriage" for his elder daughter. You'll no doubt smile and shake your head at his behavior.

This movie is noteworthy because of the appearance of actress Fujiko Yamamoto who earlier gained fame as the first Miss Japan. She plays a friend of Hirayama's elder daughter. There are also a few cultural jokes in this film that Western viewers may miss. In one scene, an intrusive guest named Mrs. Sasaki heads to the bathroom at the Hirayama home. She sees an upside-down broom and turns it rightside-up. In the old Japan, an upside-down broom indicated the homeowners didn't want visitors that day.

This is probably one of Ozu's funniest films, though I wouldn't necessarily label it a comedy. The story of the father is told with a sense of compassion. Rather than condemning him, Ozu allows us to watch as the ol' man slowly comes to the realization that the world around him is changing and that maybe he needs to change as well.

Start your Ozu experience with Equinox Flower
Equinox Flower was my first Ozu film. Now I have seen many of his films,but I think I was very lucky starting with this film. Equinox Flower is a bitter sweet comedy. It is not so serious as his best film Tokyo Story. It is relaxing and enjoyable. And you can learn the extreme beauty of Japanese way of life. Everything on the screen is neatly arranged and the colors are so beautiful.
Ozu had a very good taste for deep red color. He always wanted to put something red among the props. Look at Yamamoto,Fujiko's beautiful green color kimono. All the colors are not so bright and very gentle to your eyes.
Naniwa,Chieko is the funniest character in this film. Saburi,Shin played a typical Japanese gentleman here,and Yamamoto Fujiko proved to be one of the best comedienne in those days

Ozu's first color film.
Ozu's first color film is a carefully told epic about family struggles and the clash of different traditions and cultures. Being one of his trademarks, Ozu uses long shots and almost never close-ups. The rhythm of the film flows calmly and steady.

Along with Ozu's "Tokyo Story", "Equinox Flower" is one of the most precious films of world cinema and a stunning work of art that offers such great sympathy for its characters. Surely not to be missed !

ozu's first color film
as with every other major cinematic advancement ozu held out against color as long as he possibly could but his use of color in "equinox flower" and later films is just as inventive and seemingly effortless as in his black and white compositions. the director's color scheme shows up surprisingly well in this solid vhs transfer from the folks at new yorker films, whose reliability in terms of picture quality for their videos is sometimes questionable. as for the film itself the plot is a variation on the usual ozu schpiel about marriage and its consequences. the focus is, as always, more on character than plot and the film is has many well-drawn characters. "equinox flower" is highly enjoyable and certainly one of ozu's less demanding films. however, in this case it's a bit more of a curse than a blessing: in the end the film feels somewhat slight and it's not nearly as profound or memorable as ozu's best work. though i wouldnt recommend that anyone go out of their way to dig it up it's most definitely worth a look. ... Read more

Reviews (24)

Touching Classic
As much as I'm a Mifune/Kurasawa fan I was concerned about the movie being three hours long when I saw the beginning. However after the story developed and gave us insight on the various characters I didn't want it to end. As usual the charismatic Mifune gave a powerhouse performance as Red Beard the head Doctor of the clinic who was very compassionate to his patients as well as those who surrounded him. It's just a pity that this was the last project Kurasawa and Mifune did together. Their collaboration remains sheer magic.

Touching last collaboration; epic on the psychological scale
As Kurosawa intended, the story is a morality lesson for us and details the transformation of a vain young doctor by his internship at a clinic for the poor -- headed by Red Beard (Dr. Niide played by the great Mifune-san.) Despite the incredibly realistic set and great performance by the actors, some of the various subplots can seem too melodramatic for even the slightly cynical. However, there are many unforgetable characterizations and bone-chilling scenes (eg. the calling of the name of a dying boy, Chobo, into a well) that portray an ideal of human goodness all too absent from today's films. Mifune shows off his star power in an incredible action scene also...if you need some incentive to sit for this generally fantastic film , which took an excruciating 2 years to make (a very long production for Japanese films then and now.)

One of the master's best.
Having recently seen "Red Beard" for the first time, I was taken by two things. First that Coppola's "White Dwarf" is a clear-cut remake of this film. Second that this one the best three hours I have spent watching a movie in a very long time.
There is a soul and heart in this film that is lacking in most movies and enough to say that it artfully uses it 3 hours with grace.

Kurosawa's many last things
For those of you who don't know, Red Beard is without a doubt the last film of Kurosawa that is absolutely exceptional. Moreover, this film marks the end of many things for the director. First of all, this is the last movie where he works with Mifune. He spent nearly two years making this! It's understandable that they probably had their differences, which must have put quite a strain in their relationship. Red Beard is also Kurosawa's last black and white film. To most film fans of this genre, this is believed to also be his last film that shows so much emotion and complexity towards humans. One of the things I enjoyed most about this film was the cinematography. There are so many awesome scenes that Kurosawa films through wide lenses and long takes (Which I love). The musical score varies in emotion. This also has one of my favorite endings from a Kurosawa movie. While Seven Samurai had to be one of his best, this one was made after more than twenty years of experience from the most famous director in Japan, if not the world. In other words, Red Beard is the highest point of cinematic perfection for Akira Kurosawa.

Red Beard, black and white emotions
Magisterial and impeccably executed, a perfectly designed, crafted, and carpentered movie. But, very stiff and wooden. Kurosawa's films up to Yojimbo were memorable for their sense of tension. Kurosawa always had a sentimental sermonizing streak, which, however, was thankfully held in check with vitality drawn from European and American influences. Red Beard seems to be modeled on the didacticism of Confucius. Kurosawa portrays the character of Red Beard as noble teacher and the poor as the salt-of-the-earth. Just when Japanese cinema was moving in exciting new directions, Kurosawa made his most old-fashioned movie. Still, it's a work of such fine craftmanship, care, and perfectionism, with such dedicated performances from everyone involved that it has to be considered a masterwork if not exactly a masterpiece. ... Read more