Description

Widely regarded as Kenji Mizoguchi's (Sansho the Bailiff, Ugetsu) best pre-war film, Sisters of the Gion marks the beginning of the acclaimed director's mature style.Filled with compositions as exquisite as they are realistic, the s ... Read more

Reviews (3)

Sister's of the Gion--Light and Shadow
I just had a chance to see this beautiful movie, and once again I have to revise my ideas about Japanese cinema--it's even more profound than I'd believed. What strikes the viewer immediately is the masterful use of shadow. The great novelist Kawabata wrote about the shadows of traditional Japanese homes and buildings, lit by lamps instead of neon, and this film utilizes shadow with the touch of a Rembrandt. The viewer is pulled into another world, the lovely and cruel world of pre-war Asia. The director explores the cruel circumstances of the sisters with compassion, and complete realism. The viewer knows with absolute certainty that the sisters will never escape their destiny--not because of any moral failing, but because there's no way out. If you haven't seen this movie--watch it very soon and visit a world you've never dreamed of.

A Pearl Buried Beneath An Avalanche Of Market Trash
I am amazed and appalled that there is only one review of this masterpiece and that that review is so condescending. History has never been more unkind to a genius than it has been to Mizoguchi. He was the greatest of all Japanese film makers and one of the handful of greatest of all film makers. Even Kurosawa acknowledged his superiority. I have watched this film many times and I could describe almost frame by frame why this film is great. But I think it would be pointless, cinema is an art of images, not of words. Watch this film carefully and you will see how cinema has been made into a great art form. Watch and let it speak for itself. My job here is only to point you to this pearl buried beneath an avalanche of film trash. Watch it and let Mizoguchi speak for himself.

A snapshot of a world long-gone....
For the many fans of the book "Memoirs of a Geisha", "Sisters of the Gion" is a treasure of a movie. Released in 1936, it was intended for an audience who daily lived similar lives to the ones onscreen. Thus, for the casual Western viewer the actions & social conflicts it presents may seem strange. To someone who wants to see what daily life in the Gion quarter of Kyoto was like in the mid 1930's, it's a gem!

"Sisters of the Gion" opens with an auction of household items. We are told they belong to the merchant Furosawa who has gone bankrupt. Mr. Furosawa then abandons his wife, child & faithful clerk to go stay in the Gion residence of Umekichi, a geisha to whom he had been patron. Umekichi lives with her more modern sister Omocha. We know she is more modern from the first scene she appears in, as she wears Western fashions as opposed to the kimono worn by her sister. Omocha is not happy they will be supporting Mr. Furosawa & gives Umekichi a lecture on geisha economics; she believes men are only as good as the size of their wallet, & has no use for a man who can't support them. The rest of the short movie (66 minutes) follows Omocha's plots to secure herself & Umekichi wealthy patrons & the emotional devastation she wreaks in the process. Of course the final scene shows her having been punished for her pains, as was expected by the conservative moral climate of the time.

What will prove fascinating to the viewer who has read "Memoirs of a Geisha" is the minutiae of daily life in Kyoto during this period. The original viewers in 1936 took the street scenes & shots of domestic life as a given, but to modern eyes it is astonishing to see the tiny corridors that passed as streets in Gion, the platformed tatami rooms with tea braziers & ubiquitous long-stemmed pipes smoked by all the characters. The few traces of European influence (large cars, fedoras, Omocha's dresses) slam jarringly into the timeless framing of bare rooms & kimono clad women.There isn't a building higher than two stories evident in any outdoor shot, & merchants still visit customers homes to thanks them for their patronage! An early scene even shows the sisters walking down a street, stopping every few steps at shrines to clap their hands in homage, all without pausing their conversation! Truly, a world which vanished irrevocably at the end of World War II!

Honestly, "Sisters of the Gion" gets it's 4 stars as an anthropological artifact, not as a movie. But to anyone interested in daily life during this period of Japanese history, it is an invaluable record. ... Read more

Amazon.com essential video

This semi-comic 1961 film by legendary director Akira Kurosawa (Rashomon, Ran) was inspired by the American Western genre. Kurosawa mainstay Toshirô Mifune (The Seven Samurai) plays a drifting samurai for hire who plays both ends against the middle with two warring factions, surviving on his wits and his ability to outrun his own bad luck. Eventually the samurai seeks to eliminate both sides for his own gain and to define his own sense of honor. Yojimbo is striking for its unorthodox treatment of violence and morality, reserving judgment on the actions of its main character and instead presenting an entertaining tale with humor and much visual excitement. One of the inspirations for the "spaghetti Westerns" of director Sergio Leone and later surfacing as a remake as Last Man Standing with Bruce Willis, this film offers insight into a director who influenced American films even as he was influenced by them. --Robert Lane ... Read more

Reviews (90)

Immaculate, Quiet Comedy.
Although it's not a popular opinion I actually prefer Yojimbo to Kurosawa's epic Seven Samurai. It is funnier, it is smaller scale, and the music is some of the best you will hear - one part John Barry James Bond, to one part Japanese. The plot is so good, they remade it twice. Once as Fistful of Dollars, and once as Last Man Standing, but neither of those later films capture the story as well as Kurosawa.

With gentle humour and a gradual building of tension, Kurosawa really gets you into the movie. Mifune (a regular in Kurosawa films) is wonderful, very understated, very comical and quietly moving.

Although not as widely known as Seven Samurai, or Rashomon, this represents some of Kurosawa's greatest work. The attention to detail is incredible.

It is entirely accessible to Western audiences. Kurosawa's films travel extremely well. The picture on the DVD could be better, but that's a minor quibble. This film is immaculate. You need this.

Stunning
Oh, in the first 3 minutes I knew this was going to be great. From the gloomy intro with the wonderful music playing, to the suspenseful finale, this film never lets up. Masterful directing and a clever plot is what this piece of cinema offers you. This type of film is known as a Jidaigeki western. Oh, and the swordfights don't happen until the last 45 minutes of the movie, just so you know. I recommend watching this before watching Seven Samurai. This film is known as "The Bodyguard" in Japan.

The movie Fistful of Dollars was a good remake of this film, so you might want to check that out after you've watched Yojimbo. But be warned - Last Man Standing was a very bad remake of Yojimbo so stay away from it. Unosuke has got to be one of the coolest villains ever. This was much better than Crouching Tiger, Hidden Dragon. Toshiro Mifune and Tatsuya Nakadai's performances are unforgettable. And in case you're wondering, Ryo means "Gold coin" in Japanese. And so, with a mix of action, suspense and dark comedy, Yojimbo is hands down, the best film of the '60's.

save for a few scratches in the print, this is a great DVD
I myself am one with those who wonder how on earth this Criterion version of Yojimbo ended up having that huge, ugly scratch mark on the print. It just stops me from giving it a full 5-star mark.

But that aside, this DVD is still a great DVD. It's actually my favorite among the Kurosawa-Mifune movies, simply because it is so much fun. the Mifune swagger, perfectly timed with the catchy beat of the soundtrack, is unforgettable. his huge confidence, his arms still drawn in, his shirt sleeves hanging limp and empty while his enemies menacingly surround him, is almost too funny. The lines I like the most come from the "coffins" chapter, where Mifune tells the wannabes "you have such cute faces", then proceeds to tear through them with ease, then with typical panache, tells the cooper (coffin maker) to make two coffins, no, make that three. I don't think I have seen any Hollywood actor, except perhaps the young Paul Newman, act so cool under stress. Even Clint Eastwood's turn in "A Fistful of Dollars" pales in comparison.

Then of course, the twists and turns as he manipulates both gangs. Even the way he mocks the boss' wife by calling himself a "nobody", taking the name of some vegetable he saw in the garden through the window.

Then his low moments. The way he recovers his strength, the way he prepares to neutralize the enemy's pistol by mastering knife-throwing. You'd think he doesn't stand a chance, until it happens. Those harrowing death scenes. And finally, the sight of Yojimbo leaving town, arms drawn in, sleeves empty and limp on his sides, swaggering to the beat of the soundtrack as the movie ends.

It's worth it. And you can always trade-in that crappy "Last Man Standing" to pay off some of the cost of "Yojimbo". It's a trade I would make anytime.

Criterion does it again!
This edition of Yojimbo is the best out there. Just as they do with all digital transfers, Criterion takes only the best transfers from the original films and polishes them to make them look much much better. For a single layered DVD, though, this disc should've been a little cheaper. Great disk!

Do You Feel Lucky Kurosawa?
Toshiro Mifune's silk clothes must stink, but don't mess with this guy. He's a killer with a bad hair-do. I loved the hired killers of the village with their brag and weird swordplay stances. There's a 19th Century Japan feel to a village that might as well have been Dodge City in the American West. Kurosawa is a funny guy. How he adapted Dashel Hammet's California gangster story of waring gangs is Asian alchemy. ... Read more

Description

From one of the world's greatest directors of women comes a candid and revealing look at discrimination against women in 1930's Japan.The highly acclaimed film chronicles the heartbreaking fall of a young telephone operator who consents to become her boss' mistress in order to support her alcoholic father and put her brother through school.Isuzu Yamada is tremendous as the tough heroine condemned by society for behavior that would have been tolerated if she were a man. ... Read more

Reviews (1)

A masterpiece from Japan
A heroine who sacrifices herself for the family. This is one of the subjects Kenji Mizoguchi, japanese director of the thirties, likes to deal in his movies, inspired by the theatrical tradition of his country. Osaka, Japan, mid-thirties. The young Ayako (played by the actress Ysuzu Yamada) works as a telephonist of a pharmacist factory. Although in love with his fellow, she decided to date her manager in order to save his father from prison. Once set all up, she tells everything to her fellow and got his love back. However, her problems are far from over. As her brother needs money, she has a brief love affair with an adjuster, who later denounces Ayako and her boyfriend to the police. In all senses, this is a small masterpiece from Japan, brilliant photographed by Minoru Miki. ... Read more

Amazon.com essential video

A champion of illumination and experimental shading, Kurosawabrings his unerring eye for indelible images to Shakespeare in this 1957adaptation of Macbeth. By changing the locale from Birnam Wood to16th-century Japan, Kurosawa makes an oddball argument for thetrans-historicity of Shakespeare's narrative; and indeed, stripped tothe bare mechanics of the plot, the tale of cutthroat ambition rewarded(and thwarted) feels infinitely adaptable. What's lost in thetranslation, of course, is the force and beauty of the language--muchof the script of Throne of Blood is maddeningly repetitive orsuperfluous--but striking visual images (including the surrealCobweb Forest and some extremely artful gore) replace the sublimepoetry. Toshiro Mifune is theatrically intense as Washizu, the samuraifated to betray his friend and master in exchange for the prestige ofnobility; he portrays the ill-fated warrior with a passion bordering onviolence, and a barely concealed conviviality. Somewhat less successfulis Isuzu Yamada as Washizu's scheming wife; her poise and creepy impassivity,chilling at first, soon grows tedious. Kurosawa himself is the star ofthe show, though, and his masterful use of black-and-white contrast-- not to mention his steady, dramatic hand with a battle scene--keepsthe proceedings thrilling. A must-see for fans of Japanese cinema, aswell as all you devotees of samurai weapons and armor. --MilesBethany ... Read more

Reviews (83)

Akira Kurosawa's Japanese version of Macbeth
I'm a student from Nagoya International School and have just seen the movie "Throne of Blood" in our unit in Shakespeare's Macbeth. By watching the movie, I saw how Kurosawa has adapted Shakespeare's Macbeth to a setting in the Japanese feudal time period. As a person who reads and speaks Japanese, I felt the Japanese title "Kumonosu jou", meaning Spider-web castle had a strong impact on the film. One of the most interesting characters in both Throne of Blood and Macbeth was the witch. The witch took a big part in the story where he/she tells Macbeth his destiny. This drives Macbeth to his tragic end. In the original version of Macbeth, there were 3 witches telling Macbeth his future which motivated Macbeth to his murders. But in Kurosawa$B!G(Bs Throne of Blood, when Washizu was lost in the woods, he meets an old man spinning a wheel and making thread. By seeing that, I thought Kurosawa recognized that the witches controlled the story in the original version of Macbeth. So the old man spinning symbolized that the witch had everything in control. I think that is another reason that Kurosawa named his film Spider-web Castle, with the idea of spider-web suggesting the witch was in control of everything. I recommend this film to students who have read Macbeth and studied the play carefully, as they will be are able to compare this film to the original version of the play and enjoy the differences between the two.

witches counts as 'mononokes'?
I am a student at Nagoya International School, and have recently studied Shakespeare's Macbeth in my English class. After reading the original Macbeth, we watched several versions (Polanski, BBC, and RSC) which included Kurosawa's version of Macbeth, "Throne of Blood". Each of Polanski, BBC, and RSC version reflected Shakespeare's original version of Macbeth, its rich and fluent language, and its fabulously distributed plot. Because of language difference, and difficulty to transfer Shakespearian language directly into Japanese, it seemed as though the value has been lost, but as a Japanese citizen, I was eager to understand that Kurosawa had used old fashioned Japanese language in his film, which created an harmony which can be compared to or to support the lackness of Shakespeare's language. I also enjoyed the way how Kurosawa transferred the witches of the original version, into 'evil spirits' or what is called 'mononoke' in Japanese. Kurosawa probably named the forest and the castle to match the evil spirit , or Macbeth's (Washizu) fate. The evil spirit appeared in white robe, with white messy hair, spinning a wheel in its hand, a stereotype of what a Japanese would imagine as a 'mononoke'. Cobweb or 'spider' was such a great aspect to extract the evilness of the original witches of Macbeth, because of the replacement of the witches to a 'mononoke'. The black and white film also contributed to express the 'spookiness' in the evil spirit. With some of these changes, Kurosawa perfectly fitted Macbeth itself from an English story into a brand new Japanese film, using ancient Japanese culture (ex. feudal systems, japanese chivalry). He was successful in translating the original Macbeth for the Japanese, to spread the wonderfulness of the Shakespearian plays to a new and wide ranged people.

I just read Macbeth in British Lit class
After reading Macbeth in Lit class, I wanted to watch a movie adaptation and I happened to run into this one, I had heard on amazon.com that this was a Japanese adaptation of Macbeth and I picked it up, I really enjoyed it, much more than I expected to. Akira Kurosawa did a great job in this, it is old and the technology is limited but I loved it, I showed it to my friends who had not read the book but they loved the film as well, especially the ending, if you have seen it, you'll know what I mean, I do not wish to ruin it for anyone, anyway, the DVD price is quite high but if you are thinking of buying it, I suggest trying to rent it somewhere or obtain it temporarily from somewhere or someone and then decide to buy it or not, good movie, enjoy.

Akira Kurosawa just knew how to make great movies.....
Akira Kurosawa's Throne Of Blood may very well be his best, ranking up there with Seven Samurai, Ran, Yojimbo, Rashomon, and The Hidden Fortess.
A telling of Macbeth the film takes place in the time of the samurai. Tashiro Mifune plays Washizu a worrior who betrays his master and friend on his climb to the ultimite of power.
After encountering a witch in the woods who tells Washizu that he will take the place of his master Washizu, with the not so suddle proding of his wicked wife, dose everything in his power to gain, the lose control, of everything.
Kurosawa had done Shakespear before, quite possably the best telling of King Lear was Ran, but this time he strips everything down to the bear bone and unlike some films from Japan, the acting, manic and frantic, seeems only to enhance the film. Mifune is fantastic as Washizu, the ill fated worrior.
The movie grabs you right from the beggining and never lets go. It's a very violent film for it's time but if you ever want to see a master at his craft look no further than Akira Kurosawa'a Throne Of Blood.

Macbeth around the globe
Throne of Blood is an Akira Kurosawa's rendition Shakespeare's Macbeth. The story pretty much is the same with a few minor character changes, one sprit instead of three witches for example, and some obviously included contextual changes, set in pre-modern Samurai Japan. I understand that it has historical relevance and all, but really the movie itself is nothing too special. It is just an ok movie.
Now that I have said that, I feel I need to warn the viewers out there who do not usually watch foreign films. These people must be wary of, if it bothers them, the fact that the film in black and white. I understand that some people cannot sit through black and white films. There is also lack of ongoing action, typical Shakespeare, that we are used to, and that puts some people to sleep, so be warned about that too. I feel that you should watch it for your own cultural and mental advancement, but unless you like the genres of Japanese/Samurai films or Shakespeare adaptations then you probably will not like it. In addition, it is in Japanese, so if you do not like subtitles then you should be warned once again. I recommend you watch it, but at the same time I feel that once is enough. ... Read more

Reviews (11)

A nostaligic, brief glimpse of a genius
"Kurosawa" is a well-produced, rather easy going documentary of a master film maker. It reads like a fan letter to Kurosawa, each moment heaping praise on the director, while leading the viewer through a biographical timeline of his life. An enjoyable piece to watch.

That being said, I was disappointed in the depth of the documentary. There is little discussion of Kurosawa's impact on film, his innovations and, most importantly, what he was trying to achieve with his films and his success in achieving that goal. Kurosawa was a film maker with a definitive focus, seeking no less than to change the world for the better using films as his medium. This message is never really mentioned, which surprised me as it is so crucial to understanding his films. Few, if any, of his films are examined critically and little insight is gained as to why Kurosawa is such an important artist of the 20th century.

Even with its lack of depth, "Kurosawa" makes for a fine, nostalgic documentary. Clips of Kurosawa at work on his films are enjoyable, as is the reunion of the "Roshomon" workers and the interviews with a few former Kurosawa-film beauties. The presentation of artifacts, such as the Noh mask used for "Throne of Blood" and the Ryokan in Kyoto where Kurosawa wrote his screen plays, adds a human element to the piece.

The DVD adds to the missing depth with a good length of interviews of varying interests, each focusing on personal reminiscences of Kurosawa. The Suntory whisky easter eggs are quite charming, and a nice touch. This is why we have DVDs.

Should have been longer, should have been deeper, but still good.

5 Star biography -- 2 Star Look at his films
Kurosawa reaches for great heights with Sam Shepherd narrating the body and Paul Scofield acting as the voice of Kurosawa's autobiography. It's certainly worth watching as a compelling story of a famous man, but it fails as an examination of his work. If it weren't for the films, Kurosawa would hardly be an interesting subject, but the documentary is only interested in certain films important to his overall career. The first half-hour is an interesting but empty tribute to how important he is supposed to be. I find it interesting to hear about Kurosawa's experiences with Hiroshima and his brother's suicide, but that should be a secondary attribute, not the heart of the film. Though decent length is spent on Rashomon and Seven Samurai, the films Hidden Fortress and High and Low aren't even discussed. Many actors and writers from the films are interviewed in current times, and they even return to the locations of the films. It was also interesting to see Clint Eastwood and James Coburn discuss the films and characters that they would later play in western remakes. But I still wanted more. A look at how Kurosawa's early rearing readied him for future art is would have been more worthwhile, had the actual work been discussed for its own merits.

A look into the life and working habit of Kurosawa
There are two parts to this DVD: the main part that tells of the
life story of Kurosawa and highlights of his filmography, and the
bonus materials that consist of interviews with actors,
producers, cinematographer, sound techinicians, and others
involved in making movies with Kurosawa. I find the bonus
interviews much more interesting than the main part of the DVD.
From these interviews you get a picture of how Kurosawa works,
from competitive team writing of scripts to simultaneous filming
with *eight* cameras. It is true that as a fan one would like to
see the films discussed more, but the producer has crammed as
much as they can into a single dvd. To fully document the life
and work of Kurosawa will probably require a 3-or 4-dvd set!

What I like best from the DVD: Kurosawa's regret that he hasn't
done anything to resist Japan's war efforts, the frank discussion
of his suicide attempt, the discussions of his work ethics and
methods, his failed collaboration with Hollywood on ``Tora! Tora!
Tora!'', and the demonstration of the Iaido sword drawing
technique! What I wish they have covered better: the break
between Kurosawa and Mifune after Red Beard, and more
illustrations from the films when interviewees discuss various
aspects of the films.

One film that is strangely not mentioned at all in the whole DVD
is the Hidden Fortress. Interestingly, in his interview included
at the end of the Hidden Fortress Criterion Collection DVD,
George Lucas denies Hidden Fortress' influence on Star Wars. He
came across as rather annoyed by the question, actually. As for
the Seven Samurai, Michael Lesk's running commentary in the
Criterion Collection discusses in depth Kurosawa's directing
techniques. The present DVD also gives some more ``making of''
information on Seven Samurai. Kurosawa and Seven Samurai are
mentioned in perhaps two sentences in the ``making of'' special
feature of the Magnificient Seven's DVD.

Great, But Incomplete
My first exposure to a Kurosawa film was "Seven Samurai". I watched it after watching "The magnificent Seven". The thing that piqued my curiosity about Seven Samurai was the "making of" documentary that came with The Magnificent Seven. After watching Seven Samurai (3 times in less than 2 days - it litterally blew me away), I then saw the Magnificent Seven again.

So what does all of this have to do with the film Kurosawa? Plenty. Much of what was included in Kurosawa's life was never mentioned in the actual film (a major example of this is that the film itself never mentions that John Ford was a major influence on Kurosawa (and is just casually mentioned in the bonus material). Another example is that the film never mentions Kurosawa's reaction to The Magnificent Seven being made. To get all this information, you must buy The Magnificent Seven DVD (The Special Edition), and watch the "making of" feature, Guns For Hire: The Making Of The Magnificent Seven. Also, why wasn't George Lucas in this project? The movie "The Hidden Fortress" greatly influenced him to make "Star Wars". Actually, there is very little mention of The Hidden Fortress, an ingenious movie in it's own right).

It's too bad that the makers of Kurosawa couldn't incorporate Guns For Hire, and the George Lucas interview (The Hidden Fortress) with the film, and the bonus interviews. I probably would have given this documentary 5 stars. Maybe I'm making too much over Seven Samurai, but (as far as I'm concerned) Seven Samurai, and Rashomon were his greatest movies.

Still, this documentary (Kurosawa himself cringed at the idea of writing an autobiography) does pay a great deal of tribute to a great, and highly innovative director. Thus it is worth the price of purchase. (How many feature length films do you see on other great directors (Hitchcock, Lang, Ford)? The only one that I can recall is Samuel Fuller (The Typewriter, the Rifle and the Movie Camera), and from watching the still limited releases that he made, he was a great one). Anyway, this is a great bio, but (if you don't have it already) get it with The Magnificent Seven Special Edition DVD.

Oh by the way; those japaneese charactors in the menus. If you highlight them, you get comercials of Kurosawa drinking / endorsing Santori Whiskey.

A personal biography, not enough on the films
I had only seen two Kurosawa movies (Ran and Seven Samurai) before I saw this documentary, and I was interested to learn more. I learned a lot about Kurosawa's life: His family, his childhood, his brother who committed suicide, and the early years at Toho. But when documentary turned to the films that made Kurosawa famous, I was unsatisfied. The films are presented as key moments in Kurosawa's emotional and professional life --- this one was his breakout film, that one was his hardest shoot, and another re-started his floundering career.

That approach isn't too bad. I can look elsewhere (on DVD and in books) to get a closer look at the films themselves, the production histories, and the reactions from fans and critics. But still, I wish more of his movies had been covered. What about The Hidden Fortress? (I was hoping to see it juxtaposed against Star Wars, to see if they really *are* alike.) And the excerpts from the films are too short. For example, rather than show key scenes from Rashomon, the documentary revisits the spot where those scenes were filmed 50 years ago.

This documentary is a little weak, but it's worth the time. The filmmakers introduce you to Kurosawa as an artist. There brief interviews with Americans like Clint Eastwood are a nice touch. The DVD has an extra hour of interviews, as well. A better documentary on Kurosawa could be made. Until then, this is good enough. ... Read more

Reviews (13)

Kurosawa at his best
This adaptation of Gorky's play "the Lower Depths" by the master director Akira Kurosawa is quite a labyrinth. Each player has a path to follow, a fate that binds. Just as the dying woman is inexorably bound towards death, the tinker, thief, geisha, gambler, samurai, and pilgrim all are caught in a chillingly hopeless web of life and death. Outwardly we see the bottom dwellers, society's dregs from post feudal Japan. Yet the poverty of the individuals is really a portrayal of the poverty of the spirit of Modern Life. The lack of connection to spirit condemns them and us to a life and death of mindless work, escapist illusion, apathetic indifference to other's suffering, and the selfishness and hopelessness of the narcissist.

Kurosawa's adaptation of Gorky's "the Lower Depths" is brilliant. Kurosawa used the same group of actors for most of his Toho era films. He insisted on the most incredible attention to detail in his sets and costumes. He required this from the actors as well. His invisible presence is everywhere in the film. He brought out the best in the actors, set designers, writers, and camera operators. The attention to detail from beginning to end is awe-inspiring. That the movie is in Japanese is both a blessing and a curse. Since few of us understand Japanese, many of the nuances of the language are lost on us and we are at the mercy of the translators. On the other hand, the separation of the emotional quality of the actors voices from the meaning of the words adds a depth to the play.

One could go into the different lives of the various characters, but this is best left to the viewer. Now that Kurosawa's movies are available on video tape and DVD, we can see them from a more personal level. Again this gain is offset by the loss of not seeing his movies on the big screen. Still I find a deeper understanding of Kurosawa emerges from the multiple viewings of his movies. Years ago when I saw his movies in the theaters, I bought a book on Kurosawa's movies. This helped me to see more into the depths of Kurosawa's psyche, but now that I can view his master works more carefully I get a better understanding and deeper appreciation of these great works of art.

The Lower Depths: A Little Known Masterpiece
Although not well known, this film shines as bright as any of Kurosawa's other works. The Lower Depths is the story of a group of people who all share the same living quarters in the slums of Japan. Everyone suffers greatly until a travelling old man comes and turns their world upside down. This film is spectacularly filmed. Most of the action takes place in a single room giving the viewer the sense of entrapment experienced by the individuals in the film. Mifune's appearence in this film is unparalled as the thief tortured by love and the hell of his existance. The Lower Depths is a film of great suffering and through this suffering finds the joy possible in the human heart. Often times Kurosawa is critisized by individuals for the light-hearted approach he takes to this film. However this light-nature is exactly what he was trying to show. This film is definitly worth checking out. This video will please film buffs as well as anyone familiar with the original Maxim Gorky play.

Two Terrific Adaptations of Gorky's Lower Depths...
LOWER DEPTHS (1936) by Jeam Renoir

Lower Depths is an intricate story of poverty and those who fall into the deepest of socioeconomic despair based on the writer Maxim Gorky's play with the same name. The story takes place in the outskirts of Paris in a poorhouse where Pépel (Jean Gabin), a thief, is planning a raiding. Pépel is having an affair, which he tries to break off, with Vassilissa (Suzy Prim), the proprietor's wife, as he has come to realize that he loves Natacha (Junie Astor), Vassilissa's sister. This provides much intrigue as Vassilissa wants her husband dead because she wants to leave the poorhouse.

Gambling has driven the Baron (Louis Jouvet) to poverty and he has lost his administrative position at the ministry due to theft to cover for his gambling debts. When the Baron arrives home suicidal from one last disastrous gamble he searches for his gun in desperation. Instead the Baron discovers that he has a guest, Pépel, with whom the Baron builds a friendship as they spend the night chatting and playing cards. During the night Pépel finds out that creditors are about to repossess the Baron's mansion and the Baron is only a night away from same living conditions as Pépel.

The majority of the story takes place at the poorhouse where a number of interesting characters provide much insight into how people end up in the lower depths of society. Renoir's adaptation of the Lower Depths was thoroughly appreciated by Gorky as Renoir concentrated on how people shift social class either up or down. This focus is enhanced by the cast with the exception of Junie Astor whose face remains as motionless as a dusty bust when she is in focus of the camera. Renoir's Lower Depths offers a terrific cinematic experience that leaves the audience with notions of social injustice and blissful love.

LOWER DEPTHS (1957) by Akira Kurosawa

When Akira Kurosawa decided to adapt Gorky's Lower Depths to the silver screen he had already seen Jean Renoir's version of the film. Renoir was a film director whose cinematic genius Kurosawa genuinely admired as he later wrote in regards to Renoir, "...I would like to grow old in the same way he did." Kurosawa's direction of Lower Depth has the same intricate story of poverty and those who have fallen into the deepest of socioeconomic despair as Renoir's adaptation. However, unlike Renoir, Kurosawa grabs the cinematic moment in the initial scene where he pans the camera 360 degrees from within a massive hole displaying the upper edge of the abyss. This leaves a visual imprint in the mind which haunts the audience with the dread of falling into the abyss, which Renoir did not accomplish in his film as it had a different motive to tell the story.

The story takes place in a poorhouse that lays in the bottom of the large hole, which is confused by people of high social status as a garbage dump. In the poorhouse there are a number of different characters such as Sutekichi the thief (Toshirô Mifune), Osugi the landlady, Okayo Osugi's sister, Rokubei Osugi's older husband, a former samurai, a prostitute, a craftsman, an actor, a priest, and a gambler among others. They complain about their struggles, get drunk, sing, gamble, and share their hopes as they share a roof together. Through their daily activities the character's different persona's emerge as they tell stories of their past, or dreams that they have to be above the pit in which they now live.

Kurosawa's Lower Depths never leaves the pit in which the poorhouse exists as it instills an enhanced feeling of hopelessness, which lends support to the empathy that the audience builds for the desperation that the characters must feel. This desperate atmosphere is well-balanced by the priest that arrives to the poorhouse as he offers hope for those in need of it. The function of desperation and hope becomes a double edge sword that could inflict harm to those who use the two without care. Through Kurosawa's cinematic brilliance, desperation and hope are visualized and leave the audience with an excellent cinematic experience, which stimulates reflection in regards to the theme.

CRITERION --
does a wonderful job putting both of these cinematic geniuses in the same dvd case as both films are excellent in their own way. In addition, Criterion submits both with interesting extras that will enlighten the audience of both adaptations of Gorky's play. This in an essential piece of cinema that is a must for anyone who loves cinema.

Renoir & Kurosawa
How can you go wrong with Renoir and Kurosawa? The Criterion Collection does its usual amazing work on this release. It combines two different looks at Gorky's play by two of the world's greatest filmmakers. The booklet is informative and well presented. The DVD itself features two very nice transfers -- the Renoir is especially nice considering the age of the original film. The only question for the buyer is do you place it next to Ikiru and Rashomon? or next to Rules of the Game and Grand Illusion? (Make sure you have all of them, of course.)

Kurosawa classic
Based on Gorky's play, set in Japan's Edo period, a group of what would be homeless people with little education, little hope of jobs, on the fringe of society, survive. Clearly delineated characters and ensemble acting give us insight into another place and time to open our horizons. Alcoholism, lack of adequate nutrition, cruel weather conditions, all contribute to the overwrought emotions of these societal-fringe humans. ... Read more

Description

From Ran to Madadayo, Akira Kurosawa set new boundaries for world cinema, producing a string of masterpieces unrivaled in motion picture history.In the first major documentary to be made since his death in 1998, Kurosawa's family and colleagues are joined by critics from Japan and America to produce a comprehensive assessment of his achievement. Featuring clips from Kurosawa's greatest films: Rashomon, Seven Samurai, Throne of Blood, Yojimbo, Kagemusha, Ran, Dreams, and Madadayo.Includes exclusive interviews with James Coburn and Clint Eastwood along with production manager Teruyo Nogami, actresses Machiko Kyo and Isuzu Yamada, actor Tatsuya Nakadai, director Kon Ichikawa, and more.115 minutes. ... Read more

Reviews (11)

A nostaligic, brief glimpse of a genius
"Kurosawa" is a well-produced, rather easy going documentary of a master film maker. It reads like a fan letter to Kurosawa, each moment heaping praise on the director, while leading the viewer through a biographical timeline of his life. An enjoyable piece to watch.

That being said, I was disappointed in the depth of the documentary. There is little discussion of Kurosawa's impact on film, his innovations and, most importantly, what he was trying to achieve with his films and his success in achieving that goal. Kurosawa was a film maker with a definitive focus, seeking no less than to change the world for the better using films as his medium. This message is never really mentioned, which surprised me as it is so crucial to understanding his films. Few, if any, of his films are examined critically and little insight is gained as to why Kurosawa is such an important artist of the 20th century.

Even with its lack of depth, "Kurosawa" makes for a fine, nostalgic documentary. Clips of Kurosawa at work on his films are enjoyable, as is the reunion of the "Roshomon" workers and the interviews with a few former Kurosawa-film beauties. The presentation of artifacts, such as the Noh mask used for "Throne of Blood" and the Ryokan in Kyoto where Kurosawa wrote his screen plays, adds a human element to the piece.

The DVD adds to the missing depth with a good length of interviews of varying interests, each focusing on personal reminiscences of Kurosawa. The Suntory whisky easter eggs are quite charming, and a nice touch. This is why we have DVDs.

Should have been longer, should have been deeper, but still good.

5 Star biography -- 2 Star Look at his films
Kurosawa reaches for great heights with Sam Shepherd narrating the body and Paul Scofield acting as the voice of Kurosawa's autobiography. It's certainly worth watching as a compelling story of a famous man, but it fails as an examination of his work. If it weren't for the films, Kurosawa would hardly be an interesting subject, but the documentary is only interested in certain films important to his overall career. The first half-hour is an interesting but empty tribute to how important he is supposed to be. I find it interesting to hear about Kurosawa's experiences with Hiroshima and his brother's suicide, but that should be a secondary attribute, not the heart of the film. Though decent length is spent on Rashomon and Seven Samurai, the films Hidden Fortress and High and Low aren't even discussed. Many actors and writers from the films are interviewed in current times, and they even return to the locations of the films. It was also interesting to see Clint Eastwood and James Coburn discuss the films and characters that they would later play in western remakes. But I still wanted more. A look at how Kurosawa's early rearing readied him for future art is would have been more worthwhile, had the actual work been discussed for its own merits.

A look into the life and working habit of Kurosawa
There are two parts to this DVD: the main part that tells of the
life story of Kurosawa and highlights of his filmography, and the
bonus materials that consist of interviews with actors,
producers, cinematographer, sound techinicians, and others
involved in making movies with Kurosawa. I find the bonus
interviews much more interesting than the main part of the DVD.
From these interviews you get a picture of how Kurosawa works,
from competitive team writing of scripts to simultaneous filming
with *eight* cameras. It is true that as a fan one would like to
see the films discussed more, but the producer has crammed as
much as they can into a single dvd. To fully document the life
and work of Kurosawa will probably require a 3-or 4-dvd set!

What I like best from the DVD: Kurosawa's regret that he hasn't
done anything to resist Japan's war efforts, the frank discussion
of his suicide attempt, the discussions of his work ethics and
methods, his failed collaboration with Hollywood on ``Tora! Tora!
Tora!'', and the demonstration of the Iaido sword drawing
technique! What I wish they have covered better: the break
between Kurosawa and Mifune after Red Beard, and more
illustrations from the films when interviewees discuss various
aspects of the films.

One film that is strangely not mentioned at all in the whole DVD
is the Hidden Fortress. Interestingly, in his interview included
at the end of the Hidden Fortress Criterion Collection DVD,
George Lucas denies Hidden Fortress' influence on Star Wars. He
came across as rather annoyed by the question, actually. As for
the Seven Samurai, Michael Lesk's running commentary in the
Criterion Collection discusses in depth Kurosawa's directing
techniques. The present DVD also gives some more ``making of''
information on Seven Samurai. Kurosawa and Seven Samurai are
mentioned in perhaps two sentences in the ``making of'' special
feature of the Magnificient Seven's DVD.

Great, But Incomplete
My first exposure to a Kurosawa film was "Seven Samurai". I watched it after watching "The magnificent Seven". The thing that piqued my curiosity about Seven Samurai was the "making of" documentary that came with The Magnificent Seven. After watching Seven Samurai (3 times in less than 2 days - it litterally blew me away), I then saw the Magnificent Seven again.

So what does all of this have to do with the film Kurosawa? Plenty. Much of what was included in Kurosawa's life was never mentioned in the actual film (a major example of this is that the film itself never mentions that John Ford was a major influence on Kurosawa (and is just casually mentioned in the bonus material). Another example is that the film never mentions Kurosawa's reaction to The Magnificent Seven being made. To get all this information, you must buy The Magnificent Seven DVD (The Special Edition), and watch the "making of" feature, Guns For Hire: The Making Of The Magnificent Seven. Also, why wasn't George Lucas in this project? The movie "The Hidden Fortress" greatly influenced him to make "Star Wars". Actually, there is very little mention of The Hidden Fortress, an ingenious movie in it's own right).

It's too bad that the makers of Kurosawa couldn't incorporate Guns For Hire, and the George Lucas interview (The Hidden Fortress) with the film, and the bonus interviews. I probably would have given this documentary 5 stars. Maybe I'm making too much over Seven Samurai, but (as far as I'm concerned) Seven Samurai, and Rashomon were his greatest movies.

Still, this documentary (Kurosawa himself cringed at the idea of writing an autobiography) does pay a great deal of tribute to a great, and highly innovative director. Thus it is worth the price of purchase. (How many feature length films do you see on other great directors (Hitchcock, Lang, Ford)? The only one that I can recall is Samuel Fuller (The Typewriter, the Rifle and the Movie Camera), and from watching the still limited releases that he made, he was a great one). Anyway, this is a great bio, but (if you don't have it already) get it with The Magnificent Seven Special Edition DVD.

Oh by the way; those japaneese charactors in the menus. If you highlight them, you get comercials of Kurosawa drinking / endorsing Santori Whiskey.

A personal biography, not enough on the films
I had only seen two Kurosawa movies (Ran and Seven Samurai) before I saw this documentary, and I was interested to learn more. I learned a lot about Kurosawa's life: His family, his childhood, his brother who committed suicide, and the early years at Toho. But when documentary turned to the films that made Kurosawa famous, I was unsatisfied. The films are presented as key moments in Kurosawa's emotional and professional life --- this one was his breakout film, that one was his hardest shoot, and another re-started his floundering career.

That approach isn't too bad. I can look elsewhere (on DVD and in books) to get a closer look at the films themselves, the production histories, and the reactions from fans and critics. But still, I wish more of his movies had been covered. What about The Hidden Fortress? (I was hoping to see it juxtaposed against Star Wars, to see if they really *are* alike.) And the excerpts from the films are too short. For example, rather than show key scenes from Rashomon, the documentary revisits the spot where those scenes were filmed 50 years ago.

This documentary is a little weak, but it's worth the time. The filmmakers introduce you to Kurosawa as an artist. There brief interviews with Americans like Clint Eastwood are a nice touch. The DVD has an extra hour of interviews, as well. A better documentary on Kurosawa could be made. Until then, this is good enough. ... Read more

Reviews (13)

Kurosawa at his best
This adaptation of Gorky's play "the Lower Depths" by the master director Akira Kurosawa is quite a labyrinth. Each player has a path to follow, a fate that binds. Just as the dying woman is inexorably bound towards death, the tinker, thief, geisha, gambler, samurai, and pilgrim all are caught in a chillingly hopeless web of life and death. Outwardly we see the bottom dwellers, society's dregs from post feudal Japan. Yet the poverty of the individuals is really a portrayal of the poverty of the spirit of Modern Life. The lack of connection to spirit condemns them and us to a life and death of mindless work, escapist illusion, apathetic indifference to other's suffering, and the selfishness and hopelessness of the narcissist.

Kurosawa's adaptation of Gorky's "the Lower Depths" is brilliant. Kurosawa used the same group of actors for most of his Toho era films. He insisted on the most incredible attention to detail in his sets and costumes. He required this from the actors as well. His invisible presence is everywhere in the film. He brought out the best in the actors, set designers, writers, and camera operators. The attention to detail from beginning to end is awe-inspiring. That the movie is in Japanese is both a blessing and a curse. Since few of us understand Japanese, many of the nuances of the language are lost on us and we are at the mercy of the translators. On the other hand, the separation of the emotional quality of the actors voices from the meaning of the words adds a depth to the play.

One could go into the different lives of the various characters, but this is best left to the viewer. Now that Kurosawa's movies are available on video tape and DVD, we can see them from a more personal level. Again this gain is offset by the loss of not seeing his movies on the big screen. Still I find a deeper understanding of Kurosawa emerges from the multiple viewings of his movies. Years ago when I saw his movies in the theaters, I bought a book on Kurosawa's movies. This helped me to see more into the depths of Kurosawa's psyche, but now that I can view his master works more carefully I get a better understanding and deeper appreciation of these great works of art.

The Lower Depths: A Little Known Masterpiece
Although not well known, this film shines as bright as any of Kurosawa's other works. The Lower Depths is the story of a group of people who all share the same living quarters in the slums of Japan. Everyone suffers greatly until a travelling old man comes and turns their world upside down. This film is spectacularly filmed. Most of the action takes place in a single room giving the viewer the sense of entrapment experienced by the individuals in the film. Mifune's appearence in this film is unparalled as the thief tortured by love and the hell of his existance. The Lower Depths is a film of great suffering and through this suffering finds the joy possible in the human heart. Often times Kurosawa is critisized by individuals for the light-hearted approach he takes to this film. However this light-nature is exactly what he was trying to show. This film is definitly worth checking out. This video will please film buffs as well as anyone familiar with the original Maxim Gorky play.

Two Terrific Adaptations of Gorky's Lower Depths...
LOWER DEPTHS (1936) by Jeam Renoir

Lower Depths is an intricate story of poverty and those who fall into the deepest of socioeconomic despair based on the writer Maxim Gorky's play with the same name. The story takes place in the outskirts of Paris in a poorhouse where Pépel (Jean Gabin), a thief, is planning a raiding. Pépel is having an affair, which he tries to break off, with Vassilissa (Suzy Prim), the proprietor's wife, as he has come to realize that he loves Natacha (Junie Astor), Vassilissa's sister. This provides much intrigue as Vassilissa wants her husband dead because she wants to leave the poorhouse.

Gambling has driven the Baron (Louis Jouvet) to poverty and he has lost his administrative position at the ministry due to theft to cover for his gambling debts. When the Baron arrives home suicidal from one last disastrous gamble he searches for his gun in desperation. Instead the Baron discovers that he has a guest, Pépel, with whom the Baron builds a friendship as they spend the night chatting and playing cards. During the night Pépel finds out that creditors are about to repossess the Baron's mansion and the Baron is only a night away from same living conditions as Pépel.

The majority of the story takes place at the poorhouse where a number of interesting characters provide much insight into how people end up in the lower depths of society. Renoir's adaptation of the Lower Depths was thoroughly appreciated by Gorky as Renoir concentrated on how people shift social class either up or down. This focus is enhanced by the cast with the exception of Junie Astor whose face remains as motionless as a dusty bust when she is in focus of the camera. Renoir's Lower Depths offers a terrific cinematic experience that leaves the audience with notions of social injustice and blissful love.

LOWER DEPTHS (1957) by Akira Kurosawa

When Akira Kurosawa decided to adapt Gorky's Lower Depths to the silver screen he had already seen Jean Renoir's version of the film. Renoir was a film director whose cinematic genius Kurosawa genuinely admired as he later wrote in regards to Renoir, "...I would like to grow old in the same way he did." Kurosawa's direction of Lower Depth has the same intricate story of poverty and those who have fallen into the deepest of socioeconomic despair as Renoir's adaptation. However, unlike Renoir, Kurosawa grabs the cinematic moment in the initial scene where he pans the camera 360 degrees from within a massive hole displaying the upper edge of the abyss. This leaves a visual imprint in the mind which haunts the audience with the dread of falling into the abyss, which Renoir did not accomplish in his film as it had a different motive to tell the story.

The story takes place in a poorhouse that lays in the bottom of the large hole, which is confused by people of high social status as a garbage dump. In the poorhouse there are a number of different characters such as Sutekichi the thief (Toshirô Mifune), Osugi the landlady, Okayo Osugi's sister, Rokubei Osugi's older husband, a former samurai, a prostitute, a craftsman, an actor, a priest, and a gambler among others. They complain about their struggles, get drunk, sing, gamble, and share their hopes as they share a roof together. Through their daily activities the character's different persona's emerge as they tell stories of their past, or dreams that they have to be above the pit in which they now live.

Kurosawa's Lower Depths never leaves the pit in which the poorhouse exists as it instills an enhanced feeling of hopelessness, which lends support to the empathy that the audience builds for the desperation that the characters must feel. This desperate atmosphere is well-balanced by the priest that arrives to the poorhouse as he offers hope for those in need of it. The function of desperation and hope becomes a double edge sword that could inflict harm to those who use the two without care. Through Kurosawa's cinematic brilliance, desperation and hope are visualized and leave the audience with an excellent cinematic experience, which stimulates reflection in regards to the theme.

CRITERION --
does a wonderful job putting both of these cinematic geniuses in the same dvd case as both films are excellent in their own way. In addition, Criterion submits both with interesting extras that will enlighten the audience of both adaptations of Gorky's play. This in an essential piece of cinema that is a must for anyone who loves cinema.

Renoir & Kurosawa
How can you go wrong with Renoir and Kurosawa? The Criterion Collection does its usual amazing work on this release. It combines two different looks at Gorky's play by two of the world's greatest filmmakers. The booklet is informative and well presented. The DVD itself features two very nice transfers -- the Renoir is especially nice considering the age of the original film. The only question for the buyer is do you place it next to Ikiru and Rashomon? or next to Rules of the Game and Grand Illusion? (Make sure you have all of them, of course.)

Kurosawa classic
Based on Gorky's play, set in Japan's Edo period, a group of what would be homeless people with little education, little hope of jobs, on the fringe of society, survive. Clearly delineated characters and ensemble acting give us insight into another place and time to open our horizons. Alcoholism, lack of adequate nutrition, cruel weather conditions, all contribute to the overwrought emotions of these societal-fringe humans. ... Read more

Reviews (1)

A masterpiece from Japan
A heroine who sacrifices herself for the family. This is one of the subjects Kenji Mizoguchi, japanese director of the thirties, likes to deal in his movies, inspired by the theatrical tradition of his country. Osaka, Japan, mid-thirties. The young Ayako (played by the actress Ysuzu Yamada) works as a telephonist of a pharmacist factory. Although in love with his fellow, she decided to date her manager in order to save his father from prison. Once set all up, she tells everything to her fellow and got his love back. However, her problems are far from over. As her brother needs money, she has a brief love affair with an adjuster, who later denounces Ayako and her boyfriend to the police. In all senses, this is a small masterpiece from Japan, brilliant photographed by Minoru Miki. ... Read more