Reviews (54)

A nearly flawless experience
This is a masterful movie by director Juzo Itami. It is a story of the truck-drivin' cowboy Goro who strolls into town, sets things right and rides off into the sunset. Rather than kill the bad guys however, he helps a widow become sucessful running her late husbands ramen shop. Itami lends a mosiaic quality to the movie with many character sketches about food's pervasive influence on human behaviour. Tsutomu Yamazaki who plays Goro, and Nobuko Miyamoto who plays Tampopo, both from Itami's "A Taxing Woman", give wonderful performaces. The DVD contains a complete filmography that is a great window into Itami's other works. The DVD is letterbox and looks good. The sound is 3-channel, Japanese only with English subtitles selectable. The timing on the subtitles is at times sloppy, which is too bad since it is a subtitle-only release. I would have liked very much to see directors commentary but language may have restricted this. The DVD gets 4 stars for minor subtitle issues, and lack of more deluxe treatment, but I give the story, and my review, 5 stars. This is really a must have, in a decent package for a foreign film.

Dandelions, Cowboys and the perfect Ramen
"Tampopo" is one of those rare films that just...works. Every piece of it is perfect, combining to form a more flavorful whole, like a well-made dish of ramen noodles. Itami was inspired for this film, and it is easily one of the best Japanese films ever made.

Japanese culture is filled with a love of food. Japanese travel brochures are filled, not with pretty sights and adventures, but with photos of local delicacies and dishes. Food questing is a popular hobby, with each person knowing a local favorite shop, or a master chef. Restaurants also tend to specialize, often serving only one dish such as ramen or udon noodles. "Tampopo" perfectly captured this national obsession, creating a story that is undeniable Japanese. Goro and Tampopo's search for the perfect broth, the most delicious way to cut meat and such is an honest and charming portrayal.

There is plenty going on in this film, with the sexual subplot of the gangster and his lover exchanging food and sex, or the young executive fluent in French cuisine. Each vignette forwards the tone. Along with this is the marriage of the samurai and the cowboy in the character of Goro, and the delicate strength of Tampopo herself.

You really can't go wrong with this film.

You will be hungry for real ramen!
It can be very difficult to describe this movie and what the premise or plot is. Oh, there is the central plot, make no mistake, but the entirity of the film is a flurry of sub-stories and vignettes that act like ingredients to the ever-present ramen (Japanese noodle soup) otherwise known as this brilliant gem out of Japan. The bottom line, the final product is a fancifal tale based around food and how our lives are encompassed by it, how we struggle with it, and most importantly how integral it is to human beings on the whole.

Tampopo also is an homage film to a few genres depending on the scene. For example, Goro (an obvious samurai reference) drives into town on a truck... with cow horns on the top! He wears the cowboy hat constantly and those themes are as thick as the noodles he's seeking out. There is also a tribute to Chaplin/Keaton and the silent comedies with one of the vagabonds in his efforts to make a rice omelette. There are a few mob movie shots as well, including the semi-narrator or guide of the man in the white suit. Beyond celebrating these genres, though, as well as film itself, this really is a story about food.

Tampopo is a widowed soup cook who can't really make soup. Ramen, one of the staple Japanese foods, is as varied and unique in stores throughout the town as there are chicken soup recipes in the US. She can't seem to make a good bowl, though, and Goro feeling bad for her, decides to stay on and help her out with the help of his sidekick Gun. Along the way, they pick up a colorful band of characters each with his own addition to the recipe and technique that helps Tampopo understand the importance of finding that perfect bowl of Ramen.

Light-hearted, more than a bit hilarious, and full of twists and turns, Tampopo is definitely one of the best movies to come out of Japan. Aside from comedy or possibly drama, one would be hard-pressed to try to define this movie as the movie more defines itself and others like it. A life story for sure, definitely a good laugh, and a little eye-opening at times, too. Not for children, though, as there is some nudity and minor violence. Film buffs should already own this movie and anyone else who has a love of film or a desire for one of the most fun movies ever made, pick this one up. You will not be disappointed. Enjoy!

Warning
This DVD is in my garbage. I bought it for a young person who is learning Japanese. There is some good stuff, humor, cooking, but the cruelty is such that I could not give it to her. The worst is the live, struggling small turtle being sliced straight down, all along the body, just behind the head in front of the shell. There are also some unpleasant sex scenes, including a man stimulating a young woman by placing a container of live fish to wiggle against her bare abdomen. What a disappointment!

Still Tastes Great
I watched this one with a group of friends last night... it's been about 15 years since my first viewing and 8 since the last one. It's still brilliant, quirky and as enjoyable as ever.

A very John Wayne like truck driver plays noodle guru to a single mom struggling to be a master noodle chef. A whole host of characters are brought in to assist and some very unlikely types prove to have esoteric food knowledge. This is a quest for enlightenment in guise of perfect ramen.

The main story is broken by 2 and 3 minute glimpses into amusing (and at times bizarre) but totally unrelated stories revolving around food (with the food-sex connection illustrated vividly).

One of my favourite films. ... Read more

Amazon.com essential video

The 1970s were difficult years for the great Japanese director Akira Kurosawa. Following the box-office failure of his 1970 film Dodes'ka-den and an unsuccessful suicide attempt, Kurosawa was unable to find financial backing in Japan, and he made his acclaimed 1975 film Dersu Uzala in Siberia with Russian financing. With only partial Japanese backing for his epic project Kagemusha, the 70-year-old master then found American support from George Lucas and Francis Ford Coppola, who served as coexecutive producers (through 20th Century Fox) for this magnificent 1980 production--to that date the most expensive film in Japanese history. Set in the late 16th century, Kagemusha centers on the Takeda clan, one of three warlord clans battling for control of Japan at the end of the feudal period. When Lord Shingen (Tatsuya Nakadai), head of the Takeda clan, is mortally wounded in battle and near death, he orders that his death be kept secret and that his "kagemusha"--or "shadow warrior"--take his place for a period of three years to prevent clan disruption and enemy takeover. The identical double is a petty thief (also played by Nakadai) spared from execution due to his uncanny resemblance to Lord Shingen--but his true identity cannot prevent the tides of fate from rising over the Takeda clan in a climactic scene of battlefield devastation. Through stunning visuals and meticulous attention to every physical and stylistic detail, Kurosawa made a film that restored his status as Japan's greatest filmmaker, and the success of Kagemusha enabled the director to make his 1985 masterpiece, Ran. --Jeff Shannon ... Read more

Reviews (33)

Fine precursor to the classic "Ran"
Just before "Ran," Kurosawa got American funding for this movie about a "shadow warrior" who was assigned to impersonate Takeda Shingen should he die. This was to keep the Takeda clan's border secure and prevent enemies (of which Takeda had many) from invading. It is a wonderful film, and has two very strong points: the visuals, and the characters.

The strong visuals should be obvious - an Akira Kurosawa film with no strong visuals is like a Monet painting with poor use of color. The battle scenes are stunning and seem to come out of a nightmare, with rifleman shooting down on soldiers with a bright light flashing behind them. The colored armor of Takeda's men were also nicely picked and, as Kurosawa would later do with "Ran", give their presense a hauntingly beautiful yet horrifying tone. The final scene at the Battle of Nagashino (which was wrongfully nitpicked in Stephen Turnbull's Osprey book of the battle) chooses to show us only the aftermath of the battle, with shots of cavalry charging to the gunners and then cutting to the horrified expressions of those who watch the unfolding massacre of Japan's greatest army. The shot of the fields of dead is some thing that could only have come out of the nightmare of war.

I think the strongest part of the film, though, were the characters. The film has a slew of fascinating characters, from Takeda's generals (each with their own personality) right down to the rifleman who shot Takeda. Even the spies from Oda and Tokugawa interact and talk like real people, and I can't think of any one in this film I easily forget. I especially liked Oda Nobunaga, and I think this film has the best portrayal I've ever seen of him. He can be seen walking out with his army and stopping briefly to listen to a Christian priest give a prayer. There is another part where he rides around on an Arab horse, followed by a scene where he offers Tokugawa Ieyasu a glass of Western wine (poor Tokugawa chokes on it!).

The best character is, of course, the shadow warrior himself. The actor did a wonderful job of playing Takeda and the imposter, and even though being a common thief that nearly quits his job in the beginning, you find yourself growing to like him. The scene where he confesses to the concubines he is an imposter, knowing they'll take it as a joke, and then winks at a general was hilarious! Also, notice in the scene where a retainer describes to Takeda's nephew what the meaning of the clan flag is...the imposter is listening just as intently as the boy is! He also comes out strong in the second-to-last battle sequence, where he watches as men fight and die for a man they strongly admire. The final Kurosawa metaphor at the end (which I won't describe because its a serious spoiler) also gives the whole point of the story. The man tried to undertake a role that was perhaps too big for him, a role only one man could really play.

Overall, I was very impressed with this movie, and I would definately recommend it as viewing for those fans of the master of film himself. I hope soon a DVD will be released of it and I will be able to add it to my growing Akira Kurosawa DVD set. In the meantime, I happily own a video copy for viewing.

The shadow warrior
Kagemusha is another entry in Kurosawa's decades-long string of Samurai movies and is replet with rank-n-file anti-war themes: empires are fleeting, stubborn pride proves costly, and human life is cheap. Although not without its problems in pacing and stiffness, it is better than some of his more famous films, though no where near as good as Ran. The plot: The warlord Shingen is mortally wounded whilst besieging a fortress. His dying wish is that his dynasty continue. This is accomplished by using an impersonator, Kagemusha (Tatsuya Nakadai), who is a thief with humble ancestry. Kagemusha serves as Shingen's stand-in for three years, improving morale and even helping to win battles. The most impressive feature in Kagemush is the photography along with the splendid costumes. Indeed, outstanding cinematography and convincing sets are a familiar hallmark for Kurosawa. While one can hardly fault the films character development, for a war film, the pace is slow -- very slooow. Kagemusha was an expensive film by Japanese standards, and Kurosawa had alienated himself from Japanese studios with his cutting comments about their uncompromising attitude towards fimmaking. So unfortunatley (and ironically), he turned to the crass commerical master himself, George Lucas (as well as Francis Ford Coppola). Both are credited as executive producers for the "international" version of Kagemusha. Kagemusha was nominated for two Academy Awards, Best Foreign Language Film and Best Art Direction.

Better than Ran
Comparing Kagemusha with Ran is a thread that runs through many of the reviews. Both are dramas centered around warlords during Japan's feudal era, and were directed by Kurosawa late in his career. Both films are visually stunning, but there are differences in how the stories are presented. Ran seems affected by its self-conscious adaptation of King Lear, and has a more theatrical (and less cinematic) feel about it. The acting is very stylized, as if in adapting Shakespeare's play Kurosawa also wanted to reaffirm the Japanese qualities through similarities to traditional ritualistic Noh dramas.

The story of Kagemusha seems more of a natural portrayal in comparison. The loyalty of the thief to the warlord is perhaps a quintessentially Japanese story, and is beautifully evoked in many small scenes throughout the film. It is the battle scenes which are highly stylized in this film, as they serve to illustrate the changing fortunes of the clans, and are not centerpieces. They are a part of the amazing beauty of the film's images. One of my favorite images of all the films I have seen is that of the warlord's unhappy son plotting in a traditional room, while in the background we can see the blue of a lake being whipped up by a storm.

Some people will prefer Ran, and others will like best Kurosawa's earlier and more earthy films, such as Yojimbo. They are all wonderful, but for myself Kagemusha is his crowning achievement.

Great movie
I actually prefer Kagemusha to Ran. My Japanese language University teacher used to gripe that Kurosawa represented a "western" style of cinema, as opposed to Ozu, for instance. Ran is basically King Lear set in medieval Japan, whereas Kagemusha is more original in many ways, and less anachronistic. The themes of the Kagemusha's futile fight aganst destiny and his doppelganger-like identification with Shingen are also magnificently played. Finally, the very Japanese emphasis on passive control (Shingen's strategy is always to act as an umovable mountain on which to shatter his enemies) resonates in interesting ways.

I Want My DVD!!!!!!!
Why, oh why, is Kagemusha not available on DVD? I have seen probably a dozen of Kurosawa's movies, and Kagemusha is my favorite of them all. For the wonderful cinematography and score alone, it is deserving of a better format than VHS. ... Read more

Amazon.com essential video

Like seeds of a dandelion blowing in the wind, the plot of Tampopo wanders in several directions, following the lives of a quirky collection of characters. At the heart of this film is a young widow named Tampopo (Nobuko Miyamoto), who is struggling to make ends meet by running a noodle restaurant. Goro (Tsutomu Yamazaki), a truck driver, saves Tampopo's young son from being beaten by a group of school girls and is rewarded with a bowl of very bad ramen (noodles). Goro tells Tampopo the awful truth about her cooking and she asks for his help. Together they search for the perfect ramen recipe.

Intersecting this part of the plot are several smaller and less well-realized stories. Koji Yakusho, who stars in Shall We Dance, appears as a sensuous gangster who would rather play with his food than eat it. Then there's the mysterious Noodle Master who lives with a group of street vagabonds and a young executive who knows how to order food from a French menu, but not how to preserve the dignity of his superiors.

While the film as a whole feels somewhat disjointed, writer-director Juzo Itami manages to infuse Tampopo (which means "dandelion") with a sense of Japanese joie de vivre that is worth experiencing. Take notes during the "soup scenes" and see what you can cook up for yourself.--Luanne Brown ... Read more

Reviews (54)

A nearly flawless experience
This is a masterful movie by director Juzo Itami. It is a story of the truck-drivin' cowboy Goro who strolls into town, sets things right and rides off into the sunset. Rather than kill the bad guys however, he helps a widow become sucessful running her late husbands ramen shop. Itami lends a mosiaic quality to the movie with many character sketches about food's pervasive influence on human behaviour. Tsutomu Yamazaki who plays Goro, and Nobuko Miyamoto who plays Tampopo, both from Itami's "A Taxing Woman", give wonderful performaces. The DVD contains a complete filmography that is a great window into Itami's other works. The DVD is letterbox and looks good. The sound is 3-channel, Japanese only with English subtitles selectable. The timing on the subtitles is at times sloppy, which is too bad since it is a subtitle-only release. I would have liked very much to see directors commentary but language may have restricted this. The DVD gets 4 stars for minor subtitle issues, and lack of more deluxe treatment, but I give the story, and my review, 5 stars. This is really a must have, in a decent package for a foreign film.

Dandelions, Cowboys and the perfect Ramen
"Tampopo" is one of those rare films that just...works. Every piece of it is perfect, combining to form a more flavorful whole, like a well-made dish of ramen noodles. Itami was inspired for this film, and it is easily one of the best Japanese films ever made.

Japanese culture is filled with a love of food. Japanese travel brochures are filled, not with pretty sights and adventures, but with photos of local delicacies and dishes. Food questing is a popular hobby, with each person knowing a local favorite shop, or a master chef. Restaurants also tend to specialize, often serving only one dish such as ramen or udon noodles. "Tampopo" perfectly captured this national obsession, creating a story that is undeniable Japanese. Goro and Tampopo's search for the perfect broth, the most delicious way to cut meat and such is an honest and charming portrayal.

There is plenty going on in this film, with the sexual subplot of the gangster and his lover exchanging food and sex, or the young executive fluent in French cuisine. Each vignette forwards the tone. Along with this is the marriage of the samurai and the cowboy in the character of Goro, and the delicate strength of Tampopo herself.

You really can't go wrong with this film.

You will be hungry for real ramen!
It can be very difficult to describe this movie and what the premise or plot is. Oh, there is the central plot, make no mistake, but the entirity of the film is a flurry of sub-stories and vignettes that act like ingredients to the ever-present ramen (Japanese noodle soup) otherwise known as this brilliant gem out of Japan. The bottom line, the final product is a fancifal tale based around food and how our lives are encompassed by it, how we struggle with it, and most importantly how integral it is to human beings on the whole.

Tampopo also is an homage film to a few genres depending on the scene. For example, Goro (an obvious samurai reference) drives into town on a truck... with cow horns on the top! He wears the cowboy hat constantly and those themes are as thick as the noodles he's seeking out. There is also a tribute to Chaplin/Keaton and the silent comedies with one of the vagabonds in his efforts to make a rice omelette. There are a few mob movie shots as well, including the semi-narrator or guide of the man in the white suit. Beyond celebrating these genres, though, as well as film itself, this really is a story about food.

Tampopo is a widowed soup cook who can't really make soup. Ramen, one of the staple Japanese foods, is as varied and unique in stores throughout the town as there are chicken soup recipes in the US. She can't seem to make a good bowl, though, and Goro feeling bad for her, decides to stay on and help her out with the help of his sidekick Gun. Along the way, they pick up a colorful band of characters each with his own addition to the recipe and technique that helps Tampopo understand the importance of finding that perfect bowl of Ramen.

Light-hearted, more than a bit hilarious, and full of twists and turns, Tampopo is definitely one of the best movies to come out of Japan. Aside from comedy or possibly drama, one would be hard-pressed to try to define this movie as the movie more defines itself and others like it. A life story for sure, definitely a good laugh, and a little eye-opening at times, too. Not for children, though, as there is some nudity and minor violence. Film buffs should already own this movie and anyone else who has a love of film or a desire for one of the most fun movies ever made, pick this one up. You will not be disappointed. Enjoy!

Warning
This DVD is in my garbage. I bought it for a young person who is learning Japanese. There is some good stuff, humor, cooking, but the cruelty is such that I could not give it to her. The worst is the live, struggling small turtle being sliced straight down, all along the body, just behind the head in front of the shell. There are also some unpleasant sex scenes, including a man stimulating a young woman by placing a container of live fish to wiggle against her bare abdomen. What a disappointment!

Still Tastes Great
I watched this one with a group of friends last night... it's been about 15 years since my first viewing and 8 since the last one. It's still brilliant, quirky and as enjoyable as ever.

A very John Wayne like truck driver plays noodle guru to a single mom struggling to be a master noodle chef. A whole host of characters are brought in to assist and some very unlikely types prove to have esoteric food knowledge. This is a quest for enlightenment in guise of perfect ramen.

The main story is broken by 2 and 3 minute glimpses into amusing (and at times bizarre) but totally unrelated stories revolving around food (with the food-sex connection illustrated vividly).

One of my favourite films. ... Read more

Description

Barjo is a slightly psychotic story of love and life in the modern world and beyond. Fanfan lives with her husband Charles and their two daughters in a stark, modern house in suburbia.Her nerdy twin brother Barjo lives nearby, busily waiting for the UFOs to come that will signal the end of the world. ... Read more

Reviews (10)

Classic movie undone by dvd remastering
I have two copies of this movie-one on VHS and this one on DVD. I received the DVD as a present. Itami is one of the greatest modern directors in Japan who unfortunately committed suicide. This movie was enormously popular in Japan and deservedly so with its many touches of black humor, story, writing, acting and direction. The VHS is quite watchable. However, when I put the DVD on I immediately had to adjust my picture settings to even see the picture. It's unclear and fuzzy throughout the movie. In all of the film the English subtitling is difficult and sometimes impossible to read. I would say it is a prime candidate for a recall by the company. Since I can't give separate ratings for the movie vs. the DVD treatment I'm forced to give it 2 stars.

Middle of the road
R-Rated for a small amount of sex and nudity, this is pretty much a movie like most others, a human interest story involving a diligent tax collector (female) and a tax dodger. I found it interesting for casual entertainment (I rented it), for a look at a slightly different society, and a look at Japan that isn't kimono's and Geisha girls - this is modern Japan as such and a breath of fresh air from the "Yes'm massa" eyes-bowed-down type of Japanese movie. The lead female is freckled, not a sex-pot, but a nice looking gal and the main male is a hard nosed, limping fellow. In general, this is for a mature, general audience who isn't cranked over into some offbeat genre (if you need violence, military, porn, true romance, kiddie cartoons, space ships, whatever you'll find it dull - but an ordinary person in a good mood looking for a casual view might like it). ...thought I'd give a more honest opinion.

I myself am looking for more non-European/American movies featuring real people in real settings, but alas that is rare. I'd like seeing Japanese and Asiatic and African movies, even dubbed, which are something besides "Morphen Power Ranger" ... or "Kill 'Em All" garbage, but rather feature human beings getting along in life. But, they don't seem to exist here in the USA. Too much artsy or glitzy Holloywood hype gets in the way, it seems.

Great Movie, poor DVD
This movie is quite good. Not exactly like Tanpopo but it's a fascinating movie with memorable characters. Unfortunately, the DVD version is absolutely terrible. The DVD version of Tanpopo is a hundred times better. It's very clear that this was a sloppy job. It's nothing but a very poor VHS transfer of the movie to DVD. Bad thing is that the DVD highlights the imperfections of the original VHS so that even people like me can see it. The quality of picture is fuzzy and the subtitles are the ones from the VHS (not DVD subtitles). This results in words that are impossible to see in some scenes and hard to read in all the others since the picture quality is quite fuzzy. Unless you are a die-hard fan of this movie, you're better off spending your money getting the DVD of Tanpopo. The DVD of Tanpopo is not perfect but the quality is still reasonable good and sharp and much better than this ... job.

Utterly Delightful ...
As Tampopo is truly delicious, this film is an unadulterated joy. Fans of Juzo Itami and his wife, Nobuko Miyamoto will recognize old friends from other adventures in this offering. Like a much beloved repertory company, familiar faces are to be found new and surprising roles.

Taking an unlikely subject for heroic portrayal, Itami's (as usual) delightfully feministic touch on that dreaded villain the tax auditor is effective and engaging. Unlike MINBO, which for some inexplicable reason bores me beyond redemption, this film is easily accessible and eminently watchable. Aside from some quite graphic nudity at the very beginning, (view by parents first), the film is an excellent overall story accessible to an audience over about 15. (Depending on your feelings about sex and taxes).

In reference to the subtitling, I must say that ALL subtitling for Itami's films leaves a great deal to be desired, and I frankly don't see that much difference between the DVD and VHS versions ... but I must admit I am not a connoisseur on the matter, either. The ease of use and storage outweigh all other concerns for me.

By the VHS version instead
This outstanding (five star) movie has illegible captions in the DVD version. If you want to be able to read the captions, buy the VHS version instead. Only get the DVD if your Japanese is good enough to understand the movie without captions. ... Read more

Reviews (12)

not bad , quite surprising for non-Japanese ...
hi every1 . I've seen this video within the studies of my varsity . It's nice and introduce the Japanese style of life and most of all their way of dealing with funerals.

To be short I will only say that the most overwhelming thing in the movie was that the mourning family had to use a VIDEO CASSETTE with instructions about how to act in a funeral and what TO SAY !!!!!!

enjoy

Soushiki: not a comedy by any means
At first I was worried when I purchased this film, because my fellow amazon reviews gave it such a low rating, however, I was pleasantly surprised that it was the DVD not the movie itself, that received such low scores. This is a wonderful film, although, for the life of me, I can not figure out why this film is refered to as a "comedy." It is true there are some funny moments when the main character and his wife are learning their lines to address mourning guests and at moments such as when the phone rings during a prayer. What this film's strongest point is, however,a glimpse of Japan while the bubble economy was at it's peak. Even someone just giving a cursory glance at this film ill realize how important money is to the family. It is the chief conversational topic throughout the movie. How much do we have to pay for the coffin? How much are the obento lunchboxes, etc. The power of money can really be seen when the monk arrives in a very stylish car and is given a gift of french tile to make a table for his garden. Funerals are extraordinarily expensive in Japan, so many Japanese do not look at Buddhist monks as a sign of benevolence, but as money lovers. However, although money is a major subject, as is the preocupation of acting a certain way during the funral, the key point of this movie is that although the world might be completely obsessed with money, in death one can bring members of the faily closer together, and in death there is also rebirh, as can be evidenced at the end of this film.

Not what I expected.
This film was nothing like I thought it would be. Having spent four years in Japan I wanted to see for myself what all the controversy was about surrounding 'The Funeral'. Well, I really liked this film, and found it had a lot to offer. From start to finish there is a lot going on at all levels of the emotional spectrum. I found it very touching, a little sad, a little funny, and very human. The quiet love and dignity of the widow and her daughter are the glue that hold the family and friends together. The widows humble expression of thanks to the guests after the funeral, thus releaving the son-in-law of the obligation, is nothing but poetic. I Recommend this film.

Cathartic and Hillarious if...
In order to really appreciate this film, you really have had to been through the experience... for that reason, there are a lot of people who will watch it and not get it.... - - I first saw the film before I really knew very much about Japanese culture... Some elements of the humor were universal... and I still could appreciate the Itami Juzo's dry surrealism... but after seeing the film I came to live in Japan on and off for 9 years and went through the experience, watching the film went beyond "interesting and sometimes funny"... one one had it was incredibly cathartic... on the other hands, uncomfortably hillarious... Its one of those films that if you'd just been through the experience and you watched it, it would definitely serve as a cathartic dose of laughter... - - Too many scenes, unfortunately, parody experiences and rituals (sometimes seemingly senseless, others incomprehensibly complex) that you'd really have to experience to appreciate... If you haven't been through them, those scenes might be a bit boring... for this reason my advice is this : read up on the subject first... and also, watch the film with an understanding that Japanese funerals are very different than Western funerals... The strange scenes in this film in many way present Japanese funerals as they are, and in other ways parody them...

All in all, having been lucky to have gone 9 years without any close personal losses in Japan, but recnetly having lost an important member of our family, I can't tell you how thankful I am that Juzo Itami made this film !

A wry commentary on the loss of meaning in traditions
There are times when death has been appropriate and hilarious material for a comedy. The juxtaposition of the seriousness of a funeral with wacky hijinks and hootenannies makes for funny stuff. But don't expect to find any of that in Itami's social commentary, "The Funeral" ("O-soshiki.") This film has been done a great injustice by marketers, who in the hopes of possibly capturing a quick sale labeled it "...A Deadly Comedy." You certainly don't find it in the comedy section of a Japanese video store! The scene on the cover, where a man tries to hike up his trousers while a watching woman mocks him, is one of the saddest in the movie.

It is, in fact, an incredibly insightful exposition of the meaninglessness of tradition and ritual in modern Japan. A family, so far removed from the society that first created these traditions, tries to struggle though an "appropriate" funeral for the deceased father. They rent videos on appropriate greetings and responses, they hire experts to tell them what direction the coffin should face, and how many sticks of incense to light. The ritual has far more importance too the family than the actual loss of the father, as does presenting a proper face.

The elderly, as the vanguard of the traditions, are the only ones who care. In fact, the dead man's daughters are shocked and impressed when one of their father's friends shows actual sorrow at the loss. "That's the way to do it," they say. Money is the symbolism for the loss of tradition, the idol that has replaced emotion at the altar. The Buddhist priest is made a gift of Italian tiles for his garden, and the climax of the film is when a case of money opens up to the wind, and the family grasps at it desperately.

While rough in nature, and clearly a first film, Itami manages to artfully wrap these various elements together, without stating the message directly. In the Japanese style, much is implied and little is said. A particularly capturing moment, is a black and white home movie of the family laughing and having fun, while a sad lament plays in the background. The pace is slow and patient.

The DVD is lacking, and the white subtitles can be almost unreadable. It is presented in pan-and-scan as well, with no change from the VHS version. Unfortunately, "The Funeral" seems to be a much-misunderstood film, and has not been given the release it deserves.

The critique of Japanese culture is honest and authentic, and I highly recomend this film to anyone who wants to see real Japanese people living real Japanese lives. ... 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

Description

Akira Kurosawa's (Rashomon, Stray Dog) exquisitely crafted adaptation of an Ed McBain mystery is one of the greatest suspense films ever made.Featuring two of Japan's greatest stars, Toshiro Mifune (Seven Samurai) and Tatsuya Nakada ... Read more

Reviews (40)

Decisions, decisions.
Does a wealthy Japanese industrialist care enough about his chauffer's son to pay the kidnapper's ransom? Could he live with himself if he didn't? I found this to be a rather interesting film. I first saw it in a philosophy class I was taking at my local community college a couple of years ago. It captured my interest. Toshiro Mifune hardly smiles throughout the whole film but can you blame him? If he pays, he's out of a large sum of cash. If he doesn't pay, the kidnappers will kill the boy hostage and Mifune will be the scourge of society. Everyone will detest him for his selfish act. And what would his son think? It's been awhile since I saw the movie but if my memory serves me correctly, were not Mifune's boy and the chauffer's son friends? That's another dilemma. It was a nice experience seeing something like this come out of Japan. It's clear that the Japanese film industry is more than competent enough to go beyond Godzilla movies and anime. Akira Kurosawa has proven that for years.

GRAND-DADDY OF THE COP MOVIE GENRE
And I thought Kurosawa was big on Samurai movies. This is a stunning cop thriller grounded in real-life Japan of the 60s.

Toshiro Mifune is an honest and hugely successful businessman who loves his job as a shoe factory exec and is in a battle for corporate control against a pack of hyenas. He has mortgaged and borrowed and scraped to raise the money for a surprise coup to takeover the firm. Until his son is kidnapped.

But then there is a major plot twist: it is not his own son who was taken but his son's friend, the chauffeur's kid, and the ransom demanded is atrocious. If he forks the dough, he stands to lose everything he has worked so hard for, but can he simply sacrifice the chauffeur's child because it is not his? From here on High and Low (perhaps better translated as Heaven and Hell) is a riveting "police procedural."

Watching Kurosawa's maestro camerawork is a rare, almost unique experience, he is a man in complete control of his visuals and his subject matter. The DVD is letterboxed and the print B&W. This not only lends beautifully to a cinematically compelling human drama, but it also draws you into the theme emotionally.

A superb film, captivating from start to finish. Highly recommended!

This Is An Extraordinarily Good Film
Watched this a few days ago for about the fifth time and have been thinking about it ever since. I think it probably is my favorite Kurosawa film.

Toshiro Mifune plays a top executive in a shoe company who is secretly planning to take over the company. He wants to keep making quality shoes and gradually expand the market. The other executives want to make cheaper shoes and take advantage of the company's reputation. Mifune has raised every yen he can, including using his house, for the buyout, but his son is kidnapped. For the ransome he'll need all the money he's raised. He's prepared to do this for the sake of his son.

Then he finds out that the kidnappers made a mistake. They kidnapped his driver's son, who is the same age as his own. What a terrible moral dilemma. Would you or I give up every dime we had to save a neighbor's or an employee's son? Mifune does, and this act has a great effect on the police and the public.

The first half of the movie takes place in his house on a hill while all this unfolds. The second half is the chase to find the boy before he's killed and to capture the kidnapper. We move from the intensity of the dilemma unfolding in Mifune's home to the gritty business of the search which takes us into some of the lowest parts of the Japanese underworld.

Mifune is powerful in the role of the father, at first torn by the decision he has to make, then commited to finding his driver's son. Tatsuya Nakadai plays the detective, handsome, smooth, professional, and ultimately deeply touched by Mifune's integrity. Years later Nakadai played the leads in Kurosawa's Kagemusha and Ran. And it was good to see Mifune out of samurai costume.

High and Low is the work of a master. The DVD has the quality and extras one has come to expect from Criterion

Delivers the excellence we expect from Kurasawa
Those from high and low positions in modern industrial Japanese society clash in this drama. While I don't easily commit to watch a long subtitled movie, this one kept my eyes glued to the screen through an effective suspense that grabs early and never lets go. The main story line comprises related subplots that are realistic and gripping without overwhelming. The acting is consistently excellent in portraying a full gamut of human emotions and difficult situations. Select this when you're ready for real entertainment from masters of their craft.

a great movie and one of Kurosawa's best.
This review is for the Criterion Collection DVD version of the film.

This film is well written and based on the Novel "King's Ransom" by Ed McBain. Having not read the novel, I cannot determine how faithful the film is to the book.

In the film a wealthy man's son is the target of a kidnapping and ransom. The ransom is ¥30 million (Yen) which in those days was a lot of money, but today is little over a quarter million US dollars.

The movie itself has some cinematography that has been imitated or is an imitation of. Most of the first 30 minutes of the film take place exclusively in a single house, similar to the film "12 angry men" and it having taken place almost exclusively inside a jury room.

The film is in black and white with a single scene in where part of the film is hand colored. I would go into further details, but it might be considered a spoiler. This scene immediately reminded me of the scenes in Schindler's list involving the girl in the red coat.

The film has some well photographed scenes and is impressive.

The Criterion DVD has no special features which is a bit dissappointing. ... Read more

Reviews (12)

not bad , quite surprising for non-Japanese ...
hi every1 . I've seen this video within the studies of my varsity . It's nice and introduce the Japanese style of life and most of all their way of dealing with funerals.

To be short I will only say that the most overwhelming thing in the movie was that the mourning family had to use a VIDEO CASSETTE with instructions about how to act in a funeral and what TO SAY !!!!!!

enjoy

Soushiki: not a comedy by any means
At first I was worried when I purchased this film, because my fellow amazon reviews gave it such a low rating, however, I was pleasantly surprised that it was the DVD not the movie itself, that received such low scores. This is a wonderful film, although, for the life of me, I can not figure out why this film is refered to as a "comedy." It is true there are some funny moments when the main character and his wife are learning their lines to address mourning guests and at moments such as when the phone rings during a prayer. What this film's strongest point is, however,a glimpse of Japan while the bubble economy was at it's peak. Even someone just giving a cursory glance at this film ill realize how important money is to the family. It is the chief conversational topic throughout the movie. How much do we have to pay for the coffin? How much are the obento lunchboxes, etc. The power of money can really be seen when the monk arrives in a very stylish car and is given a gift of french tile to make a table for his garden. Funerals are extraordinarily expensive in Japan, so many Japanese do not look at Buddhist monks as a sign of benevolence, but as money lovers. However, although money is a major subject, as is the preocupation of acting a certain way during the funral, the key point of this movie is that although the world might be completely obsessed with money, in death one can bring members of the faily closer together, and in death there is also rebirh, as can be evidenced at the end of this film.

Not what I expected.
This film was nothing like I thought it would be. Having spent four years in Japan I wanted to see for myself what all the controversy was about surrounding 'The Funeral'. Well, I really liked this film, and found it had a lot to offer. From start to finish there is a lot going on at all levels of the emotional spectrum. I found it very touching, a little sad, a little funny, and very human. The quiet love and dignity of the widow and her daughter are the glue that hold the family and friends together. The widows humble expression of thanks to the guests after the funeral, thus releaving the son-in-law of the obligation, is nothing but poetic. I Recommend this film.

Cathartic and Hillarious if...
In order to really appreciate this film, you really have had to been through the experience... for that reason, there are a lot of people who will watch it and not get it.... - - I first saw the film before I really knew very much about Japanese culture... Some elements of the humor were universal... and I still could appreciate the Itami Juzo's dry surrealism... but after seeing the film I came to live in Japan on and off for 9 years and went through the experience, watching the film went beyond "interesting and sometimes funny"... one one had it was incredibly cathartic... on the other hands, uncomfortably hillarious... Its one of those films that if you'd just been through the experience and you watched it, it would definitely serve as a cathartic dose of laughter... - - Too many scenes, unfortunately, parody experiences and rituals (sometimes seemingly senseless, others incomprehensibly complex) that you'd really have to experience to appreciate... If you haven't been through them, those scenes might be a bit boring... for this reason my advice is this : read up on the subject first... and also, watch the film with an understanding that Japanese funerals are very different than Western funerals... The strange scenes in this film in many way present Japanese funerals as they are, and in other ways parody them...

All in all, having been lucky to have gone 9 years without any close personal losses in Japan, but recnetly having lost an important member of our family, I can't tell you how thankful I am that Juzo Itami made this film !

A wry commentary on the loss of meaning in traditions
There are times when death has been appropriate and hilarious material for a comedy. The juxtaposition of the seriousness of a funeral with wacky hijinks and hootenannies makes for funny stuff. But don't expect to find any of that in Itami's social commentary, "The Funeral" ("O-soshiki.") This film has been done a great injustice by marketers, who in the hopes of possibly capturing a quick sale labeled it "...A Deadly Comedy." You certainly don't find it in the comedy section of a Japanese video store! The scene on the cover, where a man tries to hike up his trousers while a watching woman mocks him, is one of the saddest in the movie.

It is, in fact, an incredibly insightful exposition of the meaninglessness of tradition and ritual in modern Japan. A family, so far removed from the society that first created these traditions, tries to struggle though an "appropriate" funeral for the deceased father. They rent videos on appropriate greetings and responses, they hire experts to tell them what direction the coffin should face, and how many sticks of incense to light. The ritual has far more importance too the family than the actual loss of the father, as does presenting a proper face.

The elderly, as the vanguard of the traditions, are the only ones who care. In fact, the dead man's daughters are shocked and impressed when one of their father's friends shows actual sorrow at the loss. "That's the way to do it," they say. Money is the symbolism for the loss of tradition, the idol that has replaced emotion at the altar. The Buddhist priest is made a gift of Italian tiles for his garden, and the climax of the film is when a case of money opens up to the wind, and the family grasps at it desperately.

While rough in nature, and clearly a first film, Itami manages to artfully wrap these various elements together, without stating the message directly. In the Japanese style, much is implied and little is said. A particularly capturing moment, is a black and white home movie of the family laughing and having fun, while a sad lament plays in the background. The pace is slow and patient.

The DVD is lacking, and the white subtitles can be almost unreadable. It is presented in pan-and-scan as well, with no change from the VHS version. Unfortunately, "The Funeral" seems to be a much-misunderstood film, and has not been given the release it deserves.

The critique of Japanese culture is honest and authentic, and I highly recomend this film to anyone who wants to see real Japanese people living real Japanese lives. ... Read more

Reviews (1)

"DeathQuake", the Japanese "Earthquake"
This film is one of the "great" Japanese non-monster-oriented disaster movies following in the footsteps of the 1974 Universal movie, "Earthquake" starring Charlton Heston & Ava Gardner. DeathQuake (AKA "Jishin Retto", "Magnitude 7.9", "Megaforce 7.9", "Earthquake Archipelago", & "Earthquake") was actually, I think, produced in 1975 or 1980, following the other "big" Japanese disaster movie of 1973, "Nippon Chinbotsu", or "The Submersion Of Japan", (which some may know better as "Tidal Wave" in which the film was cut and had scenes added with Lorne Greene for release in the US) and the 1975 film "Tokyo Gulf Burns" or "Conflagration," and follwed by the film, "Fukkatsu No Hi", or "Day of Ressurection" (AKA "Virus" Starring George Kennedy).

Anyway, DeathQuake is about a seismologist, Hoichi Kowazu, who predicts a massive earthquake will hit Tokyo, Japan, within the next thirty days, but nobody believes him. Meanwhile Hoichi has been having an affair with his co-worker and has hardly any time for his family, and his co-worker/mistress is having a "fling" with a newspaper photographer. Eventually Kowazu's wife's mother (who is an annoying old woman who cares only for her family's reputation; her husband predicted the 1923 earthquake that destroyed Tokyo) learns what her son-in-law is saying and tries to get her daughter to leave him. Kowazu has been trying to get his bosses to declare a state of alert in the city, but they refuse and eventually Kowazu's wife leaves him, but won't grant him a divorce until she meets his mistress, so they get on the subway to go downtown. meanwhile Kowazu's mistress is getting ready in her apartment and her photgrapher "friend" is in the elevator on his way up, when the earthquake hits...

The special effects in this movie are, well, cheap, and several scenes are very unbeleivable and poorly lit stock footage, but it is a Japanese 1970's film, so...But the disaster scenes are watchable, and some are very innovative, such as an airplane landing on the runway when the earthquake hits, crashing, and exploding; an apartment building tilting over, a massive tidal wave destroying a bridge, a subway flooding, and seeing the city on fire. So now Kowazu and his wife are trapped in the subway with many others while his mistress and the photographer are stuck on the top of a burning building. The whole country is in chaos as emergency supplies are trying to be delivered, but bridges are destroyed, roads are blocked and there is so much toxic smoke in the air that helicopters crash and people are suffocating. So, Hoichi must save his wife and everyone else in the subway, but the only way to do so may be to sacrifice himself...

Overall, this isn't a bad movie, but it is rather poorly dubbed, and the quality is very poor, making this film hard to watch. But it is, in many ways, much better than "Earthquake" of 1974, albeit probably cheaper and in far more poor quality. Yet this film is available in a special edition DVD, subtitled, at a Japanese internet movie store, but for forty dollars, quite steep, just thought I'd say, for someone who really liked this film.

The video version I'd give a 2 Star rating for poor lighting + quality, but the movie overall I would probaly rate as 4, so to be fair, a gave it a 3 here. ... Read more

Description

Sen-no Rikyu (Rentaro Mikuni), a Buddist priest, who four centuries ago brought the art of the tea ceremony (often said to embody the essence of Japanese culture) to perfection. Living in one of the most turbulent moments in Japanese history, Rikyu gained unexpected political influence as the confident and cultural mentor to the powerful warlord, Hideyoshi Toyotomi. Rikyu's relationship with Hideyoshi is a story that has taken on epic proportions in Japanese cultural history. The film illustrates the classic struggle between art and politics and between the impulse to create and the impulse to destroy.

Like England's Thomas Beckett and Sir Thomas More, Rikyu was a spiritual mentor whose integrity eventually offended his powerful master who demanded his death. Rikyu plays like a Japanese version of Beckett or A Man for All Seasons. ... Read more

Reviews (10)

Teshigahara Triumphant Return
The low rating I gave was for the DVD, which is miserable. The aspect ratio is ignored and, sadly, no attempt is made to remaster the VHS print. The story is magnificently told by Teshigahara - a central episode in Japanese cultural history, when two forces sought to influence the future of Japanese aesthetics. Hideyoshi, who was more or less Japan's Lord Protector, disputed his master Rikyu in matters of taste. Rikyu advocated subtlety (the term "jimi"), while Hideyoshi, the flagrant extrovert, pushed for ostentatiousness ("hade"). Since Rikyu was a mere monk and would not back down from his views on matters of taste (making Hideyoshi appear ridiculous with his solid-gold tea-ceremony chambers), who eventually won the debate was another demonstration of Hideyoshi's relentless "hade." If you look at modern Japan, the two forces are still at odds. A splendid film, poorly served by this DVD. I have a VHS copy I purchased in Japan from Shochiku Video for about $30, letterboxed (with no subtitles). You need to know a great deal about Japanese history to follow everything, as an earlier viewer pointed out. Don't let it daunt you, though. An added attraction is the music of the Japanese modernist composer Toru Takemitsu, who wrote music for Woman in the Dunes as well.

Worst ever-seen transfer to DVD
It's a tragedy that this masterpiece of film art and narrative was totally destroyed by the poor transfer to the DVD by Slingshot. I should have read Amazon's previous reviews about this DVD, and then I whould have not bought it. I orderd this DVD version because I admired the film when it was originally shown in a theater. Don't buy this DVD, period.

Yes, this transfer is as bad as you've heard.
The film itself is remarkable and absorbing - one of those films that stays with you long after its over. Some people find it slow. I wouldn't want it to go any faster - and it could have been longer, as beautiful as it is.

Best of all is a crucial scene that will resonate deeply with anyone who has ever knowingly, wilfully visited destruction upon themselves by an application of uncompromising honesty - because to do any less would be a violation of their principles.

"Rikyu" leaves the question open as to whether such an act is stupid, noble, reckless, courageous, pointless or other. I suppose one's reaction to the film would depend on how one answers this question - or if one understands being powerless to do otherwise when put on the spot.

A Simple Art
The story of Rikyu will unviel itself for you when you watch this movie. It is very similar to the Cha no yu itself, very simple and austere. This movie only cover a certain part of Rikyu's life, so all you folks that are "historians" don't be disapointed if the latter part of his life is not covered.

This is a samurai movie in the context that the tea cerimony greatly influenced the Samurai class, but don't expect flashing steel. I recomend this movie to anyone interested in the Way of Tea or Japanese culture!

Never trust Slingshot DVD again!
After purchasing "Academy Award Winner, the frist 50 years" ( a "0" star DVD ) and this DVD ( "2" star ), I have lost my confidence with Slingshot (Triton) I will think twice with any DVD with this label. The film itself is a great one (4 stars). ... 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