PM Review

  I suppose Akira had written the screenplay of The Quiet Duel [1948] keeping two things mind. Seemingly, as for the sequel of Drunken Angel [1948]. On the basis of narrative structure and character psychology it is a good rendition and alter narrative of Drunken Angel.   As Akira commented in his Something Like Autobiography [1982]:   A sad truth in the film business is that when an actor succeeds in a particular role there is a tendency to keep casting him in similar roles. This stems, of course, from the convenience and advantage of those who use him, but for the actor himself there is no greater misfortune. Repeating the same role over and over, like a machine-stamped image, is unbearable. An actor who is not constantly given new roles and new subjects to tackle dries out and withers like a tree you plant in the garden and then fail to water.   Akira might have realized the above statement by giving Toshiro one of the most optimistic and angel-li...

  When I was reading Kurosawa’s autobiography [1982], I was so enthusiastic to know what he wrote about Mifune. When I came to know that how Akira along with Yama-san selected Toshiro for Toho studio, I was totally amazed that he opined:   “Mifune had a kind of talent I had never encountered before in the Japanese film world. It was, above all, the speed with which he expressed himself that was astounding. “   In 1948 he made Drunken Angel with Mifune as a gangster and when I started watching the movie, I was surprised to notice Takashi Shimura’a acting skills which had been lacking when I watched Rashomon & Seven Samurai. They acted like a magnificent duo in Japanese cinema.   The recurrent projections of damp swamp with Matsunaga ’s TB conditions and their link up with the destitution of women status in the movie reflected well the post-war dilapidations of social structure.   The dedication and sacrifice of Doctor Sanada [Takashi] for gan...

"G o home to your mother and live a long-life eating gruel” -Sanjuro [Toshiro]   One of the best philosophical directions of human life; either live a long life peacefully or live a lavish short life, I have found in the Yojimbo [1961]. What man is quest for ultimately; especially in the realm of arts & cultures is always a big and unsolved question to me. There may not be an exact answer we can get, not in the past, present and not even in future. Since I have been watching Kurosawan films some contemplation appears in my mind that: literally I have observed that humans are not capable of seeing the complete sequences of lives of a person, a family or group at once. Reading can give a glimpse of them; but films make better because of its advantage of auditory, visual and common engagement with the form.   Yojimbo [1961] is one of the thrilling and aesthetically pure in the genre of political allegory I have seen as of today. I have found a sheer semblance wi...

  Sometimes, I watch some parts of a film in mute mode like the silent era; I do not read the titles. The reason behind these errands is very crucial to me; firstly, I want to catch the story line without external assistance then comes the point of finding the thrilling cinematic tempo and pace of the film themselves. If I can stand by the following sequences and enjoy the moments of watching the film, I come to the conclusion that this is a good film and can survive the taste of time and space beyond borders. This is one kind game for me as of today.   I was not informed about the inspiration of Throne of Blood [1957] and it is likely a Japanese adaptation of Shakespeare’s Macbeth [1606]. But in the course of the watching, the film seemed to me a bit gray and monotonous in the tempo and mood. May be mostly because of its theatrical, gothic and formalist staging and acting. But Akira’s cinematic compositions, Toshiro Mifune’s spirited acting and Masaru Sato’s subtle musical sc...

                                                                    " This is the nature of war: By protecting others, you save yourselves.                                     If you only think of yourself, you'll only destroy yourself "   When I heard Kambei Shimada ’ s dialogue , a  ronin , the leader of samurais  starred by  Takashi Shimura ; I just press the pause button instantly to hear it repeatedly and felt a great pleasure and thought that is the essence of human artistic prestige that drive us to surrender to art both spiritually and philosophically.   If Rashomon [1950] was about technically triangular compositions then Seven Samurai [1954] is about cinematically crowd compositions. I am amazed w...