Japanese filmmaker Akira Kurosawa is considered one of the highest productive and top influential administrators in film history.During a career of about sixty years, Kurosawa has produced critically acclaimed masterpieces such as Seven Samurai and Rashomon.His films, such as The Hidden Fortress, have influenced popular culture and a generation of young filmmakers.Lately, he was named “Asian of the Century” in the “Arts, Literature and Culture” category through AsianWeek magazine and CNN, one of five other people who contributed the most to Asia’s improvement in the 20th century.
Creative with a prolific appetite for the arts, Kurosawa never entered a task without the right foresight, preference and vision already rooted in his mind.”When I start a movie, I have a number of concepts about my homework,” he once said..” Then one of them starts germinating, germinating, and that’s what I take and the paintings.My films come from my desire to say a specific thing at some point.The beginning of any film for me is this desire to feed and grow that I write my script, it is the direction that makes my tree bloom and grow.
“A director has to convince a lot of people to stay with him and paint with him,” he added, discussing his approach.”I say, although I am not in fact a militarist, that if you compare the production unit with an army, the situation is the flag of combat and the director is the commander of the front line, from the beginning of production until it ends we do not know what is going to happen, the director will have to be able to respond to any situation and must have the leadership capacity to ensure that the total unit accepts its answers.
Kurosawa entered the Japanese film industry in 1936 after seeking his luck as a painter.Although he made his director’s debut in the 1943 film Sanshiro Sugata, Kurosawa gained popularity abroad when his 1950 work, Rashomon, won the Golden Lion at the 1951 Venice Film Festival.won an honorary Oscar the following year. When asked about his inspiration for his charming film graphics, Kurosawa replied, “I studied John Ford.”
In the case of the 22nd anniversary of his death, we revisit Akira Kurosawa’s ten most beautiful works reminiscent of one of the greatest ever to have ever worked in film.
Kurosawa’s 1958 film is widely celebrated for its influence on the beloved Popular Culture Franchise Star Wars (a couple of characters tell the story as they tried to save a princess in wartime).and a princess yet believes they are members of a tribe.
For the role of the princess, Kurosawa introduced a national appeal to locate a woman “with new dignity and princess” who had “the intensity of a samurai’s daughter.”in still memorably driven as a resilient princess.
After a pickpocket stole a police officer’s gun, he infiltrated to retrieve it.He fears his gun will be sold on the black market or used as a murder weapon and embarks on an adventure to prevent this from happening.discovers that the guy who uses his gun is a former soldier like him who may not come out of the nightmares of war.
Kurosawa, a poignant chronicle of postwar Japan, uses two similar figures who have been treated differently by fate to highlight the ambiguity of human identity. Stray Dog is a brilliant observation on the nature of crime and poverty in postwar Japan.
Set in the forests of eastern Siberia at the beginning of the century, the film is based on the 1923 autobiography of explorer Captain Vladimir Arsenyev and follows Arsenyev’s encounter with an elderly explorer of the nomadic Nanai tribe (a character who encouraged Yoda in Star Wars).Kurosawa oscillates magnificently between the epic and the intimate.
“In Japan, the industry has begun to imitate television, generating films that look like television movies,” the acclaimed director said.”Few other people are eccentric enough to want to pay for an expensive price ticket to go on to watch a TV movie in a movie.”I still digested it, but it’s hard for a director who looks like a salmon. When the river in which he was born and raised becomes contaminated, he can no longer pass upriver to lay his eggs; has trouble making your Movie(s.
“He ends up complaining. One of those salmon, without seeing another way, made a long adventure to climb a Soviet river and give birth to caviar.That’s how my 1975 film Dersu was born, Uzala.No think it’s such a bad thing either.But the most herbal thing a Japanese salmon can do is lay its eggs in a Japanese river.
To date, Throne of Blood is one of the film adaptations of Shakespeare’s standout play Macbeth.Kurosawa takes Macbeth’s narrative and reformulates it in the context of the 16th century, creating his own mythology and interface among other chronologies.Noh theater, Throne of Blood is based on many influences, but Kurosawa makes them unique.
“First of all, we built an open complex at the base of Fuji with a flat castle that an authentic three-dimensional castle,” Kurosawa recalls.”When he was ready, he simply didn’t look to the right. On the one hand, the tiles were too thin and would not work.I insisted and kept saying that I might not be able to paint with such limitations, that I was looking to have the feeling of something genuine from anywhere I decided to film.
Adapted from Ed McBain’s crime novel King’s Ransom, Kurosawa uses the strengths of the genre to create an engaging thriller, but also engages in harsh social observation to make the film a more considerate work of art.Toshiro Mifune presents unforgettable functionality in the role of Kingo Gondo, a wealthy industrialist whose circle of relatives is the target of a kidnapper.
The film strips the abdominal sleader of postwar Tokyo, revealing the anxieties and impulses that, like social diseases, Kurosawa demonstrated a technical mastery, managing to create a film of fierce originality and artistic power.
Ran is a reimagining of Shakespeare’s King Lear, set in 16th century feudal Japan. Kurosawa presents compelling research on relationships of force, presenting violence as a recurring force in human history and one that we can never escape. Destruction of his family, ravaged by the converting tides of modernity and greed.
Kurosawa said: “Some of the essential scenes in this film are based on my question of how God and Buddha, if any, understand this human life, this humanity trapped in the same patterns of absurd behavior.
He added: “We will have to exorcise the essential evil of human nature, to present concrete responses to disorders or directly describe social disorders.As a result, my films could have become more philosophical.”
Toshiro Mifune plays an undened ronin who roams a desolate city overrun by horrific rival gangs of criminals in the 1961 Kurosawa film.Partly animated by George Steven’s Shane (1952), Kurosawa examines an intercultural phenomenon by combining the Samurai genre with Western themes.
“I am so evil in the world of Yakuza, ” revealed Kurosawa.” Then, to attack their wickedness and irrationality, and completely spoil them, I brought the super-samurai played through Mifune.He himself was a stranger, a kind of outlaw, which allowed him to act flexibly, even recklessly.Only a samurai so imaginative, much tougher than a genuine samurai can ruin those thugs.The kind of movie evolved from there.
Based on the fusion of two short stories, In A Grove and Rashomon, through Japan’s Rynosuke Akutagawa, Kurosawa’s 1950 film is a tough philosophical research into the nature of dialectics. It focuses on a specific occasion involving a bandit named Tajomaru (played through the mythical Toshiro Mifune), telling it from various angles in a nonlinear way.
Foreign audiences sensitized to the strength of Japanese cinema and Rashomon even won an Honorary Academy Award in 1952.The legacy of Kurosawa’s masterpiece is enormous, not only in film but even in the box of legal theory.
Lighting and electricity technician Genkon Nakaoka explained how it took four hours to film an allegedly minor scene: “Another thing the director congratulated me on, this scene with Machiko Kyo.She rides a horse and her veil opens. It took us about 4 hours Array..had to open slightly to the right and left, otherwise the director would not settle for that.”
A beautiful reconciliation of life and death, Ikiru follows the story of a Tokyo bureaucrat who realizes he has a year to live because of abdominal cancer.Kurosawa carries out a poignant exploration of what it means to be alive, a question that ironically only arises when we die.
Speaking about the origins of the film, Kurosawa explained: “Sometimes I think of my death.I’m thinking of no longer being … and it’s one of those minds that Ikiru was born.
Set in 16th-century Japan, Kurosawa’s epic story is a three-hour adventure in the samurai world, a clash between the conservative and uncompromising code of honor of the warriors of medieval Japan and the anarchy of the morally evil and parasitic bandits.through nature. The film’s seven samurai are the last line of defense to oppose the inevitable corruption of the social order.
Kurosawa masterfully translates the conventions of the Noh Theatre into a postmodern medium: cinema.The lifestyles of the film itself become the scene of the shock it tries to represent, a tense and controversial space between two irreconcilable ideals.
“The fact that he uses more than one camera to film a scene is largely,” Kurosawa wrote.”It started when I was doing Seven Samurai, because it was highly unlikely that precisely what would happen at the scene where the bandits were attacking the peasant village in heavy rain.
“If you had filmed it using the classic flat-by-plane method, there was no guarantee that an action could be repeated exactly twice in the same way.So I used 3 cameras recording simultaneously. The result was incredibly effective, so I made full use of this strategy in less action-packed dramas, and then used it for I Live In Fear (1955).