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Archive for the ‘Toshirô Mifune ACTING GIANT, FILM GOD’ Category

Yojimbo

23 Jul

Yojimbo – directed by Akira Kurosawa. Samurai Action. 110 minutes Black And White 1961.
★★★★★
The Story: A yojimbo, or strong-arm for-hire, exploits his employers in a small town at war with itself.
~
It is the perfect war movie: at the end, no one is left standing. The town is turned into debris and cadavers. The only ones alive are two old guys, the coffin maker and the barkeep. And the God of War, who movies on to the next battlefield.

Greed, lust, envy fuel the feud that drives the townsfolk to take sides. Commercial control starts it all. When it’s over, the only artist in town, a drummer, emerges beating his drum blindly and murders the last survivor, an act from which he reappears covered with blood and drumless. For, you see, the Goddess of Love and Beauty, the wife of Mars, does not survive war propaganda.

Toshiro Mifune plays the God of War, as a disreputable samurai of no renown who wanders into the embattled village. Once there, he sees his job as a strategy that everyone in town shall destroy everyone else, without his having to do the fighting. From the Olympian distance of a high tower or through the crack in a wall, he observes the mayhem he causes.

But he betrays his method by coming to Earth and saving the life of a young woman, her young husband, and their little boy. For this error he is beaten almost to death.

Finding recuperation in a temple, as a God should, he returns to the village and wreaks death all about, and leaves.

It is a film whose story is organized with a minimum of exposition and a maximum of movement. Mifune has scarcely a line to speak. But he is the focus of the mystery of what the outcome will be and how it will be. We wait. Suspense is our treat.

Mifune plays the character as an individual with a sense of humor unusual for a Mars figure. He does not present his warrior as a Gary Cooper character, but as a rapscallion who will lie, cheat, and steal to forward his plot and to assess its players. Resolute without being an absolutist, we never know what to expect as his fate, any more than we know what trick he will come up with to salt the wound of the next surprise. Clint Eastwood would take this story and this character and invest it throughout his career with gutter ethics. Mifune does not have to reach for that. His sense of humor is his six shooter.

Mifune and Kurosawa made 16 films. Is this the best? From the first twitch of his itchy shoulders to the last, Mifune is captured by the great camera of Kazuo Miyagawa and by Kurosawa’s ruthless sense of effects. The actors astonish. The guts of art have been equaled but never been surpassed.

 

Rashomon

03 Feb

Rashomon – Directed by Akira Kurosawa. Drama. Four participants in a violent criminal deed, each tell it from their particular point of view. 88 minutes Black and White 1950.

* * * * *

You will never forget it. And you will wonder what you really saw once you leave the theatre. I remember when it first appeared. It was, with the early films of Vittorio De Sica and S. Ray, the opening stroke of the introduction of international film to American audiences. They all were startling, indifferent to Hollywood style, profound, gutsy, and beautiful, none more so than Kurosawa. The acting style was Japanese in that it was intense, raw, highly emotional, contained, melodramatic, stylized, and firmly and deeply lodged in voice production; one had never seen humans like this before in a picture and never had one seen anyone oriental as the focus of a serious film. Mifune was first seen by U.S. audiences in this picture, playing with bold, sudden, unaccountable strokes. How he got the part is extraordinary: a friend of Kurosawa told him to come to the stodgy institute’s auditions because someone was tearing the place apart; Kurosawa came and saw that one of the greatest actors in he world, although completely unknown, was before him. He inveigled the institute to accept Mifune. Watch him: he’s the fastest actor in human response ever to appear in film. He can turn on a yen.  There is no one like him for contained anger but Brando. The woodland scenes are completely free, the scenes on the sets completely imprisoned. Does it hold up? Masterpieces do. This time round all these years later, I watch the commentary, and I recommend it highly; the critic is a master of his craft; he knows the picture in its 450 scenes, by heart. See it with your friends. If ever a film was a community experience, it is this one.

 

 

 
 
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