A life of the samurai saturated with Kurosawa's ideas, painted on screen, much like his storyboards.
Jan 6, 2009
Do you remember the first time you saw an Akira Kurosawa film? I'm sure you do, and of course my eyes were opened when I saw my first film by him. That movie was Rashomon. A tale of a murdered man told from 4 different perspectives, even by the murdered man himself. A sort of storyline that could have only been done by the man himself. Copied and quoted, he is one of the most influential directors of all time, even after his passing.
Using Toshiro Mifune in many his movies, he almost always centered around the wandering, loner of a samurai. Using the dignity of the fading class of old Asia. He was obessive about his approach, editing his own films and using his art background and actually painting his storyboards before his shoots. He would take over every aspect of the film process, using what he learned earlier as an Assistant Director.
I have yet to come across a movie that has left me in awe like this mans' films put out before me on the screen. He was a master at his art and it showed. Many of his films were adapted to US versions that starred none other than Clint Eastwood. They were good films in there own right but were not able to stand up too or even near a Kurosawa counterpart. The use of rain in many of his films to symbolize struggle and despair always gave the appropriate mood for his flailing actors and environments. The struggle of the loner, mered by dignity and stature only to come to a town of corruption once removed from enlightenment only to have the last righteous man alive show the town what once was and what will be forgotten. Oh how I love these films, they speak, and they demand attention, much lacking from present day filmmaking. He was a delight and a treasure of a director.
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About the reviewer
Sean Marrone (Rainy_Sunday)
Well, I'll just say this. I never let anopportunitypass me by, and I never vacillate at a chance to act spontaneously.
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