Archive for Toshiro Mifune

Sagebrushamon

Posted in FILM with tags , , , , , , , , , , on February 22, 2021 by dcairns

Retrospectively THE OUTRAGE, Martin Ritt’s western version of RASHOMON, is so nakedly a bad idea it’s hard to imagine intelligent adults not seeing it, but they didn’t have the benefit of hindsight until after they’d made it, when it was too late, and anyway, it’s kind of amazing as an example of what John Waters might call a failed art movie. The amazingness is mostly to do with James Wong Howe but the film didn’t direct itself.

Claire Bloom as “the wife” throws herself off a cliff and her underwater experience looks like this —

–and furthermore the soundtrack is a whistling wind with a trace of coyote howl. Absolutely mad, and even more extreme than anything in Kurosawa’s original, which is already a stylistic tour de force with only a few equals in all of cinema.

There’s something weirdly academic about it all, maybe because I know the original so well, so there’s a “Well, here’s this bit,” feeling about it all. Much of it is even more shot-for-shot faithful than Leone’s take on Kurosawa, even with extreme widescreen and a lot of really interesting shallow focus stuff added to the mix. The story gimmick is so dominant that I began to suspect that Kurosawa was walking a precipice with a rather dry film threatening to result if he lost his footing. But he had Mifune.

Ritt has Newman, wearing a William Tuttle nose and trying very hard to be a Mexican bandit. Mifune was theatrical as hell but he did it all physically, there was no disguise. It’s interesting to see Newman attempt this, but it’s bad for the movie and the obvious answer — hire a Mexican — is in this case the correct one. Hell, Martin Ritt had friends who weren’t Mexican but wouldn’t have been embarrassing — Yul Brynner, Anthony Quinn… It’s not meant to be a racist caricature but how would you feel watching it with a Mexican?

Still, it is an unreasonably gorgeous-looking thing. Was William Shatner’s mother startled by Laurence Olivier or something? What’s with his strange faltering, rising pitch delivery? His Captain Kirk did all that without making me think he was about to burst into song, but here…

Edward G. Robinson has all the best lines. Shatner has the best closeups.

THE OUTRAGE stars Fast Eddie Felson; Raymond Shaw; The Lady Anne; Dr. Clitterhouse; James Tiberius Kirk; Chickamaw; Smerdjakov; and Teeler Yacey.

Momo v.s. Yojimbo

Posted in FILM with tags , on December 14, 2019 by dcairns

Momo the Shadowcat has a lifelong grudge against Toshiro Mifune.

Today is a day for funny cat videos.

In the realm of the sensei

Posted in FILM with tags , , on October 4, 2018 by dcairns

This is the kind of thing I might try to teach in a class if only there were time.

Akira Kurosawa had an unconventional attitude to exposition: he liked it. He would cheerfully stage long scenes where the characters draw a map in the sand and make their battle plans, as in THE SEVEN SAMURAI. Kurosawa felt the audience liked to know what was going on and what was going to happen next (though drawing a plan also creates suspense: WILL things go to plan?) and would enjoy watching the characters explain it. As long as one character has motivation to exposit to another, the scene can set up plot points without trampling character credibility.SANJURO opens with a very long sequence of exposition to get its plot going. First, a group of very Earnest Young Men explain to one another what they think is going on. This gets a little dull, beautiful though the staging is, but boredom is not altogether Kurosawa’s enemy. He has HIGH AND LOW open with ten minutes of discussion about the shoe business just so we can be more surprised and excited when the movie abruptly turns into a gripping kidnap drama. Here, the tedium generated by the Very Earnest Young Men is upturned by the arrival of Toshiro Mifune, who is inherently not boring. Better yet, he’s playing the title character, previously seen in YOJIMBO, who is very far from earnest. Though he takes certain things seriously, and can get quite cross about some of them, he has an overall ironic attitude to life.The throng of VEYM have barely been characterised. They have a leader, but other than that they’re all dopey youths in kimonos and tonsures. If we were meant to be able to tell them apart, we’d be somewhat sunk. But they are basically just one character. The reason for having so many of them is contrast: their multiplicity contrasts with Mifune/Sanjuro’s singularity, just as their seriousness contrasts with his irony. So this exposition — which continues, albeit in a new direction, now that he’s joined us — is also an opportunity to show how unique he is.

And so from here on, when the VEYM stand up, he sits down. When they kneel, he stands. When they tense up, he relaxes. When they bow, he picks his toes. Very good work. Kurosawa is the true teacher.