Akira Kurosawa Films
FILMS THAT I HAVE SEEN FROM AKIRA KUROSAWA - NOT HIS WHOLE FILMOGRAPHY
Sanshiro Sugata (1943)
★★★½
Akira Kurosawa's debut film in 1943. The trials and tribulations of a young martial artist. The ultimate question, the argument that has spanned centuries in Martial Arts culture since its first incarnation, which style is better. American-Chinese martial art legend Bruce Lee in his later years of his life would depart himself from having a style, (using the term "No Way as Way" with his way of fighting Jeet-Kune-Do) because
of the criticism and opposing styles of fighting loyalty and live or die dedication to a style of system that is so strict in an actual fight its movements are rendered useless.
Sanshiro Sugata Part II (1945)
★★★★
Akira Kurosawa's third film, the sequel to his debut film Shansiro Sugata (1943) or Judo Saga Part I.
With no doubt a more fulfilling sequel, that came pretty close to being one of the first mixed-martial art film's, but it's cast of character stay true to tradition, by only using there personal Martial Art style; Sugata of course uses Judo. Jujitsu from the original is no where to be seen in this sequel instead it is replaced by American Boxing and Karate both portrayed bias-ly as animalistic and not considered an Art form like Judo, I have not met anyone nor seen much Karate in my life time even in movies, The Karate Kid is not karate its Kung-Fu or Gung-Fu one of the the first ever Martial Art Forms, I guess The Kung-Fu Kid did not have the same ring to it.
FULL REVIEW <CLICK HERE
With no doubt a more fulfilling sequel, that came pretty close to being one of the first mixed-martial art film's, but it's cast of character stay true to tradition, by only using there personal Martial Art style; Sugata of course uses Judo. Jujitsu from the original is no where to be seen in this sequel instead it is replaced by American Boxing and Karate both portrayed bias-ly as animalistic and not considered an Art form like Judo, I have not met anyone nor seen much Karate in my life time even in movies, The Karate Kid is not karate its Kung-Fu or Gung-Fu one of the the first ever Martial Art Forms, I guess The Kung-Fu Kid did not have the same ring to it.
FULL REVIEW <CLICK HERE
One Wonderful Sunday (1947)
★★★★★
On my cinematic journey through Akira Kurosawa's films this is his best film so far, its massage for the people most effected by World War 2 has long since passed, but it can still be applied to us in this day and age, as well as pushing the limit on sexualism and relationship in films post-war. A sweet dream like film (all these thing I am stating now are fairly well tolled in the film so I will be stating the obvious) following a young couple who are broke as a joke on a average Sunday that turns out to be there greatest moment in there live's as the world throws everything at there fragile relationship, a depressed war veteran is being challenged with looking after his girlfriend, but some how there youthful properties in there personalities are sheltered through and give them a saving grace with a helping hand by a round applause they make it through.
★★★★½
FULL REVIEW >CLICK HERE
The Quit Duel (1949)
★★★½
With precise and smooth camera work and all that those brilliant transitions from scenes to scenes, I am starting to run out of words to explain Akira Kurosawa's films. They are strong and enveloping portrays of strong but strucken characters. The camera hovers over each scene like a fly on the wall, not quite staying still always flying off to a better view of the actors..
★★★★
"Straw Dog" is about the gun and the man who lost it. Lethal Weapon can be seen in this film -- "Stray Dog" may just be the first buddy-cop movie ever -- but I have not seen enough films to honestly state that as fact.
A furious rainstorm has been raging towards the city. When it does hit, it represent the final acts torment and aggressive anxiety, and longing for the recapture of the Colt revolver, in Marakumi (Toshiro Mifune).
Of the previous Akira Kurosawa films I've seen, "Straw Dogs" is the most stylized; like a Film-Noir.
FULL REVIEW >CLICK HERE
FULL REVIEW >CLICK HERE
Scandal (1950)
★★★★½
Kurosawa's take on courtroom movies, and his themes leak from the
film with performances from his recurring actor Toshiro Mifune as the liabled, angered painter who only cares for his work getting the attention it deserves -- away from the smearing tabloid and Yoko Katsuragi who plays the gift from god, who is a heartfelt angel with a death defying disease.
The movies about the press's upraising invasion into people lives, and it is second only to its motivating genius -- the dying little girl who becomes "Scandal's" soul, that one thing moving each character ahead towards the the truth and overcoming it with honor and dignity. Really beautifully moving film that seems to appeal to both Japanese & Western audiences. The first film in Kurosawa's filmography; where I have quickly noticed its broadened target market -- Akira Kurosawa was criticized for appealing to Western audiences throughout his career. The best thing about "Scandal" is it is really predicated on something so simple and genuinely false. Its ending is sudden and missing a few minutes but there is not doubting the film being so very expressive and meaningful.
FULL REVIEW >CLICK HERE
Rashomon (1950)
★★★★
Akira Kurosawa returns to the Japanese genre, Jidaigeki, since his debut films Sanshiro Sugata I & II, aka Judo Saga. It would be a genre the neglected National Treasure of Japan would make his own with his most powerful and fantastic classics; like the Seven Samurai and "Rashomon."
Opens on a rain provoked day. The wet drizzle pulsates, and lays on top of the muddy ground and broken town of Rashomon. A mist of rain hides an unusual story that is just full of sympathy and poetic lies of an exaggerated tall' tale.
FULL REVIEW >CLICK HERE
Hakuchi (1951)
★★★★
The film feels oddly real, the social complexity of the story is fielded through to nearly three hours -- interacting with potent emotions, and axing representation of honesty, evil, insanity, disorder, and goodness, while performing actors stage a script that seems like a Romantic Drama film with that bellyful cinematic brilliance with Akira Kurosawa's touch.
The film feels oddly real, the social complexity of the story is fielded through to nearly three hours -- interacting with potent emotions, and axing representation of honesty, evil, insanity, disorder, and goodness, while performing actors stage a script that seems like a Romantic Drama film with that bellyful cinematic brilliance with Akira Kurosawa's touch.