This film will be more for those curious about the process of how we got from blood going down the drain in black and white in Pscyho to where film in the early ’80’s is so gross.
…it’s remarkable how far a medieval ballad can reach through time, even if what comes out on the other side holds little resemblance to the significance of the tale.
A weak third act tears down the momentum of what could be a classic film.
The director’s master of wide screen is such an art by this point that it feels like an entirely different story is being told for long, wordless passages.
See this film if you want to smile, but don’t expect to go away with the idea that stoicism is easy. Even if Mifune makes it seem that way.
Musashi’s presence is undeniable as the burgeoning samurai. His is one of the giant characters in episodic history, every bit worth the value of the legend he represents.
Kurosawa, Shimura and Mifune by this point are in full swing. There is nothing in the world that matches their ability to relay a story.
This is definitely a star turn for Mifune, if there ever was one. His performance is exceptional and layered.
This is good Kurosawa, brought up by a great Shimura and steadied by Mifune.
For those who are looking to enjoy the development of Mifune as a lead actor, this is worth watching.
Drunken Angel is a flawed, but brilliant first film by one of the world’s greatest directors. Knowing he is this good when he started out makes me hopeful for a future I already know.
Hopscotch is a slower version of Smokey and the Bandit, where more miles are travelled offscreen.
As if a critic knows what’s worth creating. “To learn silence,” indeed.