Another good example of why most cops shouldn't be carrying guns: they get stolen, usually through negligence. Several hundred guns were stolen from S.F. Bay Area cops in the last few years, including M-16 assault rifles. U.C. Berkeley Police Chief left her gun visible in her personal car when it got stolen. Oakland P.D. won't even say how many of their guns are missing. Gun control should start with cops.
A sort of by the numbers style noir but through the eyes of a master. A tight gripping tale, which I would say is in similar vein to his later High and Low. Mifune is as usual totally excellent, as is the actor from Ikiru whose name escapes me. My only gripe about the film is it is a bit long in spots in setting up certain scenes, but the overall payoff makes you stop quibbling. Another masterstroke from Kurosawa.
The heat in the film doesn’t only cause the characters to sweat desperation and drive, but makes the film itself sweat style, feeling, and pure cinema as well. It’s a captivating and exciting tale of redemption and guilt, and is clearly an influence on the kind of crime stories and editing styles of films to come later, having absorbed film noir of the times and turned it out into a different kind of element.
Un chef d'œuvre, tant du point de vue du sujet traité que de la maestria de KUROSAWA, des photographies, des acteurs dont un MIFUME tout en nuances et retenue mais aussi de ces seconds rôles, le personnage de Satò est parfait ainsi que celui d'Harumi. Le Japon de 1949 est parfaitement campé et, comme les autres pays engagés dans le conflit envahi par la corruption, le désir, l'injustice (tirade d'Harumi) CHEF D'ŒUVRE
le japon est cru comme un suchi,sans le fard qui le dissimule et l'on voit que la vie, la misère et l'exploitation des hommes y est comme ailleurs. La caméra de Kurozawa est intraitable. Son génie aussi: on reste saisi par les scènes de l'arrestation ou du cabaret, le jeu distancié de Mifumé dans ce scénario étouffant, noir et néo réaliste. Chef d'Oeuvre !
Watched this yesterday on DVD. An excellent movie. Knowing Toshiro Mifune only from Rashomon and Seven Samurai, I was surprised to see him giving such a subdued performance. There seems to be aspects of both Von Sternberg and Hitchcock in Kurosawa's direction, though not in any way derivative. The final chase is very intense, the exhaustion feels very real.
Mifune sweats. Shimura eats an ice lolly. A girl twirls round in the dress that has cost people's lives. Two men collapse in a field (wish that scene was in colour.) I'm not convinced that Mifune's character ever buys Shimura's verdict on the whole affair - after all, he's been in the war, and Shimura hasn't.
My second viewing, haven't seen it in years. Still one of my favorite of Kurosawa's, I love how he drags on the search for the gun in the beginning. Watch Mifune in each scene- he plays the eager greenhorn with detail and subtlety. Kurosawa turns a basic detective story into a rich experience about humanity and justice, and who's to blame. The ending scene with the children singing is also pretty gut-wrenching.