I just gotta say this channel really and truly does the name Learning About Movies proud. I’m so glad to have discovered your channel. Your perspective on film is amazing to hear and honestly helps broaden my knowledge towards film, etc. thank you for everything you’ve shared on here. We appreciate your videos! 🙏 I’m also curious to know if you approve note taking while analyzing a film.
thank you very much. I usually have a pen and notepad with me, especially for anything I do on this channel. I've found out that the point of notetaking for me is just to remember in my head a lot better. I don't normally have to look at the notes after taking them, but if I don't do it, I don't remember specifics from the film as well.
Hi Josh! This movie is one of the greatest. The conundrum of closing between one's own principle and the reality of life. Mr Mifune is not his usual bubbling, laughing, mad form. He looks exactly like the subdued family man he portrayed. Thanks for this movie. Jiten
This and Ran are my favorite of his films. Aside from all the masterpiece qualities you highlighted in your review, I think about this film most often in terms of context of masculinity in film. Gondo is a great example of what it means to be a good man. I've only seen 7 Kurosawa movies: Ran, High and Low, Ikiru, Rashomon, The Bad Sleep Well, Throne of Blood, and Yojimbo. All the movies explore masculinity, but I would argue that this is the only one that shows what it means to be a good man. Ikiru would be the second best example, as Watanabe redeems all the failures of his life at the end. However you can tell that Gondo worked hard his whole life, and that he cares about and provides for the people around him --even when it's tough and he does not want to. Great job. More people need to see this movie.
I was very disappointed when I watched, it did nothing for me and I got almost nothing out of it, I was expecting a thrilling crime drama with twists and turns but got nothing, just a blueprint for fincher or other thrillers and I’m depressed now because I watched 8 Kurosawa films and only Ikiru and Seven Samurai have done anything for me and frankly this makes me depressed because I want to like Kurosawa but I can’t
@@rampagez3453 I've learned that it's useless to go against your own taste. I'm happy that I'm loving all Kurosawa I've seen (this and Ikiru are my favorites), but I had the same experience as yours with Tarkovskij: I wanted to enjoy it but I despise everything he did except Stalker
Amazing movie and amazing choice for this serious Josh! Not my favorite Kurosawa, but definitely in the top ten best. I don’t think it’s better than Ran, The Bad Sleep Well, Seven Samurai or Rashomon, but again still great.
This was the first non-samurai Kurosawa film I saw, so I was interested to see how he would do a modern film. I did end up being surprised at how much I liked this film and would say it's around my third or fourth favorite Kurosawa film, after Ran and Seven Samurai, and better than or equal to Rashomon. The structure of this film is great and is thrilling throughout, but for different reasons. The first section is like a play in that the action takes place in one location and is centered around the dialogue, performances, and character movement. The restricted set builds upon the tension of the situation, providing no release by switching locations, but keeps you trapped in that room along with the characters, who themselves feel trapped by the kidnapper. Because there's no escape, the scenes feel tight and constricted, making the tension ramp up as the drama unfolds. Gondo's moral conundrum is fascinating, as there is an obvious morally correct choice, yet Kurosawa walks us through the situation and characters so completely that we feel along with everyone else that maybe Gondo won't give up the money. Most people watching this movie will ask themselves what they would do, so they hang on every word spoken to figure that out, allowing them to be drawn into the movie. The second part seems a little more like a standard police procedural, but watching the police figure out strategies, gradually narrow down their ideas, then put their plan into action to catch the kidnapper is exciting. In contrast to the first part, this section is constantly switching locations and having characters run around to solve the next part of the mystery, which allows the audience to feel a little freer while signaling to them that they should watch the movie differently from this point on. Trying to balance such disparate plots is difficult for any storyteller to do, but Kurosawa does it exceptionally well here. Your comment about the kidnapper elevating the executives is interesting. In a way, aren't they the same kind of people in relation to Gondo? I think the executives know that they're trying to take the easy road by shortchanging their customers, and they feel fine with it, or at least don't let it bother them, until Gondo confronts them and demonstrates his integrity by pledging to commit to quality work. At that moment, the executives must have felt ashamed of themselves and resentful of Gondo for doing what they know they're not willing to do, nor are they even capable of doing. Similarly, the kidnapper is jealous of Gondo and assumes that there is no way possible for one man to achieve that level of financial and career success, so obviously Gondo doesn't deserve the money he's made and the kidnapper's plan is justified because he's just stealing back what the man in power stole from someone else. At the end, when they're talking to each other in the prison, the kidnapper thinks that he's going to face this capitalist caricature he's made up in his mind, but he's met by a man who sacrificed to do the right thing and has made the best of his circumstances, which shows the kidnapper his own failures and makes him ashamed of himself and his inability to measure up to this man he thought he was better than. It's a bit like an Ayn Rand novel in that respect, as those are largely the types of characters she wrote about, the capable, intelligent individualists who have a vision and see it through, the weak, cowardly upper-class people who oppose the protagonists out of jealousy for their strong character, and the lazy masses who hate the successful because they want that success for themselves, but cant achieve it. I think Kurosawa's writing is more intelligent than Rand's, however, and shows that jealousy is not just a shallow desire for something someone else has, but is a deeper discontent with one's own abilities and character. Also, I doubt any Rand protagonists would give up their money to save someone else's kid--that would be feeding the parasites, or something like that. That also makes me think of another great Kurosawa film, Ikiru. That movie also features a man who goes through great trials and effort to do what he has determined is right, as well as those who doubt him out of envy. Surrounding him at his wake, Watanabe's coworkers at first downplay his role in getting the playground built, arguing that it was the effort of multiple people and that Watanabe deserves only small credit for it. As they discuss further, however, they realize how much of it really was due in large part to him, and they're ashamed of themselves for continuing to maintain the slow, inefficient bureaucracy of the local government. Inspired by his example, they vow to be more passionate in their work and to serve the people. Once at work, though, they fail to follow through on their promise and things remain as they always were. What those coworkers didn't realize, nor the executives and the kidnapper in High and Low, is that greatness does not come from focusing on other people, but on serious commitment to reflection and self-improvement. If all you think about is how others have done better than you, while you've done nothing or very little, all that will do is encourage bitterness and depression, and those are not good things to depend on when you are making decisions about your life. Both films show that you have to figure out a purpose for your life and you have to give a lot of thought to how you can become the kind of person you want to be. We can choose how we view the world and our place in it, which Gondo and Watanabe did admirably, while the other characters need to confront themselves about their own deficiencies, especially their mindsets.
great comment. While the Rand comment might seem out of nowhere to others, I think you've found what they both have some concern with: the moral, 110-140 IQ individual in an era (mid 20th century) of the masses and of the gangs of elites and revolutionaries. A whole bunch of Westerns in the US are about the same thing.
There are so many great things in this film. Right from the beginning, we start off with a tense meeting of old men who talk and act like they think they know what women want. The irony, a company dedicated to women's shoes has no woman in the board of directors. A subtle dig at Japan's male dominated business world.
I found this movie deeply spiritual. That our worldly wealth/success or lack there of has no bearing on what type of person someone might be. It is more about what path one chooses to take, honestly I found it so close to a Dostoevsky novel. At the end we see the path of humility and hard work Gondo takes. To make a product the right way to do the right thing for the right reasons and the kidnapper who did a wrong out of envy and spite. Even though in some way the kidnapper got what he wanted in reality Gondo found true happiness and peace where the kidnapper will suffer. I think by focusing on the material you completely miss the deeper more human message which is unfortunate as the I feel the movie effected me more in thinking that way.
Just watched this - I think there are a number of complex themes, but what stood out for me are individualism vs collectivism, and how both self interest and collective interest can lead to corruption and moral grayness at all levels. Individual and collective villains and heroes feature strongly throughout the film. At the beginning of the film, in the high echelons of society, Gondo wishes to act in his individual interests to dominate the company. He is asked to join a collective wishing to do the same, but refuses to do so. At this point he is an individual acting selfishly, and they are a collective doing the same. Gondo, however, wishes to profit individually whilst also serving the collective interests of society, whereas they wish to exploit society as a collective of innocent victims. When the boy, an individual innocent victim, is kidnapped, his immediate reaction is to refuse to pay - he values his individual needs over the needs of the boy and his father. He only relents when it is pointed out to him (by a man who has betrayed him) that society as a whole will reject him if he does so. He values his standing in the community and realises that if the boy dies, his reputation will be ruined forever so he has no choice. The film then climbs down to the middle class within the society - mainly the police but also the general public. They work as collective heroes in order to save the boy, and it is the action of the individuals that almost disrupt this process. Here we see the 'best' of society, but it then becomes clear that the kidnapper, an individual villain, too is from the middle class. He exploits the lower class (the drug addicts) in an attempt to profit from the upper class, finding excuses to justify both of these. In the final part of the film, we are taken to the lower levels of society, where people are shown as very self-indulgent to the point of destruction. Here there are collective drug gangs, but also innocent individual victims of exploitation. This is also where the director's concerns about the influence of western culture are most prominent. In the final confrontation, at the lowest level of all (the prison), we see that Gondo, despite being seen as an individual hero, has not achieved his lifetime's ambition and is now part of the middle class. The kidnapper, an individual villain, has fallen from the middle class to that of a common criminal. The police, the collective heroes, and the men from the beginning of the movie, the collective villains, have both been successful and achieved their goals. Serving the greater good or the greater evil are both strong themes in Kurosawa's work. This is what I took from watching the movie a single time, but I suspect there is a lot more here to explore and it's one I will definitely revisit.
Good job, thanks! I also think that's important to mention that the movie is really cool as a detective fiction. Second half is one of the best detective scenarios I've seen, so the movie could also be very interesting for the regular viewers who just want to watch some criminal-police stuff.
this movie and kurosawa is so ahead of its time. this genre is so common now but kurosawa have done it before everyone else, with the exception of alfred hitchcock. this and the bad sleep well are my favourite kurosawa movies.
This movie stands out from other films in so many ways. The beginning of the film starts out with a very compelling question, which is "Do you throw away your entire life, to save a child that's not even your own?" Regardless with how the characters in the movie answer that question, the question itself is awfully hard to shake off.
I think a lot of people don't understand, than in the Japanese business world, someone who works hard to climb the ranks to a CEO is extremely respected and revered. So Kingo Gondo has so much on the line when he is asked to pay the ransom, he's not only giving up money, he's sacrificing his pride and sense of self worth to save someone else's kid.
The dilema of Gondo's reminds the dilema of the christian God: waive all you get by the son of another person. By the way: the original title is Heaven and H3ll
Wow!!! What a great movie! I've been a fan of Kurosawa and Mifune for decades, and had never seen this fine movie. Maybe my favorite performance by Toshiro, and fun to see the faces of familiar actors from other films by Kurosawa. It was amazing to see scenes of the underbelly of Yokohama in 1963 Japan, and realize the scourge of drug cultures existed in the middle of the 20th century. If I'm not mistaken, Gondo's #2 played a leading role in Woody Allen's What's Up Tiger Lily. Great recommendation! Thank you.
Thank you for your recommendations and reviews sir. Going to watch a lot of your films on your What Makes This Movie great playlist that I haven't seen yet.
I enjoyed your analysis, and I think that may be what Kurosawa was trying to say. I could be way off, but that's just my opinion. This is still one of my favorite Kurosawa movies. Excellent!!
Here is an interesting film fact which is coincidental. Tsutomu Yamazaki who plays the kidnapper plays a character named Gondo in Juzo Itami’s 1980 film A Taxing Women. Gondo being the rich shoe maker in High and Low. Check out his awesome performance itami’s film as a rich businessman/ tax dodger criminal
@@LearningaboutMovies This film is the culmination of Kurosawa's style. It's like saying this is Kurosawa in one film (besides all his other notable samurai films wherein he's known of)
I’ve heard several analyses of the themes of this film, but I think yours aligns most closely with Kurosawa’s vision. I always felt boiling it down to a critique of capitalism was underselling some of its subtleties. Have you/would you do a similar analysis of Kobayashi’s Harakiri?
Very good movie! I like Kurosawa's modern dramas as much as his samurai films. A favorite is I Live in Fear. Toshiro Mifune was a very versatile actor and a favorite of Kurosawa's, until they had their falling out.
With the Spike Lee remake announcement, I finally knocked this out last night. 1st hour is taut and a master's class in composition/blocking/cam movement in an intimate locale. Great film.
Pretty good but you harped on high and low too much. The Japanese title is Heaven and Hell, but that wouldn't work in the west in the 60s. Otherwise very good.
I just gotta say this channel really and truly does the name Learning About Movies proud. I’m so glad to have discovered your channel. Your perspective on film is amazing to hear and honestly helps broaden my knowledge towards film, etc. thank you for everything you’ve shared on here. We appreciate your videos! 🙏 I’m also curious to know if you approve note taking while analyzing a film.
thank you very much. I usually have a pen and notepad with me, especially for anything I do on this channel. I've found out that the point of notetaking for me is just to remember in my head a lot better. I don't normally have to look at the notes after taking them, but if I don't do it, I don't remember specifics from the film as well.
Hi Josh!
This movie is one of the greatest. The conundrum of closing between one's own principle and the reality of life. Mr Mifune is not his usual bubbling, laughing, mad form. He looks exactly like the subdued family man he portrayed. Thanks for this movie.
Jiten
you're welcome.
Watched this today. So good. The way you go from the room with the closed blinds to the hectic shots in the city blew my mind
This and Ran are my favorite of his films. Aside from all the masterpiece qualities you highlighted in your review, I think about this film most often in terms of context of masculinity in film. Gondo is a great example of what it means to be a good man. I've only seen 7 Kurosawa movies: Ran, High and Low, Ikiru, Rashomon, The Bad Sleep Well, Throne of Blood, and Yojimbo. All the movies explore masculinity, but I would argue that this is the only one that shows what it means to be a good man. Ikiru would be the second best example, as Watanabe redeems all the failures of his life at the end. However you can tell that Gondo worked hard his whole life, and that he cares about and provides for the people around him --even when it's tough and he does not want to.
Great job. More people need to see this movie.
His best film.
I was very disappointed when I watched, it did nothing for me and I got almost nothing out of it, I was expecting a thrilling crime drama with twists and turns but got nothing, just a blueprint for fincher or other thrillers and I’m depressed now because I watched 8 Kurosawa films and only Ikiru and Seven Samurai have done anything for me and frankly this makes me depressed because I want to like Kurosawa but I can’t
@@rampagez3453 Fincher is not in the same galaxy as Kurosawa. Watch again and learn.
@@rampagez3453bro it’s my favorite movie of all time, on my second watch i truly appreciated it
It's boring@@danschneider7531
@@rampagez3453 I've learned that it's useless to go against your own taste. I'm happy that I'm loving all Kurosawa I've seen (this and Ikiru are my favorites), but I had the same experience as yours with Tarkovskij: I wanted to enjoy it but I despise everything he did except Stalker
How many times has it been remade? There’s the Hollywood remake from the 90s and the recent Soderbergh version for HBO. Another movie in the works.
Amazing movie and amazing choice for this serious Josh! Not my favorite Kurosawa, but definitely in the top ten best. I don’t think it’s better than Ran, The Bad Sleep Well, Seven Samurai or Rashomon, but again still great.
thank you Calvin.
This was the first non-samurai Kurosawa film I saw, so I was interested to see how he would do a modern film. I did end up being surprised at how much I liked this film and would say it's around my third or fourth favorite Kurosawa film, after Ran and Seven Samurai, and better than or equal to Rashomon. The structure of this film is great and is thrilling throughout, but for different reasons. The first section is like a play in that the action takes place in one location and is centered around the dialogue, performances, and character movement. The restricted set builds upon the tension of the situation, providing no release by switching locations, but keeps you trapped in that room along with the characters, who themselves feel trapped by the kidnapper. Because there's no escape, the scenes feel tight and constricted, making the tension ramp up as the drama unfolds. Gondo's moral conundrum is fascinating, as there is an obvious morally correct choice, yet Kurosawa walks us through the situation and characters so completely that we feel along with everyone else that maybe Gondo won't give up the money. Most people watching this movie will ask themselves what they would do, so they hang on every word spoken to figure that out, allowing them to be drawn into the movie. The second part seems a little more like a standard police procedural, but watching the police figure out strategies, gradually narrow down their ideas, then put their plan into action to catch the kidnapper is exciting. In contrast to the first part, this section is constantly switching locations and having characters run around to solve the next part of the mystery, which allows the audience to feel a little freer while signaling to them that they should watch the movie differently from this point on. Trying to balance such disparate plots is difficult for any storyteller to do, but Kurosawa does it exceptionally well here.
Your comment about the kidnapper elevating the executives is interesting. In a way, aren't they the same kind of people in relation to Gondo? I think the executives know that they're trying to take the easy road by shortchanging their customers, and they feel fine with it, or at least don't let it bother them, until Gondo confronts them and demonstrates his integrity by pledging to commit to quality work. At that moment, the executives must have felt ashamed of themselves and resentful of Gondo for doing what they know they're not willing to do, nor are they even capable of doing. Similarly, the kidnapper is jealous of Gondo and assumes that there is no way possible for one man to achieve that level of financial and career success, so obviously Gondo doesn't deserve the money he's made and the kidnapper's plan is justified because he's just stealing back what the man in power stole from someone else. At the end, when they're talking to each other in the prison, the kidnapper thinks that he's going to face this capitalist caricature he's made up in his mind, but he's met by a man who sacrificed to do the right thing and has made the best of his circumstances, which shows the kidnapper his own failures and makes him ashamed of himself and his inability to measure up to this man he thought he was better than. It's a bit like an Ayn Rand novel in that respect, as those are largely the types of characters she wrote about, the capable, intelligent individualists who have a vision and see it through, the weak, cowardly upper-class people who oppose the protagonists out of jealousy for their strong character, and the lazy masses who hate the successful because they want that success for themselves, but cant achieve it. I think Kurosawa's writing is more intelligent than Rand's, however, and shows that jealousy is not just a shallow desire for something someone else has, but is a deeper discontent with one's own abilities and character. Also, I doubt any Rand protagonists would give up their money to save someone else's kid--that would be feeding the parasites, or something like that.
That also makes me think of another great Kurosawa film, Ikiru. That movie also features a man who goes through great trials and effort to do what he has determined is right, as well as those who doubt him out of envy. Surrounding him at his wake, Watanabe's coworkers at first downplay his role in getting the playground built, arguing that it was the effort of multiple people and that Watanabe deserves only small credit for it. As they discuss further, however, they realize how much of it really was due in large part to him, and they're ashamed of themselves for continuing to maintain the slow, inefficient bureaucracy of the local government. Inspired by his example, they vow to be more passionate in their work and to serve the people. Once at work, though, they fail to follow through on their promise and things remain as they always were. What those coworkers didn't realize, nor the executives and the kidnapper in High and Low, is that greatness does not come from focusing on other people, but on serious commitment to reflection and self-improvement. If all you think about is how others have done better than you, while you've done nothing or very little, all that will do is encourage bitterness and depression, and those are not good things to depend on when you are making decisions about your life. Both films show that you have to figure out a purpose for your life and you have to give a lot of thought to how you can become the kind of person you want to be. We can choose how we view the world and our place in it, which Gondo and Watanabe did admirably, while the other characters need to confront themselves about their own deficiencies, especially their mindsets.
great comment. While the Rand comment might seem out of nowhere to others, I think you've found what they both have some concern with: the moral, 110-140 IQ individual in an era (mid 20th century) of the masses and of the gangs of elites and revolutionaries. A whole bunch of Westerns in the US are about the same thing.
Second favorite movie by my favorite director. The writing is so airtight in this film it’s almost scary, and it only gets better on rewatches!
There are so many great things in this film. Right from the beginning, we start off with a tense meeting of old men who talk and act like they think they know what women want. The irony, a company dedicated to women's shoes has no woman in the board of directors. A subtle dig at Japan's male dominated business world.
I found this movie deeply spiritual. That our worldly wealth/success or lack there of has no bearing on what type of person someone might be. It is more about what path one chooses to take, honestly I found it so close to a Dostoevsky novel. At the end we see the path of humility and hard work Gondo takes. To make a product the right way to do the right thing for the right reasons and the kidnapper who did a wrong out of envy and spite. Even though in some way the kidnapper got what he wanted in reality Gondo found true happiness and peace where the kidnapper will suffer. I think by focusing on the material you completely miss the deeper more human message which is unfortunate as the I feel the movie effected me more in thinking that way.
Just watched this - I think there are a number of complex themes, but what stood out for me are individualism vs collectivism, and how both self interest and collective interest can lead to corruption and moral grayness at all levels. Individual and collective villains and heroes feature strongly throughout the film. At the beginning of the film, in the high echelons of society, Gondo wishes to act in his individual interests to dominate the company. He is asked to join a collective wishing to do the same, but refuses to do so. At this point he is an individual acting selfishly, and they are a collective doing the same. Gondo, however, wishes to profit individually whilst also serving the collective interests of society, whereas they wish to exploit society as a collective of innocent victims.
When the boy, an individual innocent victim, is kidnapped, his immediate reaction is to refuse to pay - he values his individual needs over the needs of the boy and his father. He only relents when it is pointed out to him (by a man who has betrayed him) that society as a whole will reject him if he does so. He values his standing in the community and realises that if the boy dies, his reputation will be ruined forever so he has no choice. The film then climbs down to the middle class within the society - mainly the police but also the general public. They work as collective heroes in order to save the boy, and it is the action of the individuals that almost disrupt this process. Here we see the 'best' of society, but it then becomes clear that the kidnapper, an individual villain, too is from the middle class. He exploits the lower class (the drug addicts) in an attempt to profit from the upper class, finding excuses to justify both of these. In the final part of the film, we are taken to the lower levels of society, where people are shown as very self-indulgent to the point of destruction. Here there are collective drug gangs, but also innocent individual victims of exploitation. This is also where the director's concerns about the influence of western culture are most prominent.
In the final confrontation, at the lowest level of all (the prison), we see that Gondo, despite being seen as an individual hero, has not achieved his lifetime's ambition and is now part of the middle class. The kidnapper, an individual villain, has fallen from the middle class to that of a common criminal. The police, the collective heroes, and the men from the beginning of the movie, the collective villains, have both been successful and achieved their goals. Serving the greater good or the greater evil are both strong themes in Kurosawa's work.
This is what I took from watching the movie a single time, but I suspect there is a lot more here to explore and it's one I will definitely revisit.
One of my favorite mystery film
excellent!
Good job, thanks! I also think that's important to mention that the movie is really cool as a detective fiction. Second half is one of the best detective scenarios I've seen, so the movie could also be very interesting for the regular viewers who just want to watch some criminal-police stuff.
you're welcome. You are right, as Kurosawa liked that stuff -- see his Stray Dog as well.
this movie and kurosawa is so ahead of its time. this genre is so common now but kurosawa have done it before everyone else, with the exception of alfred hitchcock. this and the bad sleep well are my favourite kurosawa movies.
This movie stands out from other films in so many ways. The beginning of the film starts out with a very compelling question, which is "Do you throw away your entire life, to save a child that's not even your own?" Regardless with how the characters in the movie answer that question, the question itself is awfully hard to shake off.
Honestly I could have watched the scene where the police give updates on the case for three hours. Such a great scene!
I think a lot of people don't understand, than in the Japanese business world, someone who works hard to climb the ranks to a CEO is extremely respected and revered. So Kingo Gondo has so much on the line when he is asked to pay the ransom, he's not only giving up money, he's sacrificing his pride and sense of self worth to save someone else's kid.
The dilema of Gondo's reminds the dilema of the christian God: waive all you get by the son of another person. By the way: the original title is Heaven and H3ll
Great review. Just finished watching for the first time in years. Such a treat.
Wow!!! What a great movie! I've been a fan of Kurosawa and Mifune for decades, and had never seen this fine movie. Maybe my favorite performance by Toshiro, and fun to see the faces of familiar actors from other films by Kurosawa.
It was amazing to see scenes of the underbelly of Yokohama in 1963 Japan, and realize the scourge of drug cultures existed in the middle of the 20th century.
If I'm not mistaken, Gondo's #2 played a leading role in Woody Allen's What's Up Tiger Lily.
Great recommendation! Thank you.
you're welcome.
👍 imdb movie list 👍
I already seen 223 movies just 27 more 😂
Thank you for your recommendations and reviews sir. Going to watch a lot of your films on your What Makes This Movie great playlist that I haven't seen yet.
It's a good one to dub most definitely
I held all other detective movies by this movie's standard since I got to watch this early in my life... the best detective film ever watched.
I enjoyed your analysis, and I think that may be what Kurosawa was trying to say. I could be way off, but that's just my opinion. This is still one of my favorite Kurosawa movies. Excellent!!
thank you.
Here is an interesting film fact which is coincidental. Tsutomu Yamazaki who plays the kidnapper plays a character named Gondo in Juzo Itami’s 1980 film A Taxing Women. Gondo being the rich shoe maker in High and Low. Check out his awesome performance itami’s film as a rich businessman/ tax dodger criminal
Unpopular opinion:
This is Kurosawa's best film.
I think this is reasonable. The degree of difficulty in making something entertaining and captivating with this material is fairly high.
@@LearningaboutMovies This film is the culmination of Kurosawa's style. It's like saying this is Kurosawa in one film (besides all his other notable samurai films wherein he's known of)
I’ve heard several analyses of the themes of this film, but I think yours aligns most closely with Kurosawa’s vision. I always felt boiling it down to a critique of capitalism was underselling some of its subtleties.
Have you/would you do a similar analysis of Kobayashi’s Harakiri?
Very good movie! I like Kurosawa's modern dramas as much as his samurai films. A favorite is I Live in Fear. Toshiro Mifune was a very versatile actor and a favorite of Kurosawa's, until they had their falling out.
thank you. "I Live in Fear" is an underrated and underwatched movie that has strong relevance for today, and maybe any era.
I was also struck by the opening shot. Really masterful opening.
With the Spike Lee remake announcement, I finally knocked this out last night. 1st hour is taut and a master's class in composition/blocking/cam movement in an intimate locale. Great film.
my question is, why remake it?
Honestly my favorite Asian movie
2nd is Seven Samurai
excellent!
The human condition is a great one
High and Low has the best blocking of any movie ever.
Pretty good but you harped on high and low too much. The Japanese title is Heaven and Hell, but that wouldn't work in the west in the 60s.
Otherwise very good.
Best ending in a film ever!
HIGH AND LOW is my favourite Kurosawa film which is such a meaningless designation.
Hello. Have you ever made a video on the human condition? If not, mind sharing your thoughts
not yet -- I've got to find time to rewatch it and go through it carefully. thanks for asking. Great movie! (All three!)