In der Hauptrolle: Toshiro Mifune, Takashi Shimura, Yoshio Inaba, et al. Regie: Akira Kurosawa. Kurosawa - Mifune: Ein Kraftduo. Die beiden gehören zu den erfolgreichsten Duos in der Filmgeschichte: Hier der Meisterregisseur und grosse Humanist, der. Akira Kurosawa. Schauspieler • Producer • Regisseur • Drehbuchautor • Cutter. Er ist einer der größten Regisseure der internationalen Filmgeschichte. Als er.
Kurosawa Leben & Werk
Akira Kurosawa war ein japanischer Filmregisseur. Mit einem Schaffenswerk von 30 Filmen über einen Zeitraum von 57 Jahren gilt er als einer der einflussreichsten Regisseure aller Zeiten. Akira Kurosawa (黒澤明,Moderne Schreibweise (新字体): 黒沢明 Kurosawa Akira, * März in Ōmori, Landkreis Ebara (später: Stadt Tokio, heute: Ōta). Hisao Kurosawa (jap. 黒澤久雄, Kurosawa Hisao, * Dezember in Japan) ist ein japanischer Filmproduzent und der Sohn des legendären Regisseurs. Akira KUROSAWA. Japan. 18 Filme im Verleih. 29 Filme hat der Kaiser des japanischen Films seit realisiert. Immer wieder hat A.K. literarische Werke als. biuro-nieruchomosci.eu - Kaufen Sie Akira Kurosawa Meisterwerke günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details. Izumi: Wie kam es dazu, dass Toshiro Mifune die Kurosawa-Gruppe verließ? Nogami: Der Film AKAHIGE war die letzte Zusammenarbeit zwischen Kurosawa. In der Hauptrolle: Toshiro Mifune, Takashi Shimura, Yoshio Inaba, et al. Regie: Akira Kurosawa.
Akira Kurosawa. Schauspieler • Producer • Regisseur • Drehbuchautor • Cutter. Er ist einer der größten Regisseure der internationalen Filmgeschichte. Als er. Akira Kurosawa war ein japanischer Filmregisseur. Mit einem Schaffenswerk von 30 Filmen über einen Zeitraum von 57 Jahren gilt er als einer der einflussreichsten Regisseure aller Zeiten. Akira Kurosawa (黒澤明,Moderne Schreibweise (新字体): 黒沢明 Kurosawa Akira, * März in Ōmori, Landkreis Ebara (später: Stadt Tokio, heute: Ōta). Sofort lieferbar. Bilanz eines Lebens war ein kritischer und finanzieller Erfolg, Kurosawa allerdings weit hinter der Charite Staffel 2 Folge 5 seines Vorgängers. Für sein erstes ausländisches Projekt wählte Kurosawa eine Geschichte, die auf einem Artikel aus dem Life -Magazin beruht. Darin werden die Vergangenheit und die Lebensgeschichte des Lehrers und seiner Frau aufgerollt, anfangend beim Zweiten Weltkrieg bis hinein in die gegenwärtigen er-Jahre. Im selben Film alleine finden sich unzählige dieser Beispiele. Mit Kagemusha hat sich jedoch, laut Prince, die Bedeutung dieser Beziehung ins pessimistische geändert. Ein Skript, dass zu Zeiten der Yonki no kai geschrieben und Zwecks Peter Greenaway nie realisiert wurde, Black Butler Staffel 3 vom einzigen noch lebenden Mitglied Kon Ichikawa unter dem Namen Dora-heita verwirklicht. Kurosawa, der durch die Reklame des Buches Interesse entwickelte, kaufte die Novelle Kurosawa Tag der Veröffentlichung, las sie am selben Tag durch und fragte Tomita kurz darauf auf eine filmische Adaption an, die dieser absegnete.
Kurosawa Menu de navigation VideoSonhos, Akira Kurosawa - 1990 DUBLADO
Kurosawa Përmbajtja Video3 Brilliant Moments of Blocking (in Kurosawa's High and Low) Akira Kurosawa. Schauspieler • Producer • Regisseur • Drehbuchautor • Cutter. Er ist einer der größten Regisseure der internationalen Filmgeschichte. Als er. Der oscarprämierte Akira Kurosawa (–) gehört zu den weltweit einflussreichsten und wichtigsten Regisseuren des Jahrhunderts. Sein mit dem. Kurosawa - Mifune: Ein Kraftduo. Die beiden gehören zu den erfolgreichsten Duos in der Filmgeschichte: Hier der Meisterregisseur und grosse Humanist, der.
Voulez-vous des exemples? Dans Barberousse , quand la petite fille est malade, on entend le bruit du passage du veilleur de nuit qui fait sa ronde contre l'incendie.
Enfin Sanjuro est la suite du film Le Garde du corps. Wikimedia Commons. Menu de navigation Espaces de noms Article Discussion.
Pour les autres significations, voir Kurosawa homonymie. Akira Kurosawa vers Votre aide est la bienvenue! Comment faire? Akira Kurosawa Dessins.
Archives de Kurosawa. Un merveilleux dimanche. National Board of Review Awards. Vivre avec Hideo Oguni et Shinobu Hashimoto.
Entre le ciel et l'enfer. Festival international du film de Moscou. The severely edited film version is widely considered to be one of the director's least successful works and the original full length version no longer exists.
Contemporary reviews of the much shortened edited version were very negative, but the film was a moderate success at the box office, largely because of the popularity of one of its stars, Setsuko Hara.
Meanwhile, unbeknownst to Kurosawa, Rashomon had been entered in the Venice Film Festival , due to the efforts of Giuliana Stramigioli , a Japan-based representative of an Italian film company, who had seen and admired the movie and convinced Daiei to submit it.
On September 10, , Rashomon was awarded the festival's highest prize, the Golden Lion , shocking not only Daiei but the international film world, which at the time was largely unaware of Japan's decades-old cinematic tradition.
The company was taking a considerable gamble. It had put out only one prior subtitled film in the American market, and the only previous Japanese talkie commercially released in New York had been Mikio Naruse 's comedy, Wife!
Be Like a Rose , in a critical and box-office flop. This success in turn led to a vogue in America and the West for Japanese movies throughout the s, replacing the enthusiasm for Italian neorealist cinema.
His career boosted by his sudden international fame, Kurosawa, now reunited with his original film studio, Toho which would go on to produce his next 11 films , set to work on his next project, Ikiru.
The movie stars Takashi Shimura as a cancer-ridden Tokyo bureaucrat, Watanabe, on a final quest for meaning before his death.
For the screenplay, Kurosawa brought in Hashimoto as well as writer Hideo Oguni, who would go on to co-write 12 Kurosawa films.
Despite the work's grim subject matter, the screenwriters took a satirical approach, which some have compared to the work of Brecht , to both the bureaucratic world of its hero and the U.
American pop songs figure prominently in the film. Because of this strategy, the filmmakers are usually credited with saving the picture from the kind of sentimentality common to dramas about characters with terminal illnesses.
Ikiru opened in October to rave reviews—it won Kurosawa his second Kinema Junpo "Best Film" award—and enormous box office success.
It remains the most acclaimed of all the artist's films set in the modern era. In December , Kurosawa took his Ikiru screenwriters, Shinobu Hashimoto and Hideo Oguni, for a forty-five-day secluded residence at an inn to create the screenplay for his next movie, Seven Samurai.
The ensemble work was Kurosawa's first proper samurai film , the genre for which he would become most famous. The simple story, about a poor farming village in Sengoku period Japan that hires a group of samurai to defend it against an impending attack by bandits, was given a full epic treatment, with a huge cast largely consisting of veterans of previous Kurosawa productions and meticulously detailed action, stretching out to almost three-and-a-half hours of screen time.
Three months were spent in pre-production and a month in rehearsals. Shooting took up days spread over almost a year, interrupted by production and financing troubles and Kurosawa's health problems.
The film finally opened in April , half a year behind its original release date and about three times over budget, making it at the time the most expensive Japanese film ever made.
However, by Hollywood standards, it was a quite modestly budgeted production, even for that time. The film received positive critical reaction and became a big hit, quickly making back the money invested in it and providing the studio with a product that they could, and did, market internationally—though with extensive edits.
Over time—and with the theatrical and home video releases of the uncut version—its reputation has steadily grown.
It is now regarded by some commentators as the greatest Japanese film ever made, and in , a poll of Japanese film critics also voted it the best Japanese film ever made.
In , nuclear tests in the Pacific were causing radioactive rainstorms in Japan and one particular incident in March had exposed a Japanese fishing boat to nuclear fallout , with disastrous results.
It is in this anxious atmosphere that Kurosawa's next film, Record of a Living Being , was conceived. The story concerned an elderly factory owner Toshiro Mifune so terrified of the prospect of a nuclear attack that he becomes determined to move his entire extended family both legal and extra-marital to what he imagines is the safety of a farm in Brazil.
Production went much more smoothly than the director's previous film, but a few days before shooting ended, Kurosawa's composer, collaborator and close friend Fumio Hayasaka died of tuberculosis at the age of The film's score was finished by Hayasaka's student, Masaru Sato , who would go on to score all of Kurosawa's next eight films.
Record of a Living Being opened in November to mixed reviews and muted audience reaction, becoming the first Kurosawa film to lose money during its original theatrical run.
Today, it is considered by many to be among the finest films dealing with the psychological effects of the global nuclear stalemate.
Kurosawa's next project, Throne of Blood , an adaptation of William Shakespeare 's Macbeth —set, like Seven Samurai , in the Sengoku Era—represented an ambitious transposition of the English work into a Japanese context.
Kurosawa instructed his leading actress, Isuzu Yamada , to regard the work as if it were a cinematic version of a Japanese rather than a European literary classic.
Given Kurosawa's appreciation of traditional Japanese stage acting, the acting of the players, particularly Yamada, draws heavily on the stylized techniques of the Noh theater.
It was filmed in and released in January to a slightly less negative domestic response than had been the case with the director's previous film.
Abroad, Throne of Blood , regardless of the liberties it takes with its source material, quickly earned a place among the most celebrated Shakespeare adaptations.
Another adaptation of a classic European theatrical work followed almost immediately, with production of The Lower Depths , based on a play by Maxim Gorky , taking place in May and June In contrast to the Shakespearean sweep of Throne of Blood , The Lower Depths was shot on only two confined sets, in order to emphasize the restricted nature of the characters' lives.
Though faithful to the play, this adaptation of Russian material to a completely Japanese setting—in this case, the late Edo period —unlike his earlier The Idiot , was regarded as artistically successful.
The film premiered in September , receiving a mixed response similar to that of Throne of Blood. However, some critics rank it among the director's most underrated works.
Kurosawa's three next movies after Seven Samurai had not managed to capture Japanese audiences in the way that that film had.
The mood of the director's work had been growing increasingly pessimistic and dark, with the possibility of redemption through personal responsibility now very much questioned, particularly in Throne of Blood and The Lower Depths.
He recognized this, and deliberately aimed for a more light-hearted and entertaining film for his next production, while switching to the new widescreen format that had been gaining popularity in Japan.
The resulting film, The Hidden Fortress , is an action-adventure comedy-drama about a medieval princess, her loyal general and two peasants who all need to travel through enemy lines in order to reach their home region.
Released in December , The Hidden Fortress became an enormous box office success in Japan and was warmly received by critics both in Japan and abroad.
Today, the film is considered one of Kurosawa's most lightweight efforts, though it remains popular, not least because it is one of several major influences on George Lucas 's space opera , Star Wars.
Starting with Rashomon , Kurosawa's productions had become increasingly large in scope and so had the director's budgets.
Toho, concerned about this development, suggested that he might help finance his own works, therefore making the studio's potential losses smaller, while in turn allowing himself more artistic freedom as co-producer.
Kurosawa agreed, and the Kurosawa Production Company was established in April , with Toho as the majority shareholder. Despite risking his own money, Kurosawa chose a story that was more directly critical of the Japanese business and political elites than any previous work.
The Bad Sleep Well , based on a script by Kurosawa's nephew Mike Inoue, is a revenge drama about a young man who is able to infiltrate the hierarchy of a corrupt Japanese company with the intention of exposing the men responsible for his father's death.
Its theme proved topical: while the film was in production, mass demonstrations were held against the new U.
The film opened in September to positive critical reaction and modest box office success. The minute opening sequence depicting a corporate wedding reception is widely regarded as one of Kurosawa's most skillfully executed set pieces, but the remainder of the film is often perceived as disappointing by comparison.
The movie has also been criticized for employing the conventional Kurosawan hero to combat a social evil that cannot be resolved through the actions of individuals, however courageous or cunning.
Yojimbo The Bodyguard , Kurosawa Production's second film, centers on a masterless samurai, Sanjuro, who strolls into a 19th-century town ruled by two opposing violent factions and provokes them into destroying each other.
The director used this work to play with many genre conventions, particularly the Western , while at the same time offering an unprecedentedly for the Japanese screen graphic portrayal of violence.
Some commentators have seen the Sanjuro character in this film as a fantasy figure who magically reverses the historical triumph of the corrupt merchant class over the samurai class.
Featuring Tatsuya Nakadai in his first major role in a Kurosawa movie, and with innovative photography by Kazuo Miyagawa who shot Rashomon and Takao Saito , the film premiered in April and was a critically and commercially successful venture, earning more than any previous Kurosawa film.
The movie and its blackly comic tone were also widely imitated abroad. Sergio Leone 's A Fistful of Dollars was a virtual unauthorized scene-by-scene remake with Toho filing a lawsuit on Kurosawa's behalf and prevailing.
Following the success of Yojimbo , Kurosawa found himself under pressure from Toho to create a sequel. Kurosawa turned to a script he had written before Yojimbo , reworking it to include the hero of his previous film.
It is lighter in tone and closer to a conventional period film than Yojimbo , though its story of a power struggle within a samurai clan is portrayed with strongly comic undertones.
The film opened on January 1, , quickly surpassing Yojimbo ' s box office success and garnering positive reviews.
Kurosawa had meanwhile instructed Toho to purchase the film rights to King's Ransom , a novel about a kidnapping written by American author and screenwriter Evan Hunter , under his pseudonym of Ed McBain, as one of his 87th Precinct series of crime books.
The director intended to create a work condemning kidnapping, which he considered one of the very worst crimes. The suspense film, titled High and Low , was shot during the latter half of and released in March It broke Kurosawa's box office record the third film in a row to do so , became the highest grossing Japanese film of the year, and won glowing reviews.
However, his triumph was somewhat tarnished when, ironically, the film was blamed for a wave of kidnappings which occurred in Japan about this time he himself received kidnapping threats directed at his young daughter, Kazuko.
High and Low is considered by many commentators to be among the director's strongest works. Kurosawa quickly moved on to his next project, Red Beard.
A conceited and materialistic, foreign-trained young doctor, Yasumoto, is forced to become an intern at the clinic under the stern tutelage of Doctor Niide, known as "Akahige" "Red Beard" , played by Mifune.
Although he resists Red Beard initially, Yasumoto comes to admire his wisdom and courage, and to perceive the patients at the clinic, whom he at first despised, as worthy of compassion and dignity.
The shoot, the filmmaker's longest ever, lasted well over a year after five months of pre-production , and wrapped in spring , leaving the director, his crew and his actors exhausted.
Red Beard premiered in April , becoming the year's highest-grossing Japanese production and the third and last Kurosawa film to top the prestigious Kinema Jumpo yearly critics poll.
It remains one of Kurosawa's best-known and most-loved works in his native country. Outside Japan, critics have been much more divided.
Most commentators concede its technical merits and some praise it as among Kurosawa's best, while others insist that it lacks complexity and genuine narrative power, with still others claiming that it represents a retreat from the artist's previous commitment to social and political change.
The film marked something of an end of an era for its creator. The director himself recognized this at the time of its release, telling critic Donald Richie that a cycle of some kind had just come to an end and that his future films and production methods would be different.
Beginning in the late s, television began increasingly to dominate the leisure time of the formerly large and loyal Japanese cinema audience.
And as film company revenues dropped, so did their appetite for risk—particularly the risk represented by Kurosawa's costly production methods.
Red Beard also marked the midway point, chronologically, in the artist's career. During his previous twenty-nine years in the film industry which includes his five years as assistant director , he had directed twenty-three films, while during the remaining twenty-eight years, for many and complex reasons, he would complete only seven more.
Also, for reasons never adequately explained, Red Beard would be his final film starring Toshiro Mifune.
Yu Fujiki, an actor who worked on The Lower Depths , observed, regarding the closeness of the two men on the set, "Mr. Kurosawa's heart was in Mr.
Mifune's body. When Kurosawa's exclusive contract with Toho came to an end in , the year-old director was seriously contemplating change. Observing the troubled state of the domestic film industry, and having already received dozens of offers from abroad, the idea of working outside Japan appealed to him as never before.
For his first foreign project, Kurosawa chose a story based on a Life magazine article. The Embassy Pictures action thriller, to be filmed in English and called simply Runaway Train , would have been his first in color.
But the language barrier proved a major problem, and the English version of the screenplay was not even finished by the time filming was to begin in autumn The shoot, which required snow, was moved to autumn , then canceled in Almost two decades later, another foreign director working in Hollywood, Andrei Konchalovsky , finally made Runaway Train , though from a new script loosely based on Kurosawa's.
The director meanwhile had become involved in a much more ambitious Hollywood project. He spent several months working on the script with Ryuzo Kikushima and Hideo Oguni, but very soon the project began to unravel.
The director of the American sequences turned out not to be David Lean , as originally planned, but American Richard Fleischer. The budget was also cut, and the screen time allocated for the Japanese segment would now be no longer than 90 minutes—a major problem, considering that Kurosawa's script ran over four hours.
After numerous revisions with the direct involvement of Darryl Zanuck , a more or less finalized cut screenplay was agreed upon in May Shooting began in early December, but Kurosawa would last only a little over three weeks as director.
He struggled to work with an unfamiliar crew and the requirements of a Hollywood production, while his working methods puzzled his American producers, who ultimately concluded that the director must be mentally ill.
Kurosawa was examined at Kyoto University Hospital by a neuropsychologist, Dr. Murakami, whose diagnosis was forwarded to Darryl Zanuck and Richard Zanuck at Fox studios indicating a diagnosis of neurasthenia stating that, "He is suffering from disturbance of sleep, agitated with feelings of anxiety and in manic excitement caused by the above mentioned illness.
It is necessary for him to have rest and medical treatment for more than two months. He was ultimately replaced, for the film's Japanese sequences, with two directors, Kinji Fukasaku and Toshio Masuda.
He had spent years of his life on a logistically nightmarish project to which he ultimately did not contribute a foot of film shot by himself.
He had his name removed from the credits, though the script used for the Japanese half was still his and his co-writers'. He became estranged from his longtime collaborator, writer Ryuzo Kikushima, and never worked with him again.
The project had inadvertently exposed corruption in his own production company a situation reminiscent of his own movie, The Bad Sleep Well.
His very sanity had been called into question. Worst of all, the Japanese film industry—and perhaps the man himself—began to suspect that he would never make another film.
Knowing that his reputation was at stake following the much publicised Tora! To his aid came friends and famed directors Keisuke Kinoshita , Masaki Kobayashi and Kon Ichikawa, who together with Kurosawa established in July a production company called the Club of the Four Knights Yonki no kai.
Although the plan was for the four directors to create a film each, it has been suggested that the real motivation for the other three directors was to make it easier for Kurosawa to successfully complete a film, and therefore find his way back into the business.
The film was shot quickly by Kurosawa's standards in about nine weeks, with Kurosawa determined to show he was still capable of working quickly and efficiently within a limited budget.
For his first work in color, the dynamic editing and complex compositions of his earlier pictures were set aside, with the artist focusing on the creation of a bold, almost surreal palette of primary colors, in order to reveal the toxic environment in which the characters live.
It was released in Japan in October , but though a minor critical success, it was greeted with audience indifference. The picture lost money and caused the Club of the Four Knights to dissolve.
Initial reception abroad was somewhat more favorable, but Dodesukaden has since been typically considered an interesting experiment not comparable to the director's best work.
Unable to secure funding for further work and allegedly suffering from health problems, Kurosawa apparently reached the breaking point: on December 22, , he slit his wrists and throat multiple times.
The suicide attempt proved unsuccessful and the director's health recovered fairly quickly, with Kurosawa now taking refuge in domestic life, uncertain if he would ever direct another film.
In early , the Soviet studio Mosfilm approached the filmmaker to ask if he would be interested in working with them. Kurosawa proposed an adaptation of Russian explorer Vladimir Arsenyev 's autobiographical work Dersu Uzala.
The book, about a Goldi hunter who lives in harmony with nature until destroyed by encroaching civilization, was one that he had wanted to make since the s.
In December , the year-old Kurosawa set off for the Soviet Union with four of his closest aides, beginning a year-and-a-half stay in the country.
Shooting began in May in Siberia, with filming in exceedingly harsh natural conditions proving very difficult and demanding.
The picture wrapped in April , with a thoroughly exhausted and homesick Kurosawa returning to Japan and his family in June. Dersu Uzala had its world premiere in Japan on August 2, , and did well at the box office.
Today, critics remain divided over the film: some see it as an example of Kurosawa's alleged artistic decline, while others count it among his finest works.
Although proposals for television projects were submitted to him, he had no interest in working outside the film world.
Nevertheless, the hard-drinking director did agree to appear in a series of television ads for Suntory whiskey, which aired in While fearing that he might never be able to make another film, the director nevertheless continued working on various projects, writing scripts and creating detailed illustrations, intending to leave behind a visual record of his plans in case he would never be able to film his stories.
Lucas, like many other New Hollywood directors, revered Kurosawa and considered him a role model, and was shocked to discover that the Japanese filmmaker was unable to secure financing for any new work.
The two met in San Francisco in July to discuss the project Kurosawa considered most financially viable: Kagemusha , the epic story of a thief hired as the double of a medieval Japanese lord of a great clan.
Lucas, enthralled by the screenplay and Kurosawa's illustrations, leveraged his influence over 20th Century Fox to coerce the studio that had fired Kurosawa just ten years earlier to produce Kagemusha , then recruited fellow fan Francis Ford Coppola as co-producer.
Production began the following April, with Kurosawa in high spirits. Shooting lasted from June through March and was plagued with problems, not the least of which was the firing of the original lead actor, Shintaro Katsu —creator of the very popular Zatoichi character—due to an incident in which the actor insisted, against the director's wishes, on videotaping his own performance.
He was replaced by Tatsuya Nakadai, in his first of two consecutive leading roles in a Kurosawa movie. The film was completed only a few weeks behind schedule and opened in Tokyo in April It quickly became a massive hit in Japan.
The film was also a critical and box office success abroad, winning the coveted Palme d'Or at the Cannes Film Festival in May, though some critics, then and now, have faulted the film for its alleged coldness.
Kurosawa spent much of the rest of the year in Europe and America promoting Kagemusha , collecting awards and accolades, and exhibiting as art the drawings he had made to serve as storyboards for the film.
The international success of Kagemusha allowed Kurosawa to proceed with his next project, Ran , another epic in a similar vein. As Japanese studios still felt wary about producing another film that would rank among the most expensive ever made in the country, international help was again needed.
Filming did not begin until December and lasted more than a year. She died on February 1. Kurosawa returned to finish his film and Ran premiered at the Tokyo Film Festival on 31 May, with a wide release the next day.
The film was a moderate financial success in Japan, but a larger one abroad and, as he had done with Kagemusha , Kurosawa embarked on a trip to Europe and America, where he attended the film's premieres in September and October.
Ran won several awards in Japan, but was not quite as honored there as many of the director's best films of the s and s had been. The film world was surprised, however, when Japan passed over the selection of Ran in favor of another film as its official entry to compete for an Oscar nomination in the Best Foreign Film category, which was ultimately rejected for competition at the 58th Academy Awards.
Both the producer and Kurosawa himself attributed the failure to even submit Ran for competition to a misunderstanding: because of the Academy's arcane rules, no one was sure whether Ran qualified as a Japanese film, a French film due to its financing , or both, so it was not submitted at all.
In response to what at least appeared to be a blatant snub by his own countrymen, the director Sidney Lumet led a successful campaign to have Kurosawa receive an Oscar nomination for Best Director that year Sydney Pollack ultimately won the award for directing Out of Africa.
Ran ' s costume designer, Emi Wada , won the movie's only Oscar. Kagemusha and Ran , particularly the latter, are often considered to be among Kurosawa's finest works.
After Ran ' s release, Kurosawa would point to it as his best film, a major change of attitude for the director who, when asked which of his works was his best, had always previously answered "my next one".
For his next movie, Kurosawa chose a subject very different from any that he had ever filmed before. While some of his previous pictures for example, Drunken Angel and Kagemusha had included brief dream sequences, Dreams was to be entirely based upon the director's own dreams.
Significantly, for the first time in over forty years, Kurosawa, for this deeply personal project, wrote the screenplay alone.
Although its estimated budget was lower than the films immediately preceding it, Japanese studios were still unwilling to back one of his productions, so Kurosawa turned to another famous American fan, Steven Spielberg , who convinced Warner Bros.
This made it easier for Kurosawa's son, Hisao, as co-producer and soon-to-be head of Kurosawa Production, to negotiate a loan in Japan that would cover the film's production costs.
Shooting took more than eight months to complete, and Dreams premiered at Cannes in May to a polite but muted reception, similar to the reaction the picture would generate elsewhere in the world.
Kurosawa now turned to a more conventional story with Rhapsody in August —the director's first film fully produced in Japan since Dodeskaden over twenty years before—which explored the scars of the nuclear bombing which destroyed Nagasaki at the very end of World War II.
It was adapted from a Kiyoko Murata novel, but the film's references to the Nagasaki bombing came from the director rather than from the book.
This was his only movie to include a role for an American movie star: Richard Gere, who plays a small role as the nephew of the elderly heroine.
Kurosawa wasted no time moving onto his next project: Madadayo , or Not Yet. Based on autobiographical essays by Hyakken Uchida , the film follows the life of a Japanese professor of German through the Second World War and beyond.
The narrative centers on yearly birthday celebrations with his former students, during which the protagonist declares his unwillingness to die just yet—a theme that was becoming increasingly relevant for the film's year-old creator.
Filming began in February and wrapped by the end of September. Its release on April 17, , was greeted by an even more disappointed reaction than had been the case with his two preceding works.
Kurosawa nevertheless continued to work. While putting finishing touches on the latter work in , Kurosawa slipped and broke the base of his spine.
Following the accident, he would use a wheelchair for the rest of his life, putting an end to any hopes of him directing another film.
After his accident, Kurosawa's health began to deteriorate. While his mind remained sharp and lively, his body was giving up, and for the last half-year of his life, the director was largely confined to bed, listening to music and watching television at home.
On September 6, , Kurosawa died of a stroke in Setagaya, Tokyo , at the age of Although Kurosawa is primarily known as a filmmaker, he also worked in theater, television and wrote books.
A detailed list, including his complete filmography, can be found in the list of creative works by Akira Kurosawa. Kurosawa displayed a bold, dynamic style, strongly influenced by Western cinema yet distinct from it; he was involved with all aspects of film production.
He frequently served as editor of his own films. His team, known as the "Kurosawa-gumi" Kurosawa group , which included the cinematographer Asakazu Nakai , the production assistant Teruyo Nogami and the actor Takashi Shimura , was notable for its loyalty and dependability.
Kurosawa's style is marked by a number of devices and techniques. In his films of the s and s, he frequently employs the " axial cut ", in which the camera moves toward or away from the subject through a series of matched jump cuts rather than tracking shots or dissolves.
As a transitional device, it is used as a substitute for the straight cut or the dissolve ; in his mature work, the wipe became Kurosawa's signature.
In the film's soundtrack, Kurosawa favored the sound-image counterpoint, in which the music or sound effects appeared to comment ironically on the image rather than emphasizing it.
Kurosawa employed a number of recurring themes in his films: the master-disciple relationship between a usually older mentor and one or more novices, which often involves spiritual as well as technical mastery and self-mastery; the heroic champion, the exceptional individual who emerges from the mass of people to produce something or right some wrong; the depiction of extremes of weather as both dramatic devices and symbols of human passion; and the recurrence of cycles of savage violence within history.
According to Stephen Prince, the last theme, which he calls, "the countertradition to the committed, heroic mode of Kurosawa's cinema," began with Throne of Blood , and recurred in the films of the s.
Kenji Mizoguchi , the acclaimed director of Ugetsu and Sansho the Bailiff was 14 years Kurosawa's senior. New Wave critic-filmmaker Jacques Rivette , in particular, thought Mizoguchi to be the only Japanese director whose work was at once entirely Japanese and truly universal;  Kurosawa, by contrast was thought to be more influenced by Western cinema and culture, a view that has been disputed.
In Japan, some critics and filmmakers considered Kurosawa to be elitist. They viewed him to center his effort and attention on exceptional or heroic characters.
In her DVD commentary on Seven Samurai , Joan Mellen argued that certain shots of the samurai characters Kambei and Kyuzo, which show Kurosawa to have accorded higher status or validity to them, constitutes evidence for this point of view.
These Japanese critics argued that Kurosawa was not sufficiently progressive because the peasants were unable to find leaders from within their ranks.
In an interview with Mellen, Kurosawa defended himself, saying,. I wanted to say that after everything the peasants were the stronger, closely clinging to the earth It was the samurai who were weak because they were being blown by the winds of time.
From the early s, Kurosawa was also charged with catering to Western tastes due to his popularity in Europe and America.
In the s, the left-wing director Nagisa Oshima , who was noted for his critical reaction to Kurosawa's work, accused Kurosawa of pandering to Western beliefs and ideologies.
Many filmmakers have been influenced by Kurosawa's work. Ingmar Bergman called his film The Virgin Spring a "touristic, a lousy imitation of Kurosawa", and added, "At that time my admiration for the Japanese cinema was at its height.
I was almost a samurai myself! I saw it three times on consecutive days, and wondered each time if there was another film anywhere which gave such sustained and dazzling proof of a director's command over every aspect of film making.
I have always wondered how Kurosawa made something as good as Rashomon ; the equilibrium and flow are perfect, and he uses space in such a well-balanced way.
It is one of the best films ever made. Stanley Kubrick , in the reminiscence of an assistant, would have very likely have considered the movies to have for the proverbial desert island to be The Battle of Algiers , Danton , Rashomon , Seven Samurai and Throne of Blood.
Following Kurosawa's death, several posthumous works based on his unfilmed screenplays have been produced. In September , it was reported that remake rights to most of Kurosawa's movies and unproduced screenplays were assigned by the Akira Kurosawa Project to the L.
Splendent's chief Sakiko Yamada, stated that he aimed to "help contemporary film-makers introduce a new generation of moviegoers to these unforgettable stories".
Kurosawa Production Co. The director's son, Hisao Kurosawa, is the current head of the company.
Rights to Kurosawa's works were then held by Kurosawa Production and the film studios under which he worked, most notably Toho. These rights were then assigned to the Akira Kurosawa Project before being reassigned in to the L.
The foundation organizes an annual short film competition and spearheads Kurosawa-related projects, including a recently shelved one to build a memorial museum for the director.
In , the Kurosawa Film Studio was opened in Yokohama; two additional locations have since been launched in Japan. It offers online programs in digital film making, with headquarters in Anaheim and a learning center in Tokyo.
Two film awards have also been named in Kurosawa's honor. Kurosawa is often cited as one of the greatest film makers of all time. The AK Project aims to "expose young people who are the representatives of the next generation, and all people everywhere, to the light and spirit of Akira Kurosawa and the wonderful world he created".
Anaheim University in cooperation with the Kurosawa Family established the Anaheim University Akira Kurosawa School of Film  to offer online and blended learning programs on Akira Kurosawa and filmmaking.
A significant number of full-length and short documentaries concerning the life and films of Kurosawa were made during his lifetime and after his death.
AK was filmed in and is a French documentary film directed by Chris Marker. Though it was filmed while Kurosawa was working on Ran , the film focuses more on Kurosawa's remote but polite personality than on the making of the film.
The documentary is sometimes seen as being reflective of Marker's fascination with Japanese culture , which he also drew on for one of his best-known films, Sans Soleil.
From Wikipedia, the free encyclopedia. For other uses, see Kurosawa disambiguation. Japanese film director and screenwriter.
Akira Kurosawa on the set of Seven Samurai in December Shinagawa , Tokyo , Japan. Setagaya , Tokyo, Japan. Film director screenwriter producer editor.
Main article: List of creative works by Akira Kurosawa. See also: Filmmaking technique of Akira Kurosawa. See also: Criticism of Akira Kurosawa.
See also: Remakes of films by Akira Kurosawa. See also: List of creative works by Akira Kurosawa.
Main article: List of awards and honors given to Akira Kurosawa. Apparently, he was commanded to make this film against his will by Toho studios, to which he was under contract at the time.
He claimed that his part of the film was shot in only a week. It was the only film he ever directed for which he did not receive sole credit as director, and the only one that has never been released on home video in any form.
The movie was later repudiated by Kurosawa and is often not counted with the 30 other films he made, though it is listed in some filmographies of the director.
April 21, Retrieved June 8, Open Culture.