An alcoholic doctor builds a shaky friendship with a dying gangster
An alcoholic doctor builds a shaky friendship with a dying gangster
Michiyo Kogure Reisaburô Yamamoto Toshirō Mifune Takashi Shimura Chieko Nakakita Noriko Sengoku Shizuko Kasagi Eitarô Shindô Masao Shimizu Taiji Tonoyama Yoshiko Kuga Chôko Iida Ko Ubukata Akira Tani Sachio Sakai Tateo Kawasaki Mayuri Mokushô Toshiko Kawakubo Haruko Toyama Yukie Nanbu Sumire Shiroki Yôko Sugi
I spoke yesterday of tigers. I read after my review that Toshiro Mifune was considered for the title role in Dersu Uzala, but watching him here, in his ragged youth, I think he would have been better as the tiger anyway. He is certainly a predator, nearly as unhinged here (from booze, in part, and from sickness) as he was later in Sword of Doom. He makes Val Kilmer's surprisingly charismatic turn as a consumptive look sedate, and yet what he really does is encapsulate rage and frustration that has nothing to do with booze or disease.
I have read elsewhere that this film contains some subtle criticisms of America and the American occupation, and some not-so-subtle ones (the cesspool…
Probably the best cautionary tale about the dangers of tuberculosis.... in the world.
After an ill-fated attempt at expanding my Akira Kurosawa viewings with The Quiet Duel the other night, I was delighted that I had a version of Drunken Angel where the subtitles appeared to be completely coherent. It really has been a priority of mine to watch more Kurosawa - I've at least enjoyed all of the films I've seen by him.
Drunken Angel is vaguely cast as a Japanese noir except it isn't really. It only really steps into noirish areas during the last half an hour or so when the old boss of TB-riddled gangster Toshiro Mifune (dashingly handsome during his earlier years, wasn't he?) turns…
Fall in love for someone like me, I may be scrubby but you get free medical care.
The 16 films directed by Akira Kurosawa staring Toshirô Mifune has to stand as the greatest director/actor collaboration in cinema history. Not because of sheer quantity, but because of the unmatched quality of their films together. I expected their first film together to be good, but as with most Kurosawa films it exceeded my expectations.
The director was told about an actor that was auditioning for a different film that might be right for a role he was trying to cast in Drunken Angel. The story goes that Kurosawa watched said…
Beautiful in words that cannot be expressed except for Kurosawa's own language of cinema, Drunken Angel is one of the gems of Kurosawa's pre Rashomon era and is a film in Kurosawa's extraordinary filmography that fails to get its due reputation, mostly due to the formidable masterpieces that comprise of his filmography. Truly gripping in every sense, Drunken Angel works superbly due to the performances of Japanese icons, Toshiro Mifune and Takashi Shimura who with this film, establish an untouchable collaboration with Kurosawa.
Creating a near perfect, unique, creative and compelling dynamic in a drunk doctor and a dying gangster, who meet on accidental terms and form an uneasy but useful friendship, Drunken Angel is extremely moving, relevant, entertaining, impressive…
According to Kurosawa himself, this being his seventh film, Drunken Angel was the first that was truly his own. And what a great movie it is.
In Japan, critics have written that this is the film that defined him as a filmmaker, while he himself claimed not to have undergone any change other than having been given free reins. It was also the first film where Kurosawa cast Toshiro Mifune, and this is perhaps the debut of the times. True, he had occupied minor roles before, but after this he was star. Kurosawa later wrote:
[Takashi] Shimura played the doctor beautifully, but I found I could not control Mifune. When I saw this, I let him do as he wanted,…
Toshiro Mifune cut an excellent figure as a young man. The angles of his face were sharp and his hair was well coiffed. But as Drunken Angel progresses, it's the appearance of Mifune's consumptive gangster that telegraphs clearly what point the story is at. By the end, those sharp facial angles are razor blades, emphasized with almost kabuki-style make-up and that hair is flopping this way and that. Mifune's performance is awesome, so good that the make-up feels like a distraction, a bit of overkill when all you needed was Mifune's eyes and stilted walk.
Drunken Angel is a bit too melodramatic for my liking. But it is still Kurosawa, and with all great directors I tend to judge them…
La primera vez que la vi me enfoqué por completo en admirar al doctor Sanada. Lo amé por imperfecto, por su pasión como médico, por su sensibilidad y comprensión con todos sus pacientes (por más honestas y duras que fueran sus palabras) y por la valentía con la que enfrenta a cada uno de los maleantes.
Pero esta vez Toshirō Mifune robó toda mi atención. Me partió el corazón verlo caminar bajo la lluvia, dormir arropado en el consultorio del doctor, descubrir que no tiene amigos ni amantes fieles en el mundo que consideraba como un hogar, y por su lucha constante por verse fuerte y duro ante sus colegas criminales.
También volvieron a atraparme lo reales y emocionantes que…
A very good noir from Kurosawa. Strong performances and and strong shot selection give the film a great atmosphere and the subtext of post-war Japan gives the film added depth. It's not quite a masterpiece as it kind of loses its focus in the second half, but it's still very good and interesting to watch.
Wonderfully gritty noir from the master himself. Kurosawa's depiction of Japan during occupation is stealthfully told. Under the guise of a Yakuza film, Kurosawa speaks to strength and unity in the face of corrosive imperial influences. It's a powerful and political piece of genre filmmaking that still serves to inspire nearly 70 years after its initial release.
Considered Kurosawa's first breakout hit and I can see why. As soon as the movie started I knew this was something different. Awesome gangsta drama and Toshiro Mifune first role under Kurosawa. The duel towards the end was genius.
Kurosawa never disappoints. A really interesting film about the struggles of the Japanese after the end of World War II.
There's a reason for Akira Kurosawa's status as a master of cinema. The cinematography in his films is always beautiful and his plots are always engaging. This is one of his slower films (a good portion of his films are action oriented) but it's never boring and the characters are what kept me invested throughout the runtime. I even got a little choked up at the end. I need to watch more Kurosawa. I haven't seen enough of his films.
In glorious 35mm!
DRUNKEN ANGEL, perhaps AK's 1st masterpiece, introduces an electric Toshiro Mifune in a post-war tale dripping with symbolism. Grimy locations, centered around omnipresent sludge pit, are vividly brought to life and paint bucket finale is unforgettable.
The first of many collaborations between Kurosawa and Mifune, who seems to get harder to recognise with each film I see, with Takashi Shimura on board again too. Both men give outstanding performances, some of their best work, playing complex characters with a fascinating dynamic between them. I kinda wish the story had kept the focus more on the awesome doctor than on the gangster stuff, but it was good either way. Needless to say, lots of great directorial touches, and a beautiful score as well.