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Stray Dog (1949)
"Nora inu" (original title)

 -  Crime | Drama | Thriller  -  31 August 1963 (USA)
7.8
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Ratings: 7.8/10 from 9,037 users  
Reviews: 59 user | 53 critic

During a sweltering summer, a rookie homicide detective tries to track down his stolen Colt pistol.

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Title: Stray Dog (1949)

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Cast

Cast overview, first billed only:
...
...
Keiko Awaji ...
Harumi Namaki, showgirl
Eiko Miyoshi ...
Harumi's mother
Noriko Sengoku ...
Girl
Noriko Honma ...
Wooden Tub Shop woman
Reikichi Kawamura
Eijirô Tôno
Yasushi Nagata ...
(as Kiyoshi Nagata)
Kappei Matsumoto ...
(as Katsuhei Matsumoto)
Isao Kimura ...
Yusa
Minoru Chiaki ...
Girlie Show director
Teruko Kishi
Ichirô Sugai ...
Yayoi Hotel owner
Gen Shimizu ...
Police Inspector Nakajima
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Storyline

Murukami, a young homicide detective, has his pocket picked on a bus and loses his pistol. Frantic and ashamed, he dashes about trying to recover the weapon without success until taken under the wing of an older and wiser detective, Sato. Together they track the culprit. Written by Jim Beaver <jumblejim@prodigy.net>

Plot Summary | Add Synopsis

Genres:

Crime | Drama | Thriller

Certificate:

Not Rated | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

31 August 1963 (USA)  »

Also Known As:

Stray Dog  »

Filming Locations:

 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

The Swedish title of this film is "Revolvern" ("The Revolver"), even though the central plot device of the story is a semi-automatic pistol. See more »

Quotes

Det. Sato: A stray dog becomes a mad dog.
See more »

Connections

Remade as Too Much Sleep (1997) See more »

Soundtracks

La Paloma
(uncredited)
Written by Sebastián Yradier
Heard in the hotel and over the phone after Sato gets shot
See more »

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User Reviews

 
Kurosawa's first major masterpiece
18 September 2003 | by (Chapel Hill, NC, USA) – See all my reviews

STRAY DOG stands as the legendary Akira Kurosawa's first real masterpiece, noteworthy for at least two big reasons: the style - classic American film noir (rich, velvety b&w atmospheres), enhanced with a touch of Italian neo-realism (great use of diverse locations, which provide a great view of day-to-day postwar Japan), and the star, a young Toshiro Mifune, whose truly collaborative association with Kurosawa was cemented here, and would grow in spectacular fashion during the subsequent 16 years.

Mifune became as much of an international icon as Kurosawa, and this is the first film where it's easily evident why. As an example of film noir, STRAY DOG offers plenty of gripping suspense and moral complexity, and holds up well alongside classics like THE BIG HEAT, THE KILLING or THE MALTESE FALCON. Kurosawa touched upon international influences to an unprecedented degree in Japanese film (the internationalist impulses of Ozu, Kenji Mizoguchi or Mikio Naruse are just as deep and varied, but far more discreetly deployed), Kurosawa also skillfully highlights Japanese specifics (the rookie cop expecting to be fired, even accepting the possibility in an apologetic fashion, only to be assured that he will not be fired - this would not occur in a similar American setting), while always linking the same details to universals: honor, nobility, responsibility. This would become the thread linking Kurosawa's celebrated period/samurai films to his contemporary dramas. STRAY DOG was perhaps the first of his films where it truly resonates in a global fashion - a timeless, classic film.


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