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

Not Rated  |   |  Crime, Drama, Film-Noir  |  31 August 1963 (USA)
7.9
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Ratings: 7.9/10 from 10,165 users  
Reviews: 64 user | 55 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 ...
Eiko Miyoshi ...
Noriko Sengoku ...
Noriko Honma ...
Wooden Tub Shop woman
Reikichi Kawamura
Eijirô Tôno
Yasushi Nagata ...
(as Kiyoshi Nagata)
Kappei Matsumoto
Isao Kimura ...
Yusa
Minoru Chiaki ...
Girlie Show director
Teruko Kishi
Ichirô Sugai ...
Yayoi Hotel owner
Gen Shimizu ...
Police Inspector Nakajima
Edit

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


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

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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

Referenced in Magnum Force (1973) See more »

Soundtracks

The Waves of the Danube
Composed by Iosif Ivanovici
This is played by a harmonica player outside the bar where Murakami follows Ogin.
(The melody is also known as "The Anniversary Song", the title Al Jolson and Saul Chaplin gave to their adaptation of it.)
See more »

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User Reviews

 
More than just noir
16 February 2004 | by (Kansas City, Missouri, USA) – See all my reviews

This early Kurosawa film interested me not only as a historical object, but because, as in every one of his films I've seen so far, the moral and philosophical implication of the story carries as much weight as the dramatic and poetic aspects. As another commenter said here, "When was the last time you saw a film where the central character had something called a moral imperative." To me it's extremely gratifying to find directors like Kurosawa, Bergman, and today's Hirokazu Kore-eda who treat moral themes seriously and with dignity, and don't shy away from difficult questions.

I was also intrigued by how almost every scene bears, already, the stamp of Kurosawa's unique vision as a director. I have no idea how this comes about, but there's just something there, almost like a fingerprint, that says "Kurosawa" unmistakeably. I would have to leave it to more gifted and better schooled viewers than myself to explain it, but I love seeing it. In part, I suppose it's due to the exceptionally fine cinematographers that Kurosawa habitually worked with.

I think the film is about thirty minutes too long, but if I have to see a film that's a bit too long, I'm at least glad it's by Kurosawa!


18 of 23 people found this review helpful.  Was this review helpful to you?

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