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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 10,101 users  
Reviews: 64 user | 54 critic

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

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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
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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


Certificate:

Not Rated | See all certifications »

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Details

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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

Much of the film was filmed from the slum streets of post war Japan. These were filmed under chief assistant director Ishirô Honda, who had gone with camera operator Kazuo Yamada into some dangerous, even yakuza run, territory. Many of the scenes of Toshirô Mifune's character from the waist down are actually Honda standing in. See more »

Quotes

Det. Sato: Bad luck can make a man or destroy a man.
See more »

Connections

Referenced in Magnum Force (1973) See more »

Soundtracks

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

 
The brilliance of early Kurosawa
3 August 2002 | by (United Kingdom) – See all my reviews

Impressive as some of the later films of Kurosawa are - "Kagemusha" and "Ran" for example, I have to confess that it is his early work, particularly those set in modern Japan as opposed to its feudal past, that I find myself returning to with greater pleasure. He was not one of those artists who necessarily got better and better, rather was he one who continued to take on different challenges, not always with the same degree of success, as "Dodesukaden" and "Dreams" were to prove. I have long regarded the 1952 "Ikiru" as his greatest achievement, with the three modern day day films starring Toshiro Mifune that precede it, "Drunken Angel", "The Quiet Duel" and "Stray Dog", fascinating consolidations of his skill as a director. "Stray Dog" revels in technical accomplishment. It tells the story of a policeman who, after experiencing the theft of his gun while travelling on a bus, embarks on an odyssey to retrieve it. Questions of morality and honour loom large as they do in any Kurosawa film, with the quest becoming ever more urgent as evidence is gathered of the weapon being used in criminal activities. What might be regarded as plain bad luck in another culture is here seen as a matter of shame and dishonour by the unfortunate policeman, that has to be addressed forsaking all else. The search is pursued in a dazzling series of chases, encounters and interrogations that leaves the audience, like the hero, exhausted at times. The weather is hot throughout, characters sweat profusely and sometimes everything erupts in a tropical downpour - no other director uses rain so physically. Perhaps, at over two hours, "Stray Dog" is a little too long to sustain its material. It sags a little in the middle, but the chases at the outer ends of the film are wonderfully done, particularly the penultimate sequence where the cop pursues his prey through vegetation where city and countryside meet. You can almost smell the steamy atmosphere of a morning after rain where everything is about to heat up again. Possibly the other two Mifune films of the same period have the edge on this. They are more meditative works, their lengths more sustainable. But, for sheer cinematic bravado, this is the one.


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