| Photos (See all 12 | slideshow) |
| Toshirô Mifune | ... | Sutekichi the Thief | |
| Isuzu Yamada | ... | Osugi the Landlady | |
| Kyôko Kagawa | ... | Okayo, Osugi's Sister | |
| Ganjirô Nakamura | ... | Rokubei, Osugi's Husband | |
| Minoru Chiaki | ... | Tonosama - the former Samurai | |
| Kamatari Fujiwara | ... | The Actor | |
| Akemi Negishi | ... | Osen the Prostitute | |
| Nijiko Kiyokawa | ... | Otaki the Candy-Seller | |
| Kôji Mitsui | ... | Yoshisaburo the Gambler | |
| Eijirô Tôno | ... | Tomekichi the Tinker | |
| Haruo Tanaka | ... | Tatsu | |
| Eiko Miyoshi | ... | Asa, Tomekichi's Wife | |
| Bokuzen Hidari | ... | Kahei the Pilgrim | |
| Atsushi Watanabe | ... | Kuna | |
| Kichijirô Ueda | ... | Shimazo the Police Agent | |
| Yû Fujiki | ... | Unokichi | |
| Fujitayama | ... | Tsugaru |
Directed by | |||
| Akira Kurosawa | |||
Writing credits(in alphabetical order) | ||
| Maxim Gorky | play "The Lower Depths" | |
| Akira Kurosawa | ||
| Hideo Oguni | ||
Produced by | |||
| Akira Kurosawa | .... | producer | |
| Sôjirô Motoki | .... | associate producer | |
| Tomoyuki Tanaka | .... | associate producer | |
Original Music by | |||
| Masaru Satô | |||
Cinematography by | |||
| Kazuo Yamasaki | |||
Film Editing by | |||
| Akira Kurosawa | |||
Production Design by | |||
| Yoshirô Muraki | |||
Costume Design by | |||
| Yoshiko Samejima | |||
Makeup Department | |||
| Yoshiko Matsumoto | .... | hair stylist | |
| Junjiro Yamada | .... | hair stylist | |
Production Management | |||
| Hiroshi Nezu | .... | production supervisor | |
Second Unit Director or Assistant Director | |||
| Yoshimitsu Banno | .... | assistant director (as Yoshimitsu Sakano) | |
| Toshi Kaneko | .... | assistant director | |
| Yasuyoshi Tajitsu | .... | assistant director | |
Art Department | |||
| Koichi Hamamura | .... | property master | |
| Jun Sakuma | .... | assistant art director | |
Sound Department | |||
| Ichirô Minawa | .... | sound effects editor | |
| Mimachi Norase | .... | chief sound assistant | |
| Fumio Yanoguchi | .... | sound | |
| Shoichi Yoshizawa | .... | sound assistant | |
Camera and Electrical Department | |||
| Masao Fukuda | .... | still photographer | |
| Shigeru Mori | .... | lighting technician | |
| Katsumi Murakami | .... | assistant lighting technician | |
| Takao Saitô | .... | assistant camera | |
Editorial Department | |||
| Chozo Kobata | .... | negative cutter | |
Other crew | |||
| Mitsugu Narita | .... | production assistant | |
| Teruyo Nogami | .... | script supervisor | |
| Yuichi Yoshitake | .... | acting office | |
| Georges Goldfayn | .... | french subtitles by (uncredited) | |
| H.L. Govaers | .... | french subtitles by (uncredited) | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb Japan section |
Having watched Kurosawa's retelling of Dostoyevsky's "The Idiot" a couple weeks ago, and come away feeling that one viewing was already a bit too much, I was not expecting much from this. After all, Gorky is generally regarded as a notch or three below Dostoyevsky.
But whereas "The Idiot" did not begin to mesh with a Japanese idiom, "The Lower Depths" fits in very well indeed. Much of the film involves the hopes, dreams, schemes and machinations of a handful of characters, all fixated on escaping the tenement and its soul-numbing poverty.
An enigmatic old man who appears one day and spends some time in the hovel has a salutary effect on several of the residents, merely by dint of a level of kindness and sympathy that any of us would take for granted. When he leaves, the spark of compassion he has kindled dies quickly. Yet before he arrives and after he has left, there nonetheless remains a minimal spirit of camaraderie. I have not read Gorky's novel, but the "depths" here may (be taken to) refer to this bare-minimum level of feeling for one's fellow paupers.
Running through the script is the theme of lies and (self-)deceptiotn, and how they can ease the bitter reality that society's outcasts must face every day. This above all works well here, for the Japanese themselves have a utilitarian (so to speak) view of truth and falsehoods. The hoary Japanese adage "uso mo houben", often rendered "a white lie can be expedient", could have been a tagline for this movie; for the alcoholic ex-actor and several others have little other than self-delusion to help them get through another day.
Kurosawa manages to inject a measure of droll comedy while keeping the grim facts unprettified, showing us how the luckless souls at the very bottom of society grasp at the slimmest of hopes and somehow manage (...or don't manage) to keep on going. Superb.