Reviews & Ratings for
The Lower Depths More at IMDbPro »Donzoko (original title)

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23 reviews in total

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22 out of 24 people found the following review useful:
Very underrated Kurosawa masterpiece, 18 December 2003

Author: David (davidals@msn.com) from Chapel Hill, NC, USA

LOWER DEPTHS perhaps isn't the place to start if you're completely unfamiliar with Kurosawa - but it still ranks as one of his great films, and definitely one of his most underrated.

Based on a Maxim Gorky play (an earlier Jean Renoir film draws upon the same source material), LOWER DEPTHS seems a bit stagey at first, but Kurosawa manages to enliven it considerably - the performances are all top-notch, and the combination of skillful editing (straight cuts only here, but the usual Kurosawa multi-camera shooting method) and inventive set design (with diagonals and angles trapping characters, heighetning the intensity of the dialogue and acting) making this an unforgettable film to watch - easily as accomplished as the better known THRONE OF BLOOD from a little earlier. One will definitely note how tightly constructed - in all ways - this film is.

This film does (along with IKIRU, RED BEARD and HIGH & LOW) illuminate some of Kurosawa's underlying philosophies, specifically a sense of social realism in cinema that can cast a critical gaze upon injustice, and in this film a sense of anger and frustration is articulated with an unusual degree of eloquence, testament to both Kurosawa's technical virtuosity, and his greater awareness of the world.

But for all of the cruelty on display here, there's an equal amount of humor, typically irreverent and loaded with sly social commentary, but also spontaneous: the two impromptu musical episodes, which blend Japanese theatrical conventions with a Chaplin-like sense of visual choreography to very striking effect.

Not as well known as SEVEN SAMURAI, THRONE OF BLOOD or YOJIMBO, but just as accomplished - filled with delight and insight.

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14 out of 15 people found the following review useful:
The Human Heart in the Depths, 3 April 2006

Author: yippeiokiyay from United States

It's one of Kurosawa's most neglected masterpieces. "The Lower Depths" takes us into a ravine tenement, run by greedy, brutal landlords, and inhabited by the lowest of society's strata. All action takes place in two locations: the interior of the tenement, or the tenement grounds.

How amazing, then, is the fascination this film exerts on us, with its very modest settings. I am astonished at the creativity of the film shooting these restricted spaces, in so many varied and telling ways: space expands and contracts as is necessary to the story: the outside is either threatening or an escape, but even once outside, we see that there is no escape, and diagonals show us the human dimensions of restricted choice. Space speaks volumes in the film, accompanied by the beauty of the ensemble acting, expressing profound truths.

We find ourselves engaged in the lives of these people, and puzzled over the character of Bokuzen Hidari as the pilgrim. Is he good? If he is good, and pacifies the dispossessed by acknowledging their illusions, does it mean that self-deception is good? What wonderful ensemble acting! The director put them through long, tough rehearsals, and the result is a seamless film. No wrong notes, no overacting, just a beautiful and strange film that haunts us after we've experienced it. Such invisible, great acting, and humor and pathos.

The character of the actor is the finest piece of work by the Kurosawa veteran Kamatari Fujiwara. It is amazing that this actor appears in such diverse roles as Matahichi in "The Hidden Fortress" and as a corrupt executive in "The Bad Sleep Well". What astonishing range and depth! How brilliantly Kurosawa uses the actor's range! And, of course, we have our beloved Toshiro Mifune, laughing, kicking up his heels in devilish delight, trying to impress the girl, pouting with the landlady, listening with suspicion, then respect to the pilgrim...doing so many things so well, we are bereft when he is absent for the film's conclusion.

And what a conclusion! The harsh clappers that end the movie, the frontal shot of the gambler as he addresses us (for the only time in the film) directly, and the sudden end! Gorky...Kurosawa, Bokuzen Hidari, Toshiro Mifune, Kamatari Fujiwara and the rest....they live on in this masterpiece, for which I am very grateful.

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12 out of 12 people found the following review useful:
Worth every bit of patience, 22 August 2006
Author: birthdaynoodle from garbanzo

The Criterion Collection offers two different film versions of "The Lower Depths": one made in 1936 by Jean Renoir and another one made in 1957 by Kurosawa. The two directors never worked together on either film. In fact, they only met once in their lives, many years later. Both films are based on Russian writer Maxim Gorky's 1902 play, which describes life in a miserable slum where most characters have lost all sense of hope. Renoir deals with this serious subject matter in a much more humorous and amusing way than Kurosawa, whose film is slower, decidedly somber and a lot more difficult to digest. While Renoir's work takes the viewer in and out of the slums, Kurosawa doesn't allow one to see beyond the wretchedness of the underworld. Both films are great, but it was probably Kurosawa's which left a more durable and deeper impression on me.

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14 out of 19 people found the following review useful:
Too Polished, 25 February 2005

Author: Mark D. Brown from California, USA

First, I must provide the obligatory warning that this film is absolutely not a good film for introducing a viewer to the power of Kurosawa. Nevertheless, this film is one of his most well-crafted ensemble films. The performance of Bokuzen Hidari as the wandering pilgrim or priest Kahei is his pinnacle in Kurosawa's films. After his comic-relief roles in the more well known films "Ikiru" and "Seven Samurai", this role is Hidari's chance to show his own version of wisdom and authority. Similarly, Kamatari Fujiwara's powerfully sympathetic performance as the alcoholic actor is another surprising demonstration by an actor who had, hitherto, been cast in unsympathetic- even adversarial roles in previous Kurosawa films. As one comes to expect from Isuzu Yamada, her character is a feisty and commanding presence that drives the plot along.

Toshiro Mifune, however, was not the best choice for his role as the petty thief- try as he might to look like a immature and puerile common criminal , the false swagger fails to hide the actor's inherent dignity. Nevertheless, his energy and effort still make his performance believable- if incongruous. In general, however, his unsuitability for his role is the only significant snag in an otherwise fluid and natural performance on the part of all the actors. Also, the sets, as one would expect for Kurosawa, are meticulously detailed, well-lit, and authentic-seeming.

The story- based on the Maxim Gorky play, however, is not that compelling. In part, I think, it is my reaction to a socialistic morality play brought to the silver screen. Also, however, Kurosawa has tried too hard and has polished the performance and settings for too long. As well and smoothly as the actors interact, as convincing they are in their roles, their performance just does not lead anywhere dramatically. However, I saw the Jean Renoir version- a much less refined effort, in my opinion- and had much the same reaction, concluding that the story, itself, and not Kuroasawa's over-controlling treatment is what hampered my engagement.

In spite of that... That is to say... In spite of the fact that the movie's story is not very compelling for me at all, I still have high regard for the film because the acting performances are so solid and engaging. For that reason, I strongly urge devotees of Kurosawa's films to check this movie out at some point while keeping in mind that it remains less than a sum of its parts.

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15 out of 22 people found the following review useful:
mystified, 21 May 2001

Author: loverealfilm

I cannot comprehend the low rating here, or the comments from the bozo which seem stuck on the main entry page here.

This film has all the pieces from your typically masterly Kurosawa.

Incredibly interesting and well done. Try to move beyond Shichinin no Samurai, and Yojimbo, and delve into his more poignant works such as Donzoko.

TRACE

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7 out of 7 people found the following review useful:
Ugliness and kindness of everyone as a comedy, 19 July 2007

Author: Furuya Shiro from Kumamoto, Japan

I enjoyed it. Everyone in the movie has very distinct character. I really enjoyed the superb performances of skilled actors who acted without going out from the dirty room and surrounding area.

After watching the movie, I read its original stage drama, "The Lower Depth" by Gorky. Most of the characters and the scripts are the same as the original drama. On Gorky's book, I could not help reading it with exact accent and gesture in the movie. Particularly, I can't imagine better way of speaking the pilgrimage Luke's scripts than Kahei acted by Hidari Bokuzen. I am sure the scripts of the movie are based on Nakamura Hakuyo's Japanese translation published from Iwanami. Even the Russian stage drama is adapted to completely different locale, you don't feel any awkwardness. This means perhaps, both the original drama and its adaptation are really great.

What only a movie could do is that you can enjoy subtle expression of countenance at close up. There are unforgettable performances by face, such as the moment of instant tension when the land owner, acted by Nakamura Ganjiro, and Sutekichi the thief, acted by Mifune Toshiro, stand together; or the moment the actor, acted by Fujiwara Kamatari, goes out of the house after gulping sake.

The scene of dancing with mouth instrumentation ('kuchi-syamisen in Japanese) is a great fun. Particularly I enjoyed the fat man Tsugaru dancing with sling; I found the actor is a professional sumo wrestler.

The most unforgettable personality is the old man Kahei. Can I become such a nice old man who can solace and encourage everyone around me? This movie can work out without Sutekichi the thief, but the old man. Therefore, the old man Kahei could be the lead character.

By the way, as a movie that describes the lower depth life with humor and music, I remember "Woman of Breakwater", by Philippine director Mario O'Hara. People in "Woman of Breakwater" came to live outside of the breakwater of Manila Bay. Everyone wants to flee from there, but can not. Just behind the breakwater is a park, and modern buildings. Describing the life of the poor out of the sight of the rich, it portrays mutual love among the people. "Donzoko" does not have such social viewpoint. Instead, it tries to show ugliness and kindness of everyone as a comedy.

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6 out of 6 people found the following review useful:
The positive functions of "useful lies", 12 January 2006

Author: KFL from Bloomington, IN

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.

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8 out of 10 people found the following review useful:
Unusual Kurosawa, but still a strong movie, 7 August 2000

Author: TallGuy from Geneva, Switzerland

This movie is less easily accessible than other movies by Akira Kurosawa. None of the samurai honor, swordfighting action or visual beauty of his more well known efforts, Still, if you give yourself the time to view and appreciate it, it is a strong, involving movie with better staying power than most of what hits the silver screen in a typical season.

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8 out of 12 people found the following review useful:
A Lesser Kurosawa's Film, 11 May 2010

Author: Claudio Carvalho from Rio de Janeiro, Brazil

A group of worthless people lives in a slum, including a sick terminal woman with her drunkard husband; a gambler; a pilgrim; a former samurai and an actor. The prostitute Okayo (Kyôko Kagawa) disputes the love of the thief Sutekichi (Toshirô Mifune) with her landlady and sister Osugi (Isuzu Yamada) that is married with Rokubei (Ganjiro Nakamura), leading to a tragedy.

I have watched most of Akira Kurosawa's films and the unpleasant "Donzoko" is the only one that I really did not like. It is quite impossible to write a plot summary of the annoying, pointless and dull story. The theatrical screenplay is tiresome and too long despite the good acting and the histrionic Kyôko Kagawa and in the end this is a lesser work of this outstanding director. My vote is four.

Title (Brazil): "Ralé" ("The Rabble")

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3 out of 3 people found the following review useful:
great film, 4 July 2008

Author: sfdavide from san francisco, ca

*** This review may contain spoilers ***

I loved this film. I liked the Renior version also but felt the darkness of this film made it more realistic. I think that if people are in this situation they will act more this way then like they did in the Renior film. The acting was fabulous including Toshiro Mifune, Koji Mitsui as the Gambler, Gonjiro Nakamura, the landlord and especially Kamatari Fujiwara as the actor and Bokuzen Hidari, "Gramps". I loved the way Kurosawa used stage actors mostly to film this play but they did not show they were stage actors. The scenery was wonderful and not many directors can film a movie and make it interesting with only two locations. I think this should be near the top of Kurosawa's other films

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