In a Japanese slum, various residents play out their lives, dreaming of better things or settling for their lot. Among them is a man who pines for a young woman but is stymied by her deceptive family.
A Japanese veteran, driven partially mad from the war, travels to the snowy island of Hokkaido where he soon enters a love triangle with his best friend and a disgraced woman.
During a Sunday trip into war-ravaged Tokyo, despairing Yuzo and optimistic Masako look for work and lodging, as well as affordable entertainments to pass the time.
A surgeon gets syphilis from a patient when he cuts himself during an operation. The doctor's life is destroyed, but unlike the patient, he doesn't destroy others along with him.
The daughter of a politically disgraced university professor struggles to find a place for herself in love and life, in the uncertain world of Japan leading into WWII.
Following World War II, a retired professor approaching his autumn years finds his quality of life drastically reduced in war-torn Tokyo. Denying despair, he pursues writing and celebrates his birthday with his adoring students.
Directors:
Akira Kurosawa,
Ishirô Honda
Stars:
Tatsuo Matsumura,
Hisashi Igawa,
George Tokoro
Kiichi Nakajima, an elderly foundry owner, is so frightened and obsessed with the idea of nuclear extermination that his family decides to have him ruled incompetent. Nakajima's fervent wish is for his family to join him in escaping from Japan to the relative safety of South America. Harada, a civil volunteer in the case, sympathizes with Nakajima's conviction, but the old man's irrational behaviour prevents the court from taking his fears seriously.Written by
Jim Beaver <jumblejim@prodigy.net>
This film was one of two that Toho had produced at this time about the threat of nuclear disaster and damage from radiation poisoning - the other film was "Godzilla." See more »
Quotes
Sue Nakajima:
Good old Father. In only two days.
[Jiro beats Sue and chases her around the courtyard]
See more »
Based on reviews I had read, I was expecting either a facile ban-the-bomb message film, or a story about greedy relatives trying to have an old man committed so they can get his money.
I should have known better. Part of Kurosawa's genius in his great middle period (1950-1965) is that he refuses to insist on anything. He fairly presents a series of events and invites us to decide what, if anything, they mean.
Everyone in this film has a point. No one here is really a villain. Even those who are jerks (notably the second son, Jiro) are really trying to do the right thing. And the film reminds me a little of THE CAINE MUTINY in that it very artfully moves our sympathies in one direction for most of the film before presenting us with events that make us wonder if we were wrong.
Toshiro Mifune gives a fine performance as Nakajima, but to tell the truth, I wish Kurosawa had given the role to Takashi Shimura, not only because I think Shimura would have played the role even better, but because it would have given him one more tour-de-force leading role in a Kurosawa film, coming directly after IKIRU and SEVEN SAMURAI. Granted, though, that such a move probably would have caused problems with both Toho and Mifune.
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Based on reviews I had read, I was expecting either a facile ban-the-bomb message film, or a story about greedy relatives trying to have an old man committed so they can get his money.
I should have known better. Part of Kurosawa's genius in his great middle period (1950-1965) is that he refuses to insist on anything. He fairly presents a series of events and invites us to decide what, if anything, they mean.
Everyone in this film has a point. No one here is really a villain. Even those who are jerks (notably the second son, Jiro) are really trying to do the right thing. And the film reminds me a little of THE CAINE MUTINY in that it very artfully moves our sympathies in one direction for most of the film before presenting us with events that make us wonder if we were wrong.
Toshiro Mifune gives a fine performance as Nakajima, but to tell the truth, I wish Kurosawa had given the role to Takashi Shimura, not only because I think Shimura would have played the role even better, but because it would have given him one more tour-de-force leading role in a Kurosawa film, coming directly after IKIRU and SEVEN SAMURAI. Granted, though, that such a move probably would have caused problems with both Toho and Mifune.