Analysis of Director Akira Kurosawa’s Filmmaking within Historical Context

Analysis of Director Akira Kurosawa’s Filmmaking within Historical Context

Biography

Akira Kurosawa was a movie director of Japanese descent who controlled the dramatic, aesthetic, and artistic aspects of about 30 films in a sensational career that spanned between 1936 and 1993. The Tokyo native was born in 1910 and died in 1998, aged 88 years (Hutchinson 173).  In the 57 years of his active screen profession, the screenwriter gained prominence as one of the most pre-eminent figures in filmmaking and among the most influential in the history of cinema. He kicked off his career with a short-lived stint as a painter before joining the film industry in 1936 (Kurosawa IX). For seven subsequent years, Kurosawa served in a subordinate capacity as an assistant director until 1943 when he made his directorial debut with the film Sanshiro Sugata (Kurosawa XIX). The production earned him popularity and, within a few years, he had gained enough stature to become an independent creative director. Akira is acclaimed for cinematographic innovations that changed the itinerary of film shooting, including the invention of the moving camera. He single-handedly commanded the world’s attention to pay heed to the Japanese film industry.

Career and Key Films

Akira Kurosawa had a spectacular film career that made him a legend in his field of expertise. The profession that took off in 1943 saw him direct 30 films, including groundbreaking jidaigeki period action movies, wartime, and adventurous films (Kurosawa 39).  His most notable and influential films were produced at different times in the course of his directorial career spanning six decades.  No Regrets for Our Youth (1946) is an intelligent drama about irresolute personal allegiances and ideologies during the years when Japan was experiencing intense militarization following an embarrassing defeat to Western forces in World War II. Scandal (1950) is a social drama that takes a swipe at the paparazzi for propagating fabricated stories. The film is an adaptation from Dostoevsky’s novel entitled The Idiot (Yoon 3). Rashomon (1950) is considered Kurosawa’s breakthrough composition (Brown 496). The film is an unconventional cinema illustrating rape and murder of the Samurais. The masterful atmospheric cinematography gives contradictory accounts of crime to awaken the postwar generation to comprehend the haunting reality and purgatorial ambience of injustices in mainstream Japan (Nogami 182). The Samurai epics were contextualized in Japan’s medieval past.

Kurosawa’s massive influence emanated from the release of the Seven Samurai (1954). The film is considered one of the most expensive Japanese productions until death. The epic runtime details the recruitment of mercenaries, training of farmers, and village fortification in anticipation of war (LA Times par 1). The movie is set during the late 16^th century when there were widespread civil wars, and several states were at conflict. Notable elements about the cinema include the weaponry of the era, horse-bound battle sequences, on-location shooting, and environmental conditions that reflect innate human psychologies within them. Throne of Blood (1957) celebrates the transfer of Macbeth to Japan during the 16^th century (Tribble 76). It is one of the finest screen adaptations of Shakespearean renditions ever to be mapped within its own historical context. Yojimbo (1961) is Kurosawa’s quintessential Samurai/Western cinema (Gerrard par. 1). The film is a Samurai epic that thrives on cross-cultural synergy and soundtrack (Davis, Anderson & Walls 155). Meanwhile, Ikiru (1952) dramatizes the narrative of an undistinguished, charitable civil servant who has stomach cancer. Other famous masterpieces are Dersu Uzala (1975) Ran (1985) and Madadayo (1993).  Kurosawa’s directorial expertise of his compositions is undeniably poignant, hence making him an astounding and legendary filmmaker.

Background to Post-War Japanese Cinema

Japan’s Cinema has a century-long history that spans more than ten decades, thus making the country one of the oldest pioneers with the largest film industries in the world.   Kurosawa took up a budding career in filmmaking during the Second World War when Japan was reeling in the aftermath of the Tokyo bombing and the effects of natural disasters. Also, Japan’s economy was going through a dramatic period of rapid modernization (Savas 21). In turn, the film industry suffered a great deal for lack of tacit themes to advance cinematography. Instead, the government of Japan utilized films for political advantage to propagate propaganda about the invincibility of their empire (Brau  37). Therefore, the films produced during post-war Japan contained militaristic and patriotic themes intended to abet the expansion of the empire.

During this period, wartime movies were so popular among the Japanese that they catapulted local stars, including actors and directors to international stardom. Kajiro Yamamoto became well known for his film The War at Sea from Hawaii to Malaya (1942), which depicted the attack on Pearl Harbor.  Also, Akira Kurosawa made his debut with the feature film Sugata Sanshiro (1943) during the same epoch. Japan lost the war to America in 1945, and the capitulation introduced unprecedented changes in Japan’s film industry. Among the most salient changes were foreign management and control of the Japanese movie scene by a foreign institution and the requirement that all movie scripts were first translated to English before they were granted approval for production by the Civil Informal Education (CIE) section (Brau 56). For instance, Kurosawas movie Akatsuki no Dasso (1950) was subjected to intense censorship by CIE thus pilfering its authenticity. In addition, American animations that had been banned from showrooms by the wartime government were reintroduced by colonialists (Brau 66).  CIE prohibited high-motion films that advanced the themes of nationalism, suicide and annihilation, patriotism, and brutal violence (Hutchinson 173). The post-war Japan film industry remained subject to foreign occupation policy for over a decade.

Kurosawa became a national star after producing movies that marked the beginning of a new era in post-war Japan film. He is one of the four greatest artists of all time in Japanese cinema alongside Masaki Kobayashi, Kenji Mizoguchi, and Yasujirō Ozu. His movie, No Regrets for Our Youth (1946), Drunken Angel (1948), and Stray Dog (1949) were critically successful and commercially sensational. He also won the Golden Lion award for his movie entitled Rashomon (1950), a groundbreaking production that also introduced Japanese cinema onto the global dais. He also won accolades for greatest films, top directors, and best foreign-language films for his exquisite skills demonstrated in the film Seven Samurai (1954) (Kurosawa 39). War movies made a comeback in the 1950s, a period that is highly regarded as the golden age of Japanese cinema.

Historical Inspirations

As a lifelong student of cinematography, Kurosawa gathered lessons about dramatic work from various authors around the world. Among his most notable mentors were William Shakespeare and Dostoyevsky. The Shakespearean influence is apparent in most of Kurosawa’s works.  His cinematography incorporates the nature of the Shakespearean tragic characters to bring out the no-nonsense code of the creation (Fernandez  3). For instance, in Samurai Seven, the director incorporates characters whose ending is eminently tragic. Similar to Shakespearean portrayals, the characters encounter their downfall courtesy of scheming and their own violent ambitions (Brown 496).   His film, Throne of blood, is a recreation of Shakespeare’s Macbeth while Ran is a reinterpretation of King Lear (Kurosawa 39). Both movies are tales of political intrigue and war in turbulent Japan.

In his biography, Kurosawa acknowledged that Fyodor Dostoevsky was one of his favorite writers and a major inspiration for his works. He stated that he was addicted to Dostoyevsky ‘s novels even when he became a huge deal in the realm of cinema. He adopted one of his works entitled The Idiot, which addressed the issue of class. The film amassed warm reception from Dostoyevsky’s Russian fans (Yoon 2). Their love for the theme of class made them to tango since it was ubiquitous in Dostoyevsky’s works. Besides, his affection for Dostoyevsky’s motifs inspired him to look further for another Russian influencer known as Leo Tolstoy (Yoon 10). His film, Ikiru, a critically acclaimed movie that follows the life of a contemplative aristocrat, was inspired by Tolstoy’s story The Death of Ivan Ilyich. In essence, Kurosawa draws the themes, symbolism, and aesthetic forms of his works from the ideas and sensibilities of Dostoyevsky’s imagination.

Additionally, Kurosawa emulated Shakespeare’s tenacity of using a modernized version of history to connect with his audience. Both artists aim to enable their audiences to better relate to the narratives that recount the things that happen in their social and political realms. In representing contemporary Japan, Kurosawa blends elements of Japanese Noh cinematography to reconstruct Macbeth in The Throne of Blood (Savas 22). Also, the director incorporated modern trends of adorning wigs and make-ups in his renditions to permit different sceneries of dances and songs to be shot (Kurosawa 39).  Besides, the inclusion of hilarious elements, such as comedic characters in serious dramatic episodes is apparent in both Kurosawa and Shakespeare’s works. Comedic characters are used to hack the monotony of dire dramas, captivate the audience, and help them to relate to the setting elements (Fernandez 5). For instance, comedic characters form an integral part of the ensemble used in adventures like The Hidden Fortress and The Seven Samurai. Kurosawa is described as Shakespeare’s excellent student due to his ability to establish an excellent poise between menace and lightheartedness (Vandelanoitte 543).  Today, the balance between comedy and drama is inevitable in modern Hollywood blockbusters.

Although comedic elements were included in early Hollywood productions to provide moments of levity, most movie directors could hardly balance drama and comedy. However, today’s filmmakers have become geniuses of blending levity and gravity thanks to Kurosawa’s cinematography hack that made this feat much easier. Comedy is incorporated into war films, such as The Dirty Dozen, literature adaptations like Lord of the Rings, and mob movies such as Goodfellas. Also, celebrated Hollywood directors, such as Spielberg and Tarantino, have utilized the motley ensemble in modern works, thus giving the nod to the Shakespearean formula of balancing comedy and tragedy. Despite the concept being around for centuries, it was only apparent in western literature and theatre (Gerrard par 3). Therefore, Kurosawa became the first Japanese to execute the feat of levity and gravity so skillfully on film that it was later adopted by subsequent generations of filmmakers around the world.

Moreover, Shakespeare’s influence on Kurosawa is typified in the director’s most influential film, The Hidden Fortress. Although the film is not a direct adaptation of Shakespeare’s writings, it contains salient elements of his works that later became staples of Kurosawa’s oeuvre. For instance, the cinematographer uses ordinary citizens to relay an autocratic morality narrative. Currently, this style is prototypical in modern Hollywood adventure films to make the production more entertaining. Also, the movie manifests as a historical tale, which incorporates fictional characters that recount real historical events. Consequently, the film creator helps the audience to perceive real-life occurrences from a broader perspective and a manner that is both familiar and entertaining (Savas 22). Besides, the movie revisits Shakespearean themes while addressing contemporary social issues, such as the role of women, class, loyalty, and material and political greed. Kurosawa’s films are reminiscent of Shakespeare’s gab, lifestyle, and philosophy, both directly and indirectly. Moreover, George Lucas has acknowledged that Kurosawa had a major influence in his direction of the film Star Wars.

Shakespeare, Kurosawa, and Lucas share a salient similarity whereby the three used individual melodramas as historical critiques. Shakespeare’s Julius Caesar invokes questions about leadership and civil war after the death of a ruler. Specifically, it reflected the questions that hanged over the heads of British citizens as they approached the end of Queen Elizabeth’s reign. Lucas’ Star Wars and Kurosawa’s Hidden Fortress also raise questions about leadership in critical times. (Guardian 1) In Hidden Fortress, the theme of Shakespearean fools emerges when Makabe remains true to the loyal-to-death Samurai code and protects the princess while his own family is forced to die (Guardian 1). Lower class characters appear desperate as they submit to the noble ruling class. In addition, Kurosawa continues Shakespeare’s tradition of merging moral lessons and social critiques with crowd-pleasing entertainment. This technique is not originally a Shakespearean invention because it was used in Biblical parables and Greek folk tales. Nonetheless, the production style has gained prominence among today’s Hollywood audience and prototypical adventures.

Meanwhile, Akira derived less tangible influence from Western art. Some of his adaptations that rocked the film world exhibited elements of the auteur cinema of John Ford (LA Times par 9). Although outlandish influence on the development of his art and literature remained sordid, perhaps his exposure to western sources helped him to understand how to depict the same theme in different versions. As a result, Kurosawa demonstrated a great mixture of Russian sensibility coupled with an American sense for action, which blended well with impending aggression in Japanese movies.  In conventional Japanese films, disgraced war heroes known as rōnin ended up committing ritual suicide as a demonstration of loyalty to their masters (Gerrard par. 1). However, Akira Kurosawa abandoned the Japanese version regarding the fate of historical soldiers and, instead, introduced a westernized idea to their fortune.   He incorporated the concept of the lone wolf in his films; thereby creating an anti-hero archetype. At some point, his progressive filmic archetype was subjected to intense censorship for making wartime events in Japan to appear as British-American (Gerrard par. 1). Nevertheless, Kurosawa continued to incorporate western literature and American influences in his subsequent works.

Contemporary Influences

Kurosawa’s influence in the world of cinema remains boundless as his personal life and creative productions have inspired the making of several films in Japan and abroad. His achievements earned him an entitlement among the best international filmmakers and his creative works have been referenced, remade, or adapted by international movie directors. He inspired his contemporaries and subsequent generations of filmmakers to understand the concepts of genre and identity in film. His legacy is entrenched in his filmmaking technique that entailed diverse styles and working methods on scripting, shooting, and editing. Also, Kurosawa’s selection and adaptation of themes surpassed that of average directors (Nogami 16). He is reputable for his aesthetic visual sense and editing consistency throughout his career. Besides, he was an innovative, creative director who established the standard repertoire for screen wipe and axial cut. In addition, he was an outstanding composer who collaborated with other writers to compile eyepopping scripts. His impact is a giant shadow that continues to influence filmmaking several decades after his demise.

His influence extends to India, where an Indian movie entitled Taare Zamin Par was created by a husband and wife directorial following inspiration from Kurosawa’s biography. According to Amole Gupte and Amole Gupta, the co-creators of the remarkable Bollywood movie, Akira’s confession that he attained poor performance at school implored them to explore the mystery of a child experiencing academic difficulties. Deepa Bhatia explains that she drew her inspiration from an episode in Kurosawa’s biography where he stated that, even though he did not fit into the school system, he found his breakthrough when he met an attentive art teacher who discovered and nurtured his talent in cinematography (Kurosawa 28). Therefore, in developing the character of the lead actor of the film, Bhatia based his academic encounters on Kurosawa’s story.  In developing the theme of the narrative, the directorial team explored the likely reasons Akira failed in school but utilized the characters and situations of dyslexic children to research and develop the screenplay. Eventually, the movie materialized with the central theme being how a teacher can transform the life of a student, as was the case in Kurosawa’s success story.

Also, Star Wars, a sensational film from the 1970s that captures the unfolding of the Cold War, pays homage to Akira Kurosawa. The movie director, Lucas, iterated that the creation of the movie was triggered by his intention to create modern mythology that reflected the findings of his mentor (The Guardian 1). However, the original inspiration came from Akira Kurosawa’s adventure film The Hidden Fortress (1958).  Star Wars compares to The Hidden Fortress in the incorporation of an evil general into the scripts (LA Times Par 10). The Darth Vader-like commander later on changes his mind and adorns a Japanese family crest known as ‘Kamon’  that resembles the Imperial Crest. Also, Lucas demonstrates his mastery of Kurosawa’s expertise in translating movie ideas from Japan and contextualizes them to appeal to American audiences.

Additionally, there exist numerous remakes of Kurosawa’s works by contemporary filmmakers. One brave attempt to recreate his work is the 2016 film entitled The Magnificent Seven drawn from a similarly titled original creation, The Magnificent Seven (1960). The former is a western adaptation of Akira Kurosawa’s Seven Samurai. The plot of Akira’s film inspired the new retelling of The  Magnificent Seven (LA Times par 2). The latest film, directed by Antoine Fuqua, is the classic mythology of a hero’s journey on the course to do the right thing. Also, the movie embodies the simple framework of Kurosawa’s masterpiece, which advances the themes of self-sacrifice, honor, and sympathy for the underdog (LA Times par 1). Fuqua’s tale is a rethinking of the original movie but the most recent example of Kurosawa’s influence on contemporary filmmakers. Although the film lacks the choreography and artistry to attract audiences, it is still famous for its Kurosawa connections.

Furthermore, Akira’s 1954 classic, set in the 16^th century Japan, has spawned the creation of five ‘Magnificent Seven’ films, hence proving to be a gift that keeps on inspiring filmmakers.  The creations include an animation series, a television series, sci-fi, martial arts, and most recently, a video game (LA Times par 7). Besides, the Bollywood and gladiator spinoffs incorporate the concepts of honor and the underdogs in the development of personal dramas. Further, the plot of the 1954 original film is a major element in the development of the novel The Last Samurai. The critically acclaimed novel authored by Helen Dewitt captures the theme of male bonding whereby a single mother screens the movie for her son to acquaint him with male mentors (LA Times par 7). The writer furthers social consciousness in the novel, which resonates with Kurosawa’s moral advancement in film.  The fact that Kurosawa explored endless possibilities to advocate for compassion, kindness, and acceptance of peasants and the low-class forms a moral breakthrough for his apprentices.

While a fair number of modern productions are direct adaptations from his works, a majority of films have been inspired by his masterpieces. Kurosawa’s influence is being funneled through Hollywood by directors that are paying keen attention to his filmmaking style (The Guardian 1). For instance, A Fistful of Dollars by SergioLeone is derived from Yojimbo (1961) and Seven Samurai (1954) (The Guardian 1). Also, Seven Samurai inspired the creation of George Miller’s epic sci-fi action film Mad Max: Fury Road more than sixty years after its release.  The wide-ranging influence of his works extends to enormous battle scenes, such as The Matrix Revolutions. Unsurprisingly, The Lord of Rings: The Two Towers duplicated the visual elements of Kurosawa films.  In addition, some directors lifted discourses almost verbatim to from Seven Samurai. For instance, in the Fandor video script From Seven Samurai to Fury Road written by Bill Rwehera, the author uses the visuals, plot, and dialogue from Seven Samurai. Kurosawa revolutionized the idea about violence and inculcated positive moral lessons from heroes, hence passing down a new genre to American and Western producers (Willems 545). The new generation of directors has constantly paid homage to Kurosawa through rethinking, referencing, or remaking his creative works.

Moreover, Kurosawa’s movies have been referenced in several modern-day masterpieces. The references have turned up in several Pixar movies, whose reception in the mainstream audience has been incredibly overwhelming. Also, John Millus quoted The Hidden Fortress in his movie The Wind and the Lion. Millus introduced George Lucas to Kurosawa’s production that conceived the skeletal outline and inspired the epic scope of Star Wars. In addition, nearly all scripts and movies written by Paul Schrader are archetypes of Samurai films (The Guardian 1). References to Akira’s movies have also been made by Wes Anderson, a modern cinema fetishist, in his newest release Isle of Dogs. Anderson acknowledged that he drew inspiration from a futuristic Japanese movie’s stop-motion fantasy set. The director states that he was enthralled by the scene where a canine epidemic prompted the exile of all pooches to a garbage-filled island. In his perspective, Kurosawa is the single greatest director to have ever emerged from mainstream Japan.

Conclusion

Akira Kurosawa is a household name in both Japan and international film industries because of his monumental influence on contemporary filmmaking. The celebrated Japanese director oversaw the production of groundbreaking creations, such as Seven Samurai (1954), The Hidden Fortress (1958) and Kagemusha (1980), which earned him lasting influence on subsequent movie-making. He is described as a directors’ director in directorial circles because of his enduring impact on the generations of younger movie creators. His cinematic genius was manifold throughout his incredible directorial career spanning six decades, making him directorial enigma with powerful and enduring films to his credit. Kurosawa is arguably the greatest film director of Japanese descent that has made a major impact in the global film industry.

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