Toshiro Mifune gets a lot of recognition for his roles in Kurosawa’s samurai epics, but in some ways he’s even better in a business suit and tie — it seems to be a milieu that all the actors familiar from samurai films slip into with great ease (Masayuki Mori here plays the big boss, Takashi Shimura his creepy co-conspirator, and Ko Nishimura a craven stooge). Unlike the period samurai films, however, this contemporary tale of corporate double-dealings pointedly lacks any kind of honour. It’s a revenge story, and apparently loosely based on Hamlet, though it seems to invert just about everything in that particular tale. Mifune’s character is the one out for revenge (for the death of his father of course), and so you imagine the worst for his wife (Kyoko Kagawa) — who surely must be about to be driven mad at any moment — but Kurosawa and his co-writers visit the story’s punishments instead on its hapless salary men, hoping for a break by pleasing the boss. It’s all carefully controlled and framed, and though it runs long it never fails to be stylish in its widescreen black-and-white.
FILM REVIEW: Criterion Collection
Director Akira Kurosawa 黒澤明; Writers Hideo Oguni 小国英雄, Eijiro Hisaita 久板栄二郎, Kurosawa, Ryuzo Kikushima 菊島隆三 and Shinobu Hashimoto 橋本忍; Cinematographer Yuzuru Aizawa 逢沢譲; Starring Toshiro Mifune 三船敏郎, Masayuki Mori 森雅之, Kyoko Kagawa 香川京子, Takashi Shimura 志村喬, Ko Nishimura 西村晃; Length 150 minutes.
Seen at home (BFI Player via Amazon streaming), London, Sunday 24 May 2020.