The Kurosawa mark in the Japanese cinema

By Amal Hewavissenti

Akira Kurosawa's films became internationally acclaimed because of his sensitivity and discipline in projecting a narrative through cinematic pictures. He became a perfect model for subsequent film makers simply because of his exclusive gift for infusing a real spirit into the film by carefully selecting scenes, pictures and images that tell an inexplicably poignant story.

Before Akira Kurosawa emerged a celebrated figure in cinema, he had been a painter with a deep concern for people oppressed by the war. How could a painter have revolutionised the Japanese cinema and most probably the world cinema?

Akira Kurosawa

A newspaper advertisement of vacancies for assistant directors for a cinema studio opened new dimensions in his life as a renowned painter in Japan. Even-though his strong passion for painting had eclipsed any liking within him for cinema, the new advertisement brought him the chance of becoming an assistant director under “Shigeo Yano” a veteran film-maker. Together, they directed “Shojohazonao”. Akira Kurosawa was soon blessed with the opportunity to be the assistant director for “Enoken nosenm anchoja” under Kajiro Kamamoto, and for “Tokyo Rhosody” under Osama Fshimizu. After the setting up of Toho Film Company, Kurosawa became the Chief Assistant Director for Kajiro Yamamoto who was the managing director of Toho film company.

By 1940s, Kurosawa was deeply involved in writing film scripts and he directed his first film “Saishiro” based on one of his own scripts. Kurosawa's script writing is an interesting aspect in his career as a film director. Wide reading on different aspects of cinema inspired his imagination and the plight of people oppressed by the world war deeply moved his spirit.

Kurosawa wrote tales based on the dismal tragedies of people affected by the war and the most sensitive aspects of their lives. Young Kurosawa was fortunate enough to work under different directors and to co-direct films based on his scripts.

However, the fundamental theme of his scripts was on the sufferings of people in the wake of the disastrous world wars and, this theme appealed to Japanese audience. Kurosawa's own techniques and inventions in arranging cinematic scenes and situations added a new dimension to Japanese cinema which soon shaped itself into the mould of international cinema.

Kurosawa's critics are of the view that he frequently underlined the basic realities of life (though bitter) and his films under no circumstances were meant to take the audience to “a Paradise” and to make them oblivious to the real challenges of life.

He projects the basic theme of his films chiefly by the script, the appearance of the actors, backgrounds, lighting, acting and editing. However, he successfully exploits the potential of the film producer and the camera to illustrate the ground realities. Kurosawa's skill in composing scripts accelerated the pace of his success as a splendid film director.

A painter

Akira Kurosawa's passion for painting is regarded as the primary cause behind his advent on Japanese cinema. His ability for painting was noticeable even in his early childhood. Kurosawa was engaged in studies and research in a colleges of fire arts and presented numerous water colour paintings and oil paintings for exhibitions and painting competitions.

His painting Seybuthsu which reflects his intrinsic creativity and skill in painting was ultimately chosen to be displayed at the painting exhibition Nika. In whatever way, Kurosawa's sole expectation was to make a living by selling paintings which illustrated the sheer devastation brought about by the war. His paintings which reflected a dissection of the plight of people oppressed by the war, achieved massive popularity in Tokyo because of themes, colouring and imagination.

His paintings that always deviated from the traditional framework of Japanese painting, were greeted with an avalanche of publicity and admiration. By a twist of fate, Kurosawa's enthusiasm for cinema gradually eclipsed his earlier zeal and devotion for painting.

Akira Kurosawa earnestly believed that painting and reading international literary classics unconditionally nourished a film-maker's imagination and enabled him make creations of best quality. Kurosawa's cinematic imagination was well nourished by the works of celebrated artists such as Pablo Picasso, Leonardo da Vinci, Michaelangelo and works by William Shakespeare, Alexander Pushkin, Dostuvuski, Leo Tolstoy and Charles Dickens.

“Drunken Angel,” one of his earliest films is often cited as his best film with highest cinematic elements. The film which centres round the life in slums in Tokyo during the post-war period brought Akira Kurosawa the highest popularity and success as a film director in Japan. His masterpiece Rashomon earned him the Grand Prix Award at the Venice Cinema Festival and practically brought to the international acclaim. With the film, the world cinema began to focus more on attention on Japanese cinema.

“Seven Samurai” one of his most popular films, speaks volumes for Kurosawa's technical skill as a director and conveys the truth that war earns no peace on earth. The film “Lkiru” is perhaps an cinematic epic on humanity which noticeable contrasts from the general themes of his films. The film portrays the tragedy en-shrouding the later half of the life of a cancer patient.

Eventhough most of his films appeared alien to the average Japanese cinema audience, the works were massively popular among the western audience.

Seven Samurai (best loved by Hollywood film makers) was remade into English under The Magnificent Seven. The Hidden Fortress, Derzu Uzala, Dreams, Body Guard and I live in Fear underline his great potential as one of the greatest figures in the world cinema.

The film Ran is perhaps the only film in Japanese Cinema history to have been produced with a massive capital.

The film marked the climax of Kurosawa's forty year cinema career. He breathed his last in the year 1998.