The Wisdom of Akira Kurosawa
By: Zachary Weber
If you’ve ever looked up The Greatest Filmmakers of All Time, there’s a great chance you came across the name Akira Kurosawa. Maybe, you heard his name as a reference in popular culture, or you simply came across him in your studies. For me, it was a mix of all three. I knew I had to study him and his work, the signs were too obvious.
Step one, audit the IMDB page. “Alright, so what’s this Akira Kurosawa guy really done? What kind of IMDB ratings is he bringing in?” I naively asked myself. I perused the Known For section of his page and noticed Seven Samurai (1954), The Hidden Fortress (1958), and Ran (1985). Tucked directly below the film’s titles, clearly visible, the IMDB ratings. All I could resort to was the thought of, “What is he, the greatest filmmaker of all time?” Then I remembered I was here because of some ‘Greatest Filmmakers of All Time’ list. Ah-ha!
At this point it was no secret that studying the work of Akira Kurosawa is a necessity for the aspiring screenwriter and or filmmaker. His influence can be found in films of every decade since (conservatively speaking) the sixties. I’m sure I could narrow down and find some films that took inspiration from Akira in the fifties, it’s just not the point of this “essay”. Being in a screenwriting partnership with my brother, Justin, I’m a huge Coen Brothers Fan (as is Justin). I was watching Miller’s Crossing (1990), directed by the Coen Brothers, and a shot was almost identical to a shot used in Rashomon (1950). In more recent years, you may notice that same shot, multiple times, in Alejandro G. Iñárritu’s film The Revenant (2015). I always get excited when I’m able to spot an homage shot like that. It’s an affirmation that I’m actually retaining the information and the shots are sticking to me, too. After I’d seen a decent chunk of Kurosawa’s filmography, I watched a heartbreaking film, Silence (2016). The film is directed by Martin Scorsese and written by Martin Scorsese and Jay Cocks, based on a novel by Shûsaku Endô. The story follows Christian Missionaries in Japan during the 1600’s during a gruesome time where Christianity was outlawed in the region. It’s a beautifully done picture that has shades of a Kurosawa film from the opening scene to credits. His influence is all over the place and more obvious than you’d imagine. But, rightfully so. After you watch the films listed in this paragraph as well as: High and Low (1963), Yojimbo (1961), and Ikiru (1952), you’ll be right there with the rest of us on the Akira train.
The Inspiration Shot: A Low-Angle shot tracks through trees.
Shots Referenced:
Rashomon (1950) - Kurosawa
Miller’s Crossing (1990) - The Coen Brothers
The Revenant (2015) - Iñárritú
Eager to divulge, I searched for a book. I’m a reader. Similar to other legendary filmmakers, Akira Kurosawa wrote an autobiography titled, Something Like An Autobiography. I was thrilled to see how he’d written the autobiography since the majority of the books on filmmakers are biographies. Don’t get me wrong, I enjoy those just as much as the next. But, to hear from the horses mouth in a complete commentary on his childhood and early career, is special. There wasn’t anything else I needed to dive into the great mind of Mr. Kurosawa.
Naturally, Akira starts his autobiography in his life as a child, growing up in Japan. Born in 1910, in Shinagawa, Akira had a fascinating upbringing. Coming from descendants of samurais, Akira’s dad, Isamu, urged him into fencing (kendo) early in his life. Relating to film, I feel his childhood fencing played a huge role into the fight scenes of his films. Growing up with the training sets him apart from others when it comes to the realism of his sword fighting scenes. It must’ve had a tremendous effect! Now, I’m no expert on samurai fights, but I’d guess Akira’s judgement is better than most his peers around the world.
I was able to relate to Akira many times throughout his childhood which eased my own anxieties and ways I felt as a kid. He wasn’t the best in school and it would challenge him emotionally, another thing I could relate to. He had an older brother, Heigo, who gave him his initial interest in film. Heigo was gifted in many regards and began writing for silent films. Unfortunately, silent films weren’t long for the world of entertainment as the rise of ‘Talkies’ commenced in the late 1920’s and early 1930’s. Shortly after in 1933, Heigo took his life. This greatly impacted Akira emotionally, as it would anyone. He lost his eldest brother at twenty-three and was survived by his three sisters. That’s an instance I couldn’t slightly imagine the pain. It was a troubled time for Akira; thankfully for the world, he prevailed some of life’s toughest adversaries to provide the world meaningful films, speaking to generations.
Akira got into the film industry at twenty-five, as an Assistant Director. The year was 1935, four years before World War II. He continued to work as an A.D, drink sake and enjoy life learning the ropes of becoming a filmmaker. He did that gig for about six years until he mustered the courage to write and direct his first feature film, Sanshiro Sugata (1943). As you know, the world was already four years into World War II with still two more years to go. In addition, it’s no secret Japan, in September 1940, signed the Tripartite Pact (Berlin Pact) to join the forming Axis Powers. The life of a filmmaker in any of these parts was devastatingly corrupted by censorship and propaganda. The creativity for the artist as a whole was chastised in the fascist run territories. Not just the filmmakers.
Luckily, the monstrous war didn’t last too much longer and ended in 1945. Kurosawa on the other hand, had already written and directed three other films; The Most Beautiful (1944), Sanshiro Sugata, Part Two (1945), and The Men Who Tread on the Tiger’s Tail (1945). In some ways, it was a blessing in disguise for the Japanese auteur. By the end of World War II, Kurosawa had experience. Six years working as an A.D and another three to four years as a director, making his own films. Not to mention the years of incubating the ideas he really wanted to pursue.
By the sounds of it, the end of the war opened the floodgates for foreign cinema. The reigns were off for filmmakers outside of the United States for not just Kurosawa in Japan, but for Rossellini, Fellini, and Antonioni in Italy, to name a few. As repulsive as World War II was, it sure lit a fire under the asses of the artists controlled by the fascist regime (not including the Ashkenazi’s of Europe who migrated to the U.S. prior to WWII). Although I’m not deeply educated on Japanese Film History, it seems Akira Kurosawa was in a league of his own. He took the inspirations of his life and the films he saw and meshed them into magnificence.
Akira reflected on his life and career in the early stages. All throughout the “learning” stages as a young filmmaker, he made his way through the unique times and fast rise in technology. Naturally, we never stop learning. But, the time Kurosawa focuses on in Something Like an Autobiography are the countless lessons he learned early in his life and career. These lessons, from my understanding, repeat themselves (for the most part) as we evolve in our craft. There are only so many different “templates” of obstacles and they continue to present themselves in different disguises. Additionally, he shares the timeless wisdom of how he became a writer and director which is something every aspiring storyteller can learn from. Since Akira Kurosawa catapulted onto the scene, he has been an inspiration to many. Not only did he write this book, he spreads his wisdoms and personal truths in his films, humbly. His legacy will continue to carry for generations of filmmakers to come, even if the next generations never see Seven Samurai (1954), High and Low (1963), or Red Beard (1965). He’s influenced that many filmmakers and artists.
More than a filmmaker, Akira, is an artist. An artist everyone would gain to learn from. Everyone, not just artists, deals with “censorship” to some degree. However, we’re still very lucky compared to the ones before us. Not to mention severe censorship still existing in various parts of the world and argued as it relates to social platforms. What Akira taught me, is it’s all what you do with it. In some ways it’s a reminder of the ancient wisdom, “this too shall pass”. Whatever this is, will pass, so stay on your journey. Create what you can, when you can, as often as you can.
Films Mentioned:
Sanshiro Sugata (1943) - Directed By: Akira Kurosawa | Written By: Akira Kurosawa,Tsuneo Tomita
The Most Beautiful (1944) - Directed By: Akira Kurosawa | Written By: Akira Kurosawa
Sanshiro Sugata, Part Two (1945) - Directed By: Akira Kurosawa | Written By: Tsuneo Tomita, Akira Kurosawa
The Men Who Tread on the Tiger’s Tail (1945) - Directed By: Akira Kurosawa | Written By: Nobumitsu Kanze, Akira Kurosawa, Gohei Namiki
Rashomon (1950) - Directed By: Akira Kurosawa | Written By: Ryûnosuke Akutagawa, Akira Kurosawa, Shinobu Hashimoto
Ikiru (1952) - Directed By: Akira Kurosawa | Written By: Akira Kurosawa, Shinobu Hashimoto, Hideo Oguni
Seven Samurai (1954) - Directed By: Akira Kurosawa | Written By: Akira Kurosawa, Shinobu Hashimoto, Hideo Oguni
The Hidden Fortress (1958) - Directed By: Akira Kurosawa | Written By: Ryûzô Kikushima, Hideo Oguni, Shinobu Hashimoto
Yojimbo (1961) - Directed By: Akira Kurosawa | Written By: Akira Kurosawa, Ryûzô Kikushima
High and Low (1963) - Directed By: Akira Kurosawa | Written By: Hideo Oguni, Ryûzô Kikushima, Eijirô Hisaita
Ran (1985) - Directed By: Akira Kurosawa | Written By: Akira Kurosawa, Hideo Oguni, Masato Ide
Miller’s Crossing (1990) - Directed By: Joel Coen, Ethan Coen | Written By: Joel Coen, Ethan Coen, Dashiell Hammett (uncredited)
The Revenant (2015) - Directed By: Alejandro G. Iñárritu | Written By: Mark L. Smith, Alejandro G. Iñárritu, Michael Punke
Silence (2016) - Directed By: Martin Scorsese | Written By: Martin Scorsese, Jay Cocks, Shûsaku Endô (Novel)