Japan drama
1965
bw 185 min.
Director: Akira Kurosawa
CLV: $69.95 - available
           2 discs, catalog # CC1239L
VHS: available from Home Vision Cinema
After finishing High and Low (1963), director Akira Kurosawa
recalls, "I started looking around for something else to do and quite
by accident picked up [the novel] Red Beard by Shugoro
Yamamoto. At first I thought it would make a good script for [fellow
director] Horikawa but as I wrote I grew so interested that I knew I
would have to direct it myself.
"The script is quite different from the novel. One of the major
characters, the young girl, is not even found in the book. While I was
writing I kept remembering Dostoevsky and I tried to show the same
thing that he showed in the character of Nelli in The Insulted
and the Injured.
"I had something special in mind when I made this film because I
wanted to make something that my audience would want to see, something
so magnificent that people would just have to see it. To do this we
all worked harder than ever, tried to overlook no detail, were willing
to undergo any hardship. It was really hard work [and the film took
longer before the cameras than any other Japanese film including
Seven Samurai -- almost two years] and I got sick twice. Mifune
and Kayama each got sick once . . ."
The story:
At the end of the Tokugawa period a young man, Noboru Yasumoto
(Yuzo Kayama) returns to Edo after several years' study at the Dutch
medical schools in Nagasaki. Told to make a formal call at the
Koishikawa Public Clinic and pay his respects to its head Kyojio
Niide, commonly called Red Beard (Toshiro Mifune), he learns that
he is to stay there and work as an intern. Since he had hoped to be
attached to the court medical staff and had certainly never considered
working in a public clinic, the news is a great shock. He refuses,
purposely breaks the hospital rules, will not wear a uniform, and
further trespasses by lounging around a forbidden area, the small
pavilion where a beautiful but insane patient (Kyoko Kagawa) is kept.
Like the hero of Sashiro
Sugata, like the detective in Stray Dog, and the shoe
manufacturer in High and Low, the young doctor learns: Red
Beard too is the story of an education. Kayama learns that medical
theory (illusion) is different from a man dying (reality); that -- as
the film later reveals -- what he had always thought about himself
(upright, honest, hard-working) must now be reconciled with what he
finds himself to also be (arrogant, selfish, insincere); and most
importantly, that evil itself is the most humanly common thing in this
world; that good is uncommon.
At the beginning his position is that of the hero of Kurosawa's
High and Low. He did nothing to merit exile in a public clinic,
he has done nothing "wrong." And yet here he finds himself unable to
escape, unable to see in what way he merits this punishment. Put in a
way that Kurosawa would not care for, one might say that he is, like
all of us, born into an estate concerning which we were not consulted
and for which we did not ask.
The production:
To describe the look of Red Beard one should speak of
something burnished and glowing, like the body of a fine cello. If a
single adjective were used I should think it would be: "mellow."
This mellowness is contained within the look of the film itself. It
has a patina, the way certain of Mizoguchi's films have a patina. This
is the result of strong concern for realistic detail. Kurosawa's
efforts to achieve this are already legend in Japan. The main set was
really an entire town with back alleys and side streets (some of which
were never filmed) which was so large that shots of just the roofs
fill the whole wide screen during the credit titles.
All of the material used for the town was about as old as it is
supposed to look. The tiled roofs were taken from buildings more than
a century old; all of the lumber was from the oldest available
farmhouses; costumes and props were all "aged" for months before their
appearance; the bedding (made in Tokugawa-period patterns) was really
slept in for up to half a year before shooting. Making the main gate,
which so figures in the film, occupied almost everyone. The wood was
more than a hundred years old and both staff and director kept adding
touches to make it look still older. (After the film was shot, the
gate was re-erected at the entrance of the theatre premiering the film
and drew as great a crowd as the picture itself.)
Kurosawa used this magnificent set (so grand that tourist bus
companies ran special tours during the two years of filming in order
to show visitors its splendors) in a very telling way. The main street
is seen for just one minute and its destruction was incorporated into
the earthquake scenes; the scenes with the bridges are likewise short;
so are those in the elaborately constructed paddy. The director, if
one wants to look at it this way, completely wasted his million yen
set.
After Red Beard had opened, while it was still playing to
packed houses and was proving to be indeed just the kind of picture
that people want to see, something "so magnificent that people would
just have to see it," I told Kurosawa that I sensed that he had come
to some sort of conclusion, some sort of resting place. He had pushed
his style to what appeared to be its ultimate. At the same time he
continued and, it would seem, completed the theme which had been his
throughout his entire career. It might even be called the summation of
his work because in Red Beard he had vindicated his humanism
and his compassion. He had shown that only after the negative (evil)
has been fully experienced can the positive, the good, joy itself, be
seen as the power it still remains; that this wisdom was offered in a
film filled with true sentiment, with the fact that in all of our
glory, in all of our foolishness, we are -- after all -- human;
further, that evil itself is merely human, after all, and that the
good then lies in our realizing this and acting upon it.
-- DONALD
RICHIE
Credits
Director: Akira Kurosawa
Executive Producers: Tomoyuko
Tanaka,
Ryuzo Kikushima
Scenario: Ryuzo Kikushima, Hideo
Oguni, Masato Ide, Akira Kurosawa
After the novel by: Shoguro
Yamamoto
Cinematography: Asakazu Nakai, Takio
Saito
Art
Direction: Yoshiro Muraki
Lighting: Hiromitsu Mori
Sound: Shin
Watarai
Music: Masaru Sato
Transfer
This edition of Red Beard was transferred from a 35mm master
print in its correct widescreen aspect ratio.