I have a little bit of feeling after pulling Kurosawa's film these days, and I think where and where to write.
Akira Kurosawa has always been given the title of emperor, palace-level master, but I cannot agree with it. Of course, it is definitely not a doubt. From any angle of the movie, he is absolutely great, but why is he great?
It is his rare sincere heart for movies.
It's like the voice of "Nothing yet" that was hidden in the haystack at the end of the setting sun.
It is not right to watch his movies from an upward angle. You can look up at Kubrick's movies, which is full of divinity. You can look up at Nolan's movie, with bizarre twists and turns. But Kurosawa clearly has nothing to look up. He can only perceive his movies with equal positions, and know what it means to be clever and invisible, and the elephant is invisible.
How did Kurosawa get involved with Taoism? It is his narrative technique.
Kurosawa's narrative method is very plain, without major turning points, and no twists and turns of the story. Just like the Seven Samurai, every step is reasonable and reasonable. He gave a clue, and the development is already clear. However, he just let the story that has lost suspense appear on paper like reality, without changing anything, just putting "Tao" "Speak out. Isn't this a manifestation of "the world is not benevolent, and everything is a humble dog"?
Finally, let’s talk about his characterization ability. This is one of the abilities that I think he absolutely shines in the history of film and is often overlooked, and the most important thing is that he can often do it only by using dialogue. This is not a director’s skill. It is a mixture of the control of the audience's psychology, the unconstrained imagination and the precise observation of human beings.
Just cite a few examples from the movie
"I just have more experience, and I often defeat wars"
"I can't control myself as soon as I start the killing, so I often run away before I start."
"Hahaha, you can really joke"
He left the hardest part to Toshiro Mifune, which required an exaggerated and not excessive performance.
Even though the movie has three and a half hours and a half, he has established that the seven characters have only 20 minutes in total. Moreover, it is not possible to work hard from the perspective of identity or occupation, which shows its ability to shape characters.
The trick is that he doesn't treat the audience as a fool, he gives the key one percent, and the remaining ninety-nine percent makes you understand instantly.
All in all, in my mind he is not the emperor nor the master of mystery and mystery. He is a filmmaker with a true heart of innocence. The same is true for Orson Wells. The difference between the two is that Akira Kurosawa is the perspective of the observer, while Orson Wells is the perspective of the participant.
Asleep
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