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Stray Dog
Donato 2022-02-02 08:04:10
In the past, Cai Lan's column always mentioned the actor Toshiro Mifune. Today, I finally have the opportunity to see his famous work "Stry Dog". Although the film is a work from 1949, the film elements such as shooting skills, scene scheduling, work skills, etc. are not outdated at all. An ordinary "gun hunting" story can be filmed so intensely and so tortuously, director Kurosawa. Ming really contributed. There are two scenes in the film that left a deep impression on me. The first scene is the detective Murakami pretending to be down and out on the street to attract gun dealers. I vaguely remember that it should be the "Asakusa district" in Tokyo (there is a sign on it), Akira Kurosawa. Let the audience take the role of Murakami and watch the life of the Japanese post-war civilians. There is no dialogue in the whole process, but the atmosphere is very exciting, as if I feel like I am in Murakami in the street at that time, which opened my eyes. The second segment is the climax scene of chasing the gunman at the end of the film, especially the scene where the prisoner points the gun at Murakami, which is like a samurai film from a detective film, but the background soundtrack is the opposite. Is the sound of the piano a kind of irony? It feels really good to shoot.
Extended Reading
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Det. Sato: We want to see Namiki.
[the show director, a tall young man with thick, limp hair, slumps down in a chair and holds an electric fan to his face]
Girlie Show director: [lazily] Harumi's out today. She's a real problem, that one. One little comment and she takes the day off. She's quiet all right, but the quiet ones are always the most stubborn. And she's sick right now.
Det. Sato: She's sick?
Girlie Show director: With her monthlies, you know. They're always impossible then.
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Harumi's mother: Harumi, you must tell them everything you know.
Harumi Namaki, showgirl: I don't know what I don't know.