This small book was first published in 1982. Kurosawa, arguably one of the greatest film directors of the twentieth century was still active directing films. The author claims he was inspired by Renoir’s autobiography to finally put something down about his own life. He had been asked for this many times. In it he tries to answer the question of how he became involved in making movies in the first place.

The translation was done by Audie Bock, who states in her brief introduction that she first contacted Kurosawa in order to interview him about a book on Japanese film directors she was writing as part of her Fullbright scholarship, and soon after, he contacted her to act as the translator for this book. Her brief introduction to Kurosawa in the forward section of the book is that of a student in the presence of greatness. And it is correct that it should be so. At 71, Kurosawa was active, energetic and his film career was far frm over. But he was still controversial, had a reputation as a tyrant, and was said to be difficult to speak to. She found, I believe, in her connection with the artist, something far different.

The book will not offer insights into the terrible depression that caused the director to slash his throat 6 times and his wrists 8 times in an attempted suicide. It will not speak of the controversy of his temper, his antics on the movie set, or the fact that his own culture in the end failed to understand the gift he presented to Japanese cinema, singlehandedly with one film, RASHOMON. But it will tell us something of his life experiences that led up to the making of the film that brought the world’s attention to Asian films. It will offer a glimpse into a unique era in Pre-War Japan, give some insight on what it was like to work as an artist during the war, and reveal some of the frustrations film makers continued to face in post war Japan.

Kurosawa keeps his private thoughts and emotions to himself. He won’t speak of romantic love, but of an arranged marriage. He will chastise himself for being caught up in film making to the exclusion of all else. He stayed on set, for example, when he was told his father was dying. He makes no bones about it. It is his film making that constitutes the total of what Kurosawa wants the world to remember. In his own words,

“I believe what pertains only to myself is not interesting enough to record and leave behind me...In other words, take “myself”, subtract “movies” and the result is “zero. “


The book is organized in small anecdotal chapters, presented in chronological order in the director’s life. The organization into “parts” is my doing. It is written as a continuous string.
At the end of the book, there is a section called Notes on Film making, where he gives brief bits of wisdom to anyone who wants to learn.

We have a portrait of a man who tells us how he became a film director, and in doing so, he presents only one facet of his life and mind for us to view. The rest of it, he has locked away in secret private places, and the key was lost when he died a broken man in many ways, in 1998.
We will hear of things in his childhood, and early adulthood that brought him to Cinema. Of his personal emotional life and doubts, we hear nothing. We do get hints of a long term alcohol habit, and some of the events that shaped his thinking and vision when he was young.

(Chapters as titled in the book)

Very Early Life

Babyhood.

Moimura gakuen (Kurosawa Akira is thought to be slow, in his kindergarten)

Crybaby-(Kurosawa is bullied by older children but discovers a real “teacher” who influenced his life, and encouraged his artistic expression, and a boyhood friend)

Whirlwind (his brother fails exams at Middle School, his sister dies -and this chapter will directly relate later to his movie DREAMS, regarding Peach Blossoms)

Kendo

Calligraphy

Murasaki and Shonagon (kids take up legendary hero names for themselves)

The Fragrance of Meiji , The sounds of Taisho - author discusses the transition frm historical periods through which he had lived. . (He was born in 1910)

Storytellers-describes his fascination with the art of storytelling from traditional sources

The Goblin’s Nose

The Gleam of Fireflies- Graduation from primary school.

Childhood ends, Middle school

Keika Middle School

A Long Red Brick Wall- Interesting early suicide attempt ? “ One day i was hanging there (from a strap on a Tram) ...when suddenly I decided that everything in life was stupid, boring and futile. I let go of the hand rail.” He was saved by a University Student who snatched him from the void.

September 1, 1923-Describes the great earthquake, unforgettably

Darkness and Humanity

A Horrifying Excursion. His brother takes him on a horrifying excursion into the devastated ruins, and makes him view death and destruction. This is an experience he will note many times in his career. “If you shut your eyes to a frightening sight, you end up being frightened. If you look at everything straight on, there is nothing to be afraid of.”

My rebellious phase- second year middle schooler, plays practical jokes and shows disrespect. Failed military education-deliberately.

A Distant Village

The Family Tree

My Aunt Togashi

The Sapling- End of childhood. Kurosawa eschews any more formal education, and chooses to live his life after graduation as a painter.

Young adulthood, and the real education in the arts-

The Labyrinth -introduced to films and the life of an artist, and becomes closer with his brother. World wide depression is not inspiring to the young artist. Immerses himself in popular culture, reads extensively, and is introduced to western art, films and literature.

Military Service-Called up for service in 1930- and is rejected

A Coward and a Weakling- Kurosawa involved with revolutionary Proletarian organizations, but bugs out when he grows up a little, and goes to live with his brother.

An alleyway in the Floating world-describes his life with his brother , a popular Benshi for silent films

A Story I don’t want to Tell-his brother’s suicide

Negative and Positive-1935-enters a composition competition for a movie studio, and wins a chance for an interview.

The Life of a Young Film-maker

In this section we will for the first time see the temper, the stubbornness and the perfectionism surface, as he learns and grows under the tutelage of a respected and loved Director, Yamamoto Kajiro.. Hard work and dedication, and seven years as an assistant director. The drinking and the talking, and the dedication to perfection started here.

A Mountain Pass another reference to thr future DREAMS-

PCL (first studio)

A Long Story: Part 1 The Life on an assistant director ,

A Long Story Part 2-beginning to write screenplays,

Congenital Defects -Kurosawa admits that he is “short tempered and obstinate”.

Good People- other great directors he worked with as an assistant director.

A Bitter War- Censorship and restriction, Kurosawa fighting to become a director of his own movie. Writing scripts for several years

My Mountain- Brings a script, and it is accepted for his first personally directed movie at age of 32.

Ready, Start!-beginning the process,


As a full fledged director (Movies in caps)

SUGATO SANSHIRO

THE MOST BEAUTIFUL

SUGATO SANSHIRO PART II

Marriage -by the way, he happens to get married here, and it only is mentioned as increased financial responsibilities!

THREE MEN WHO TREAD ON THE TIGER’S TAIL

The Japanese -Discusses the end of the War, and his impressions of his national identity. He seriously begins to study his own culture and history, a momentous developmental stride, which will help him to create absolute authenticity for his period pieces.

NO REGRETS FOR OUR YOUTH-first post war film, union strikers at Toho.

ONE WONDERFUL SUNDAY

A Neighborhood with an Open Sump-

DRUNKEN ANGEL- the first film of Toshiro Mifune , and the beginning of a long association between actor and director.

On the Banks of the River Sai-more trouble at Toho


THE QUIET DUEL-a new film company

A Salmon’s Old Stories- discusses film making in Japan, and its backward ideas A very interesting chapter.

STRAY DOG-In trouble with the ASPCA

SCANDAL

RASHOMON-The funny stories,leeches, the innovations, the disappointing reception in Japan-vindication from International Film Recognition. And the rest , as they say is History. So much follows after RASHOMON in Kurosawa’s filmography. Some incredibly beautiful and touching films were the genius of this great artist.

Epilogue In the end Kurosawa asks us to look for him in the movies he made. That indeed is where his soul resides.

Some Random Notes on Film making- Lots of hints and tips on film-making. He advises, for example, young directors to learn to write their own screenplays, read a lot, and practice everything before they shoot, even camera moves. He describes the film making process as an art form that combines all other art forms to create a new one. Nothing is accidental in a Kurosawa film.

Index

FINAL RECOMMENDATION

If you read biographies to get the low down and dirt on famous people, you will not get what you are looking for here. But if you want a tiny view of the genius who made some of the most incredible films of the previous century, by all means, join me in celebrating this book.


My thanks to GraceF for adding this to the database.













Recommended: Yes