Plot Details: This opinion reveals major details about the movie's plot.

Have you wanted to see a Japanese classic by Kurosawa, that does not include Samurai? Criterion released Akahige, (Red Beard) in July 2002. It is a heart warming story, with incredible performances. After watching it, laughing, crying and living in this movie for several hours I placed it my short list of the best movies of all time. There have not been many movies that I feel so strongly about. Yes. It really is that good.

I have already extolled the abilities of Kurosawa. I have long thought him to be the Michelangelo of 20th century film making-at least until his death. All other films are measured against his accomplishments, in terms of the dynamic use of the camera to tell a story. This movie is a memorable one, from an historical perspective on Kurosawa’s film career generally, and his world specifically. This would be the last film he would do with Toshiro Mifune. It marks the end of certain cinematic style, and would be a transitional film for thematic content. It would be the last “hero” flick directed by Kurosawa.

While I was prepared to be awed and amazed by Kurosawa’s impeccable use of the camera, and the film elements associated with his style of film making, I was not prepared for the emotional impact of this movie, on a personal level as well as a more objective appreciation. It shows, in as few words as possible, that the value of life on this earth resides in the small acts of kindness we do for those around us. What we do in the name of all humanity palls next to the acts of self sacrifice made for the benefit of those who desperately need them.

CINEMATOGRAPHY

Don’t expect to find a sweeping view of a magnificent landscape in this film, or camera angles capturing great movements people over the countryside, or through time. There will be no epic battle scenes, or forest glades, or rock formations emphasizing man’s smallness in relation to the magnificence of nature around him. This element is gone from this particular film, although it will reappear often in Kurosawa’s later films. It is replaced with something else. This time the camera will show the awesome landscape of the human heart.

What you will find is many of the camera techniques that Kurosawa innovated (in shooting the same scene with several cameras set at right angles to each other, for example), the masterful placing of each character in their relationships to each other, and the use of the telephoto lens that moves the camera with the subject, not with the focus. Most of Kurosawa’s contemporaries were shooting in color by this time, but Kurosawa was an artist of the rich effects of grays within the black and white format, the design elements , and the ability to use such stark contrasts to dramatize important film events. When he would go to color, it would be an amazing film experience as well-but a different one.
Where previous Kurosawa films show kinetic scenes, this whole movie is much quieter, with few extravagant movements or edgy tension build up. There is only one fight scene, but it is a good one.

In addition, Kurosawa held to the wide screen format, while others were moving toward the format that would fit a television screen. And to be appreciated, this film needs to be watched as it was recorded.


OTHER FILM ELEMENTS


Set Design and historical accuracy-

The film was set in 19th century Japan, and the research for this film took well over two years to set up, and two years to film as well. Every detail is correct, and appropriate to the times, from the use of medicine, the training of young doctors in Nagasaki with the Dutch , the innovations in surgical techniques, and the introduction of anesthesia. Even the timber for the set was ”dated”, taken from buildings and barns built at the time of the movie’s setting. Every object is painstakingly detailed, and filmed. The costumes were accurate, the buildings were perfect and the town was actually built (although it was also destroyed in the filmed Earthquake scene). The figures show that same familiar gesture like quality of caricatures in Japanese art,-typical of Kurosawa’s period pieces.

Music

The composer was a familiar one (Masaru Sato) who used themes from Western Music frequently in Kurosawa’s films. Here, each thematic element is used with particular brilliance, at Kurosawa’s direction. The music was even written with pauses which allow the viewer to hear the environment in the quiet spots. Even more than this, all the sound was delivered in four separate tracks, very unusual for the time. It was beautifully done by Sato.

The screen play was developed from two identifiable sources, the Novel “Red Beard” novel by Kurosawa’s contemporary Shuguro Yamamoto , and Fyodor Dostoevsky ‘s The Insulted and the Injured . He drew heavily from both. Yamamoto’s novel provides the structure of the narrative. Dostoevsky provided the prototype for the character , the girl Otoyo, who was not a part of the novel by Yamamoto, but more closely resembles ‘Nellie” in Dostoevsky’s work.

Humor

There are some supremely funny moments in this film, and I have yet to hear a single Kurosawa film commentary that mentions this. My favorite scene in this one is when the cooks get together and beat the brothel madam, with their weapons at hand-in this case, vegetables. These little physical humor moments always occur in Akira Kurosawa’s films, and they are critically necessary to prevent being overcome by despair at some of the other events. Another favorite of mine is when Red Beard, having disposed of a bunch of tough guys , notes that he may have “gone too far”-when several are unconscious, and others have broken limbs. Still another humorous scene occurs when the hot shot intern faints dead away at the sight of his first operation.

A Note on The Life of Kurosawa

After this film, (and the failed collaboration with Hollywood for Tora,Tora, Tora) Kurosawa had a hard time getting the money together to make movies. There were problems with the companies, and whether they were personal or philosophical would be hard to say. Or it may have had something to do with Mifune leaving his association. Mifune was a big draw for Kurosawa’s flicks, and Kurosawa had reached the end of the line for the type of movies he immortalized in the 50's with Mifune. Akahige is really the last of these period pieces, with a recognizable hero, who incidentally, is played by Toshiro Mifune. Kurosawa's films would become a good deal more reflective and less action-oriented after Red Beard. In 1970 Akira Kurosawa hit bottom and was so depressed that he attempted suicide. He survived and indeed went on to make a few more one-of-a-kind classics. While they were without the charismatic Mifune, they were nevertheless astoundingly beautiful films. Some of the events of Akahige Kurosawa admits drawing from his own life experiences as well, since he had seen the devastation from the earthquake in 1923. Kurosawa was an artist, and as such I believe he had a unique talent for touching souls with his work. That never changed.

THE CRITERION COLLECTION DVD


Chief among its virtues is the stunning video transfer of the wide-screen format. It is very beautifully done, and shows the genius of Kurosawa’s artistry at its best. It also features the 4 source sound track, an innovation at the time and a feature that will appeal to any home theater groupie. Finally, there is a full length commentary by Stephen Prince. It offers a good deal of factual information on shooting techniques, and on Kurosawa as well. It can add something to your understanding of the intent of the film, but my personal feeling is that it goes too far in trying to interpret and categorize the thoughts and feelings of the genius Kurosawa. It is too neatly packaged, and those of you who like to do your own thinking, might find it mildly annoying, as I did. By all means have a go at it but be SURE to watch the movie first. While Prince is unquestionably a brilliant analyst, he may not always be right. And the sound of him reading from his own script just kind of grates on my nerves after awhile. But that’s me...you decide for yourself.


THE PLOT

Noboru Yasumoto is a young doctor, fresh from his studies of medicine with Dutch doctors (Western Medicine) in Nagasaki, who is eager to begin a career as an appointed physician for the Shogun. He is asked to “call” at the clinic run by Kyojio Niide, called Red Beard, and is angry that her is instead expected to work there. His life had been complicated by the girl he was betrothed to marrying a different man,( which of course dishonors him. ) The girl had been the daughter of his benefactor, another doctor, who currently worked for the Shogun-his contact and ticket into the court appointed position he wanted.

At first, Yasumoto resists. He is arrogant and selfish, and tries to break every rule. He refuses to wear the clinic uniform, he drinks and he does minimal work. His pride has been injured, and Red Beard is a tyrant. He does not see the clinic patients as individuals, and he appears to have little interest in their suffering. He refuses to share his notes with Red Beard, who believes that medical knowledge should be shared, and not hoarded.

In a series of lessons and examples, this young man will change from a brilliant arrogant student, to a compassionate man. It is a journey that will take more than three hours of your viewing time to accomplish.

He changes from suspicion and anger by watching Red Beard, who understands how futile most doctors are in truly alleviating human suffering, yet tries to alleviate it all the same. Red Beard is gruff, but he gets money for his clinic by overcharging indulgent rich patients. He defends his patients, sometimes physically, and he cares for them by understanding them and the disease process. The disease process has more to do with "why" than "how" and it is a spiritual and well as physical diagnosis.

The first lesson is provided by a psychotic woman called the Mantis, who seduces and then kills her prey. He, being a well read “doctor” thinks he knows more than others, and gets sucked into her mystique, and nearly suffers the fate of the others she has killed. He is rescued by Red Beard. .

The “lessons”continue with an assignment to observe a dying man, who never speaks. It appears to be a painful death as the man gasps for his last air. It would be hard to accept that there was anything valuable about the experience or understand why it would benefit the young doctor, ..until the daughter comes into the clinic and tells the dying man’s history. This allows the young man to view the death differently. This is an amazing scene.

The third lesson will come with the death of Sahachi, a clinic patient is very ill, but despite his illness, goes out and works to buy fish and eggs for the other patients. As Sahachi tells his story, of his wife, their separation, and her suicide, Yasumoto listens. When he talks about marrying for love (which is incidentally what Noboru’s betrothed had done to him.) Although the girl was “promised” to someone else, she marries Sahachi, but Onaka has a hard time living with herself. When there is an earthquake, she disappears, and Sahachi assumes she is dead. A year or so later, he sees her walking with a baby on her back, and finds she took advantage of the confusion of the earthquake to slip away to the man she did not love but what promised to.
But after this meeting, she comes back to her love, and stabs herself to death, to die in her arms. Sahachi realizes he has been responsible for the unhappiness of her baby and the husband, who knew nothing of her “betrayal” , and from then on, devotes his life to doing good deeds for others. This is a beautifully filmed and performed scene.

The next important lesson will come from an assignment to “cure” a twelve year old girl, Otoyo who is ‘enslaved’ to a brothel, because of her mother’s death. She is disturbed, and physically ill with fever and convulsions. She trusts no one. The two doctors doing a house call, plan to take her to the clinic , but the madame won;t let her go easily. Red beard, in a singularly violent scene, fights them off, even injuring a few severely.
Yasumoto works hard, but then gets sick himself with fever. Otoyo nurses him back to health in a long wordless sequence., and she has began to recover very well. But she is jealous of Yasumoto showing any interest in a woman, tearing up the kimono the lady Masai made for her.

The lesson that is being learned here is for both Yasumoto and Otoyo. Otoyo finds a boy stealing gruel and does not report him, and then develops a relationship where she brings him leftovers to help feed his family. As we see her trying to teach Chobo not to cheat we realize that her healing has already begun., and she has achieved a kind of enlightenment in doing kindnesses for others.

A lesson will follow with Chobo when he and his whole family are brought to the clinic, after taking poison. It was eery and incredible.

In the end, Yasumoto will have become a different person, and a better one, for his efforts.


I will leave it to you to find out what happens to Yasumoto. Even with this brief plot outline, there are nuances that you need to experience for yourself. Don’t take my word for it.


THE CAST

Toshiro Mifune-as Kyojio Niide, Redbeard-named so because his beard had a “reddish” cast-but also, this was an historical reference to the introduction of Western Medicine to Japan about that time, through the doctors brought by the Dutch traders. Their brand of medicine was termed “Red-haired” medicine, because the European doctors beards were-you guessed it-red! No matter what anyone says differently, this was another magnificent performance by Mifune. It doesn’t seem to have set well with the commentator. The proof of Mifune's versatility as an actor came in one incredible scene, where the ferocity is gone, and Red beard is gentle, patient and tender with a young girl, convincing her to take her medicine. Mifune gave what could only be considered a wonderful performance. He need not have been typecast only as the wondering Samurai, although those were undoubtedly his most popular roles. But I can’t be objective. I am totally overwhelmed by this charismatic performer.

Yuzo Kayama-as Noboru Yasumoto-the young doctor about whom the story is really written, it is the world we see through his eyes that matters. We see what he sees, and we feel what he feels. This was an incredible performance as well, again in many scenes where words would have been superfluous.

Yoshio Tsuchiya as Handayu Mori, the good-hearted working doctor in the clinic. He is not brilliant, but he is dedicated, and he reveres Redbeard, and respects the arrogant young doctor. He is nurturing, and not incompetent, but not brilliant, nor did he aspire to work for the Shogunate. His character was also well done, and the actor has been a regular with Kurosawa since... His subplot is a romance with a “nurse” in the clinic, and his character is quite likable.

Tatsuyoshi Eshara-Genzo Tsugawa-this is the mediocre doctor that Yasumoto will be replacing, the lazy and bad natured young arrogant guy that gives the new doctor verification for his disappointment in his new surroundings-Red Beard is a tyrant. He is cheap. He doesn’t respect his workers. This actor had a small role in Sanjuro in 1963, and this too is a small, bad guy role. His high billing is due to his popular prominence with Toshio Sugie’s films.

Reiko Dan as Osugi-she is the love interest for Dr. Mori, and her character will get the dialog that sometimes puts the finishing touches on the lesson learned in a particular segment. For example, it is her noticing that Yasumoto is now wearing the clinic uniform that will finally make us realize that he now feels a part of the clinic, and is no longer an outsider. Reiko Dan had also had a role in Sanjuro, and had some popularity .

Kyoko Kagawa as the Mad Woman. Excellently done, and a completely different role from her part in High and Low, where she plays a proper wife of an Industrialist. Her character is a psychopathic killer, and she is called the Mantis-because she has three times seduced young men, and then murdered them with a hairpin. (Possible with the long sharp hairpins they used) A case of child abuse? Yes. Which is an interesting prediction of concerns that would hit the Western world in fad Psychology in 15 years, BUT, as Red Beard points out. “Others have had similar experiences, and they don’t murder people."

Because her character is interesting, it might be worth looking into the idea of her place in the cosmos, in an existential point of view, although I wouldn’t lose any sleep over it. The idea from Japanese medicine is that sickness invariably comes from a cause deep within, or perhaps even in a past life , is foreign to Western medicine, but the old traditional ways are reinforced here as a POSITIVE thing. That in fact highlights a basic feature of Japanese culture for centuries, the ability to incorporate two separate ideas and create something new from it. Holistic Medicine may be said to be the result of combining ideas of the health of the spirit (metaphysical) with the health of the body (physical). Either way, the character is an intriguing one. And she played it well, in one of the most frightening seduction scenes I have ever seen in a movie.


Kamatari Fujiwara as Rokusuke.-here’s our little peasant from Rashomon, this time in a different role, so different you probably did not recognize him at all. He will provide the first lesson for the young doctor as the dying patient, a gold lacquer craftsman, who was a good and decent man, yet also died a painful death, alone, without speaking a word to anyone. The dying scene for this character is excruciating. It is shown in two different aspects, one, as the extremely painful death of a man dying of cancer, and second as an almost beatific moment as he dies in pain, but with great dignity, a halo of light around his head. It was brilliant cinema on the party of Kurosawa as well as a performance I won't soon forget.

Akemi Negishi as Okuni, the mistress the daughter of the dying man. She tells the true story of her father (Rokusuke,) essential goodness, and will break our hearts as she does so, especially when we realize that she came but a few moments too late. Excellent performance as well.

Tsutomu Yamazaki-as Sahachi. This character once played a kidnaper and murderer, a transformation of almost perfect evil, in High and Low. In this movie, it is a complete opposite character, as he is a saintlike character, who works himself to death to buy fish and eggs for the other patients. Another astounding performance, of exquisite tenderness, and his death scene is simply amazing. His final act, and death- will be reaching his arms out, seen now only in shadow, towards his dead wife, who has “come for him” ...and they abruptly fall to the bed as he dies. Few stories could be more touching, and fewer still are actors who can take on a character that can reflect that angelic quality without seeming ridiculous.

Miyuki Kuwano as Onaka-Sahachi’s wife, who has another story to tell in this narrative. Her story will outline the tradition in Japan of duty before love, and feeling guilt if romantic love is chosen before duty. Her story is complex, and when she does end her life, it will not be for the reason you think. Another excellent performance, and an important one.

Eijiro Tono as Goheji-This is the fat Lord, whose bad living has gotten him uncomfortable and "sick” . Another humorous moment as Red Beard corrects his diet and overcharges for his services.


Terumi Niki as Otoyo-This was an incredible and touching performance as a 12 year old who had been raised in a brothel, and suffered a fever, and convulsions...and was desperately psychologically disturbed, snapping into a ritualistic floor scrubbing motion when she was stressed. There is a wonderful bit of character development portrayed here, and this character has in a few moments, become a memorable one, no matter what else she may have done in her career.


Takashi Shimura as Tokubei Izumiya-this seems like a token role, for a much respected performers who had been in every Kurosawa film to date. His importance though, is in the discussion with Red Beard and Yasumoto on the essence of being a physician.

Haruko Sugimura as Kin-I believe she was the sympathetic cook, and a fun and funny character.

Yoko Naito as Masae-The girl that Yasumoto will marry before the end of the film. She is a stereotypical beautiful and kind hearted girl, and very likable in this role. This would be her film debut.

Yosh*tuka Zushi as Choji (called Chobo) -the boy was a ten year old playing a 7 year old, and a strikingly homely little boy, who looks like his head is too big for his body, a defect that is often seen with starvation. He is a thief, and his family is desperately poor. This is a great child performance, one of the best I have seen.


Chishu Riyu plays Noboru’s father, and I only mention him because his career spanned 60 years, and in most of his roles, he played a temple priest.



FINAL RECOMMENDATION

Of this film Kurosawa is quoted as having said “I wanted to make something that my audience would want to see, something so magnificent that people would just have to see it”.

Well, this film IS magnificent. You just have to see it.





Recommended: Yes

Viewing Format: DVD
Video Occasion: Fit for Friday Evening
Suitability For Children: Suitable for Children Age 13 and Older