Donzoko (1957)

User Rating:

7.6/10   

Director:

Akira Kurosawa

Writers:

Maxim Gorky (play)
Akira Kurosawa (writer)

Release Date:

1 October 1957 (Japan)

Genre:

Drama

Plot:

Una coppia di gretti usurai gestisce uno squallido dormitorio, nei pressi di una discarica. Una folla...

Plot Keywords:

Deception | Poverty | Remake | Lower Class | Japan

Awards:

5 wins

Cast

Toshirô Mifune	...	Sutekichi the Thief
Isuzu Yamada	...	Osugi the Landlady
Kyôko Kagawa	...	Okayo, Osugi's Sister
Ganjiro Nakamura	...	Rokubei, Osugi's Husband
Minoru Chiaki	...	Former Samurai
Kamatari Fujiwara	...	The Actor
Akemi Negishi	...	Osen the Prostitute
Nijiko Kiyokawa	...	Otaki the Candy-Seller
Koji Mitsui	...	Yoshisaburo the Gambler
Eijirô Tôno	...	Tomekichi the Tinker
Haruo Tanaka	...	Tatsu
Eiko Miyoshi	...	Asa, Tomekichi's Wife
Bokuzen Hidari	...	Kahei the Pilgrim
Atsushi Watanabe	...	Kuna
Kichijiro Ueda	...	Shimazo the Police Agent

Also Known As:

The Lower Depths (USA)

Runtime:

137 min | 125 min

Country:

Japan

Language:

Japanese

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono

Certification:

UK:PG

Filming Locations:

Toho Studios, Tokyo, Japan

Company:

Toho Company

Trivia:

The gambler's second line during the final song is "Jigoku no sata mo, kane shidai" (Money buys your fate in hell), an ironic Buddhist proverb about the power of money in the world.

Movie Connections:

Version of Na dne (1978)

Too Polished

First, I must provide the obligatory warning that this film is absolutely not a good film for introducing a viewer to the power of Kurosawa. Nevertheless, this film is one of his most well-crafted ensemble films. The performance of Bokuzen Hidari as the wandering pilgrim or priest Kahei is his pinnacle in Kurosawa's films. After his comic-relief roles in the more well known films "Ikiru" and "Seven Samurai", this role is Hidari's chance to show his own version of wisdom and authority. Similarly, Kamatari Fujiwara's powerfully sympathetic performance as the alcoholic actor is another surprising demonstration by an actor who had, hitherto, been cast in unsympathetic- even adversarial roles in previous Kurosawa films. As one comes to expect from Isuzu Yamada, her character is a feisty and commanding presence that drives the plot along.

Toshiro Mifune, however, was not the best choice for his role as the petty thief- try as he might to look like a immature and puerile common criminal , the false swagger fails to hide the actor's inherent dignity. Nevertheless, his energy and effort still make his performance believable- if incongruous. In general, however, his unsuitability for his role is the only significant snag in an otherwise fluid and natural performance on the part of all the actors. Also, the sets, as one would expect for Kurosawa, are meticulously detailed, well-lit, and authentic-seeming.

The story- based on the Maxim Gorky play, however, is not that compelling. In part, I think, it is my reaction to a socialistic morality play brought to the silver screen. Also, however, Kurosawa has tried too hard and has polished the performance and settings for too long. As well and smoothly as the actors interact, as convincing they are in their roles, their performance just does not lead anywhere dramatically. However, I saw the Jean Renoir version- a much less refined effort, in my opinion- and had much the same reaction, concluding that the story, itself, and not Kuroasawa's over-controlling treatment is what hampered my engagement.

In spite of that... That is to say... In spite of the fact that the movie's story is not very compelling for me at all, I still have high regard for the film because the acting performances are so solid and engaging. For that reason, I strongly urge devotees of Kurosawa's films to check this movie out at some point while keeping in mind that it remains less than a sum of its parts.