The Hidden Fortress

Originally Written and Posted at Epinions.com on 11/17/08 w/ Additional Edits & Revisions.

Directed by Akira Kurosawa with a script he co-wrote with Shinobu Hashimoto, Ryuzo Kikushima, and Hideo Oguni. The Hidden Fortress tells the story of a battle's aftermath where two escaped peasant workers run into a general as they reluctantly help him transport a large amount of gold with help from a farmer's daughter in hopes to revive a princess' throne. Starring Kurosawa regulars Toshiro Mifune, Minoru Chiaki, Takashi Shimura, Kamatari Fujiwara, and Kichijiro Ueda along with Misa Uehara, Susumu Fujita, and Toshiko Higuchi. The Hidden Fortress is an adventurous, humorous, and powerful film from Akira Kurosawa and company.

After escaping the Yamana clan fortress, two peasants in Tahei (Minoru Chiaki) and Matakishi (Kamatari Fujiwara) flee to the mountains hoping to go to the guarded Akizuki land for safety.  After finding two pieces of gold in the woods, they encounter General  Rokurota Makabe (Toshiro Mifune) who aids them as he's trying to find Princess Yuki (Misa Uehara) to protect her from the Yamana clan who offer 10 pieces of ryo for her capture.  Though Tahei and Matakishi are suspicious about Makabe, it wasn't until they meet a young woman in a watering hole as it's revealed to be Princess Yuki as Makabe revealed he got the 10 pieces of ryo by using his sister as a decoy.  Hiding out at a hidden fortress, Makabe confers with his old general (Takashi Shimura) and the princess' lady-in-waiting (Eiko Miyoshi) about what to do next.

With Tahei and Matakishi, Makabe decide to go the border with the princess pretending to be a mute girl to secretly transport 200 pieces of gold inside wood branches only for things to go wrong due to Tahei and Matakishi's greed.  Trapped and the fortress covered in smoke, Makabe makes a move to keep things going where they save an abused farmer's daughter (Toshiko Higuchi) by buying her from a slave trader (Kichijiro Ueda) much to Makabe's reluctance.  After an counter with some of Yamana's soldiers where Makabe would fight more as he enters a base that is run by General Hyoe Tadokoro (Susumu Fujita) who knows Makabe.  After a honorable duel that leaves both men alive, Makabe, the princess, and their entourage continue to hide only for Tahei and Matakashi to nearly get them in trouble once again.  With Yamana's men still trying to find them as all hope seems lost, it would take an unlikely ally and the princess' grace and dignity that would save Makabe and its entourage.

While the film's plot about a general using two greedy peasants to transport gold and accompany a princess into treacherous land from their hidden fortress is a simple story. Yet, what makes this film interesting on storytelling level is its emphasis to get the perspective of various characters and their situation. There's four central characters in the film that really are the focal point of the story. A determined general who is trying to protect the princess and gold in hopes to reclaim the princess' status to help win the war against feuding factions. A princess who has lived her life in a castle for most of her life pondering about the big role that she has to play now where she finally gets a closer look at the people she's supposed to rule over.

Then, we have the greedy peasants who are simply motivated by greed as they serve as a comical device while often getting Makabe and the princess into trouble at times. The film later introduces a farmer's daughter whose freedom is given because of the princess and a rival general who has a deep amount of respect for Makabe despite the fact that they're in different war factions.

The script is wonderfully told in its mix of adventure, humor, and drama while Kurosawa's direction is truly engrossing. The first Kurosawa film presented in a widescreen format, Kurosawa is given more to do in his vision and create scenes with a wide depth of field. One notable sequence where Kurosawa uses the new cinematic format to great heights is a duel between Makabe and Tadokoro. In its presentation, Kurosawa reveals the idea of respect and honor in a duel as it's about the duel and all of Tadokoro's soldiers watching. The movement and how Kurosawa captures that sequence is truly amazing where he also takes his time in letting the drama of the duel unfold. What happens in the end is about honor and respect where despite the fact that Makabe and Tadokoro are in different sides, there's a level of respect between those two.

Kurosawa's approach to humor is done wonderfully as it's all about how Tahei and Matakishi and their greed. Yet, the way Kurosawa sets up situations is to reveal their impatience in their characters and at times, the two often quarrel with each other over greed or how dumb they are. The visual approach that Kurosawa creates is more epic with images of Mt. Surabachi and its locations as a real inspiration while some of the shots in the forest has this dream-like quality. Kurosawa's editing with the use of frame-wipe transitions and rhythmic cutting for some of film's action sequences are very stylized yet has a great presentation and pacing that doesn't move too slow but rather leisurely. Overall, Kurosawa's vision of a big, epic story is heightened thanks to the use of the widescreen format that gives him more room as he creates a truly memorable and complex film.

Cinematographer Kazuo Yamasaki does great work with the film's black-and-white photography, notably in the use of sunlight shining against the forest that creates one of the film's most gorgeous sequences. Yamasaki's exterior work whether its day or night is wonderfully lit where in the night scenes, there's a suspenseful tone while in the day. It's more comical and adventurous with a gray look for other scenes as Yamasaki's camera work is truly phenomenal. Production designer Yoshiro Muraki does excellent work in the look of the houses inside of the fortress along with the cave and other homes that have a traditional look. Costume designer Masahiro Kato does great work in the downtrodden looks of the peasants along with Makabe while the princess wears shorts and a shirt to make herself look like common folk. Sound recordist Fumio Yanoguchi does excellent work in capturing the intensity of the duel along with the sounds of gunshots and breaking wood.

Composer Masaru Sato, a longtime collaborator of Kurosawa, does great work in proving an amazing, suspenseful film score with numerous themes to accompany each character. Sato provides a comical, swift, and melodic score for the theme of Tahei and Matakishi while a more serene, flute-driven score for the princess. The rest filled with traditional Japanese percussions and drums along with orchestral arrangements is truly phenomenal for the film's sense of adventure and suspense.

The cast is phenomenal with small appearances from Eiko Miyoshi as an old lady-in-waiting who helps Makabe in planning the transport the princess to safety along with Kurosawa regular Takashi Shimura as an old general who Makabe turns to for advice. Kichijiro Ueda is funny as a slave trader while Toshiko Higuchi is very good as a farmer's daughter who is aware of who the people are she's traveling with while playing an unlikely protector to the princess. Susumu Fujita is brilliant as General Tadokoro, a rivaling general who has great respect for Makabe as the aftermath of battle has him dealing with his own confusion about honor as Fujita is truly phenomenal. Kurosawa regulars Minoru Chiaki and Kamatari Fujiwara in their respective roles of Tahei and Matakishi are wonderful to watch. The two men bring a great chemistry to their performances with Tahei as the smarter of the two and Matakishi as the more risk-taker. Yet, they both bring a great sense of humor and complexity to their greedy characters as they add a nice balance to the film.

Misa Uehara is brilliant as Princess Yuki, a stubborn yet graceful princess who feels overwhelmed and trapped in her new royal position as she has to act mute and observe all that's going on. What happens is a transformation of her character who becomes aware of what role she has to play while providing wonderful insight into her journey. Uehara's performance is phenomenal and a rare moment where a female character takes charge in a positive light in a film by Kurosawa. Finally, there's Toshiro Mifune in an amazing performance as General Rokurota Makabe. Mifune's tough yet intelligence performance reveals a man who has a great mind for strategy while knowing he can't take too many risks. Even with people around him that he has to take care of. While he's a man of honor, he is also dealing with loss that he knew has to deal with while it's only because he's doing it for the princess. Mifune's performance is definitely brilliant in its complexity as he carries the film with such power and also a bit of humor.

The Hidden Fortress is a brilliant and adventurous film from Akira Kurosawa and company. With great performances from Toshiro Mifune, Misa Uehara, Minoru Chiaki, and Kamatari Fujiwara and amazing sequences, notably the duel scene. It's definitely a film that fans of Kurosawa will no doubt enjoy as it's regarded as one of his great works. Fans of the Star Wars franchise should check this film out to see where George Lucas got all of the ideas for the film and see where Lucas made references towards this film. In the end, The Hidden Fortress is a fascinating yet entertaining film from Akira Kurosawa.

Akira Kurosawa Films: (Sanshiro Sugata) - (The Most Beautiful) - (Sanshiro Sugata Part II) - (The Men Who Tread on the Tiger's Tail) - No Regrets on Our Youth - (One Wonderful Sunday) - Drunken Angel - (The Quiet Duel) - Stray Dog - Scandal (1950 film) - Rashomon - The Idiot (1951 film) - Ikiru - The Seven Samurai - (I Live in Fear) - Throne of Blood - (The Lower Depths (1957 film)) - The Bad Sleep Well - Yojimbo - Sanjuro - High and Low - Red Beard - Dodesukaden - Dersu Uzala - Kagemusha - Ran - Dreams (1990 film) - (Rhapsody in August) - (Madadayo)

© thevoid99 2012

Rashomon

 

Originally Written and Posted at Epinions.com on 11/5/07/ Additional Edits & Revisions.

Directed by Akira Kurosawa with a script he co-wrote with Shinobu Hashimoto based on the short stories of Ryunosuke Akutagawa. Rashomon tells the story of a rape and murder from four different perspectives including the victims, a woodcutter, a priest, and a bandit. A drama that reveals the source of truth and many versions of it, the film is set in old Japan in the country. Starring Kurosawa regular Toshiro Mifune along with Fumiko Honma, Machiko Kyo, Mayasuki Mori, Takashi Shimura, Kichijiro Ueda, and Daisuke Kato. Rashomon is an eerie, mind-bending film from Akira Kurosawa and company.

At the old abandoned temple gate known as Rashomon, a woodcutter (Takashi Shimura) and a priest (Minoru Chiaki) have a discussion over the trial about a murdered man named Takehiro (Mayasuki Mori) and the rape of his wife Masago (Machiko Kyo). A ragged commoner (Kichijiro Ueda) joins in to hear what happened where the woodcutter reveals what happened since he was the one who found Takehiro's body and told the police. The murder revolves around a crazed bandit named Tajomaru (Toshiro Mifune) who is accused of the murder after being caught by a policeman (Daisuke Kato) who found him wounded with arrows near a river bank where Tajomaru confesses to killing Takehiro. There, Takehiro's story has him revealing that he was just wanting to look at Masago where he later meets Takehiro to discuss their swords before tying him up in a grove and raping Masago that led to a duel between him and Tajomaru.

The woodcutter then tell Masago's side of the story in the trial where she revealed about the shame of being rape that led to lots of confusion about what happened. Notably as she claimed to have Tajomaru to kill Takehiro to end the shame as she makes another claim that Takehor killed himself. The woodcutter than reveals Takehiro's story that was told by a spiritual medium (Fumiko Honma) who claimed that his wife's guilt forced her to be with Tajomaru as she wanted him to kill Takehiro. What happens would lead to a lot confusing issues as it also involved a dagger owned by Masago. With a lot of mysteries surrounding the story as the commoner believes the woodcutter had more to say. What happened lead to lots of revelations forcing the commoner to piece everything together leaving the woodcutter and priest more confused about everything that happened.

Since the film takes place in only three locations and has a theatrical tone that isn't seen much with most films about crime or that's in a mystery genre. The film is really about a rape and murder and how each different story questions not just what happened but the actions of everything that's gone on in the aftermath. The themes of the film that Kurosawa talks about are very dead-on. The film is really a morality tale about rape, murder, and lies. Each story does have a bit of truth but it raises more questions rather than answers. Plus, there's still a lot of gaping holes in the mystery that has to do with each of the stories forcing the commoner to piece everything together yet he doesn't have all the answers.

The theatricality of the film is really amazing since it's all done as if Kurosawa is doing a play. The dramatic aspect of the film is a surprise as each story unfolds with suspense and momentum. Yet, by the film's end, the commoner acts as the mouthpiece for the audience. He is confused and is forced to piece everything together but afterwards, there's the question of morality that is forced to shake the faith of the priest. It's not about whose story to believe but why are there different versions of the story and why all of these stories end up raising question about humanity and morals. When the commoner pieces everything and an abandoned baby is found, the commoner suddenly becomes a mouthpiece for cynicism. What he reveals isn't just shocking but really puts into perspective of how cruel the world is.

A lot of credit must go to Kurosawa for not just setting the film in old Japan but bringing a modern perspective to all of these questions. Through his staged yet engrossing direction, he definitely makes the film feel like a play with its three locations. The scenery of the forest that includes shots of the sun has an enchanting quality where it's beautiful. Yet, beauty isn't everything as it seems. Then there's the trial sequence where the camera barely moves throughout its entire sequences. What is more shocking is how still everything is forcing the audience to hear every thing each character is saying. Then there's the scenes at Rashomon gate where everything is dark and decaying and the rain forces the commoner, the priest, and woodcutter to be stuck as the story is told. The close-ups that Kurosawa shoots on the characters definitely reveals not just the emotions but also tension.

Even some of the duel sequences reveal that the fight isn't just physical but emotional, mental, and psychological. The complexity of the action and drama is Kurosawa definitely being an observer where he doesn't even bring any kind of answers and like the audience, has more questions to offer rather than answers. Through his camera and eerie presentation, it's a film that is hypnotic where Kurosawa takes the audience on a journey through four different tales. In the end, he like the audience, tries to figure out everything while wondering if there's some hope for humanity. Overall, Kurosawa takes the mystery and crime genres and adds layers into a film that is strong and provocative.

Cinematographer Kazuo Miyagawa brings some amazing cinematography where the film was shot in black-and-white with a look that is amazing. The black-and-white look works to convey the different look and feel of each location. From the dream-like beauty of the forest, the big white of the trial scene, and to the oppressive, very black look of the Rashomon gate. Miyagawa, who is one of Kurosawa's regular collaborators, also uses some early use of tracking shots to convey some of the action along with close-ups that brings suspense to the film as it's some of the best cinematography done on film. With Kurosawa serving as editor, the film has a great feel that isn't too slow but rather rhythmic to convey the film’s suspense and tension with very few cuts. A lot of long shots that work to help with its suspense while a few sequences have transition wipes that would be a trademark of Kurosawa's work.

Production designer So Matsuyama and set decorator H. Motsumoto do excellent work in creating the ruins of the Rashomon gates with its broken, abandoned look while the trial temple is more spacious with sandstones used on the floor. The music of Fumio Hayasaka is a wide variety of styles ranging from traditional Japanese music to modern music that creates not just suspense but also drama. The music ranges from dream-like to accompany Masago or use orchestral music with Japanese bass drums to create the tension in the first duel scene. Overall, the music adds terror and drama to the film.

The film's cast is definitely brilliant in its small but memorable ensemble with Daisuke Kato as the policeman who finds Tajomaru while Fumiko Honma is equally as haunting as the medium speaking through the mind of Takehiro. Minoru Chiaki is great as a priest in conflict over his faith as he learns of man's flaws while trying to question his own faith and role as a servant of God. Kichijiro Ueda is great as the commoner who tries to piece everything that is heard throughout the film while reminding the woodcutter and priest of man's flaws in which, he cynically hurts the priest's views of humanity that already starts to fail. Takashi Shimura is great as the woodcutter who tells the story about what had happened while forced to reveal his own role in the crime that had happened while still trying to believe that there's good. Shimura's performance is a man of conscience of sorts who tries not to get involved but realizes that he has his own faults as well.

Mayasuki Mori is excellent as the murdered man Takehiro who is viewed in different lights. Either as a man who is fooled by everything, trying to defend him and his wife honor, or a man driven to shame. Mori's performance is brilliant to convey the complexity of his character who is either trying to find good or realizes the failures of humanity. Machiko Kyo is amazing as Masago, a guilt-ridden wife who is convinced her honor in playing is so shamed by being the victim of rape. She isn't sure what to play as she spends half of the film crying in shame. Then she has another part that is very dark and jaw-dropping as she seems to have enjoyed it a bit and realized she can't be with two men. In the fourth story, her performance and character is so shocking, it is a moment that is unforgettable. It's clearly one of the film's best performance.

Kurosawa regular Toshiro Mifune is in classic form as the complex, comical Tajomaru. A bandit who seems crazed and comical in hoping to win the heart of Masago while proving to be a skillful samurai. Then when he's seen in different stories, there's more qualities in the character that could be redeeming while realizing that he's not as brave or as aggressive as he seems. Mifune's performance is almost Shakespeare to convey the sense of failure in who this man is. He seems to be this great man but once the story of the woodcutter is told, it's realized that he may not be the man who was seen in the previous stories. Mifune is brilliant as he proves his range as one of Japan's most revered icons.

Rashomon is a powerful and provocative film from Akira Kurosawa and company. With a great cast led by Toshiro Mifune, Michiko Kyo, Mayasuki Mori, and Takashi Shimura, it's a film that is no doubt one of the greatest films ever made with solid performances through and through. While this film is no doubt one of Kurosawa's most quintessential films, it also serves as a fine introduction to the director proving that there's more to him than samurai pictures. In the end, Rashomon is a compelling drama that is a must-see for anyone who loves films, even that has theatricality and suspense.

Akira Kurosawa Films: (Sanshiro Sugata) - (The Most Beautiful) - (Sanshiro Sugata Part II) - (The Men Who Tread on the Tiger's Tail) - No Regrets on Our Youth - (One Wonderful Sunday) - Drunken Angel - (The Quiet Duel) - Stray Dog - Scandal (1950 film) - The Idiot (1951 film) - Ikiru - The Seven Samurai - (I Live in Fear) - Throne of Blood - (The Lower Depths (1957 film)) - The Hidden Fortress - The Bad Sleep Well - Yojimbo - Sanjuro - High and Low - Red Beard - Dodesukaden - Dersu Uzala - Kagemusha - Ran - Dreams (1990 film) - (Rhapsody in August) - (Madadayo)

© thevoid99 2012