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The Hidden Fortress – Criterion Collection Movie Streaming.
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I have to confess my bias at the start: Akira Kurosawa is easily one of my two or three common directors. If forced to sit down and do a list of my 25 approved films, SEVEN SAMURAI would be in a tie for first, and two or three others would join it on the list.
This was the first movie that Kurosawa made that was widescreen, and therefore the first that will obtain maximum back from DVD. (Read through the early reviews of the DVD of SEVEN SAMURAI to gape some of the confusion over this.) His consume of the wider angle is fair, presenting the belief with astonishing vistas again and again. Kurosawa never seemed to struggle with the technical aspects of filmmaking, and would later form a similarly effortless transition to color.
This is one of Kurosawa’s finest films. It is difficult to say that it is his best, since his very best films are among the greatest ever made. Suffice it to say, that the film bears in every plan the impress of greatness. The camera work is flawless. Though shadowy and white, the film is ravishing to witness at every moment. The acting is impeccable, with Mifune giving a somewhat contrast performance in this one. If we are more accustomed to contemplate of him as a more fiery character, as in RASHOMON or SEVEN SAMURAI or THRONE OF BLOOD, in this one he is magisterial and aristocratic.
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I judge the parallels to STAR WARS are rather overblown, and anyone coming to this film looking for tones of George Lucas rather than Akira Kurosawa unprejudiced may regain themselves disappointed. Yes, there is a princess, and yes, there are some very little space parallels, and yes, there are two funny characters included to provide light entertainment and to depart the area along. But none of these are crucial elements of THE HIDDEN FORTRESS.
But I do reflect the STAR WARS references bring up a very spellbinding point about Kurosawa: more than anyother foreign filmmaker in history, Kurosawa is the one with the easist relationship with American culture. People who normally disapprove foregin film can acknowledge powerfully to his films. I once showed SEVEN SAMURAI to a group of high school boys. These kids were almost in a region of mutiny, because 1) the film was unlit and white and 2) it was subtitled. But by the kill of the evening they were all entranced and had become fans of the film.
I judge the reason they responded so easily was partly because Kurosawa was a cinematic genius, but also because he had absorbed so mighty of American culture and film technique in his films. Objective as many American films have borrowed directly from his work, so he borrowed from American sources. Many of his films hold evidence of extensive exposure to film noir and American Westerns, and several of his plots are borrowed from American and Western sources. One example: noteworthy has been made of the fact that A FISTFUL OF DOLLARS was based on Kurosawa’s YOJIMBO, but it is not as often famed that YOJIMBO was based on Dashiell Hammett’s RED HARVEST, in which the Continental Op goes to the town of Personville (or, as a Brooklyn-accented character in the book pronounces it, Poisonville) and turns two warring criminal factions against each other.
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But if you haven’t seen this film, do so. Without any inquire one of Kurosawa’s very finest films.
Of all the directing masters Akira Kurosawa is arguably the greatest. No matter how powerful praise and hyperbole is shoveled onto his films they always surprise me by how helpful they are. Not genuine in a, “this was phenomenal for the 1950’s,” but beneficial as in, “this is better than impartial about anything we’re seeing today.” While watching this movie I was trying to mediate of an American director who even comes discontinuance, but no one quite matches Kurosawa. If Akira Kurosawa and Stanley Kubrick had a street fight in Heaven I gurantee you Kurosawa would kick Kubrick in the nuts and decapitate him inside of a dinky.
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This film is often described as the impetus for Star Wars. After seeing the prequel trilogy I half expected The Hidden Fortress to be an staunch design for Episode IV, but they’re really not that similar. It turns out that George Lucas was talented serve in the day. If you’re looking for simularities you’ll bag them, but if Lucas himself hadn’t mentioned how considerable this film influenced him I doubt anyone would be drawing parallels. For example, the two peasant characters, Tahei and Matakishi, are supposed to be the inpirations for R2-D2 and C-3PO, but they’re not similar in the least. Tahei and Matakishi are dumb, bumbling, greedy, and selfish. They’re a far bellow from Lucas’ creations. R2-D2 is the butch in the relationship while C-3PO is his more feminine partner. (I have to give Lucas credit for having the guts to assign a cheerful robot couple in a film arrangement abet in the 70’s, and it’s even more fantastic because no one has had the guts to do it a second time. Perhaps one day delighted robots will procure the mask time they deserve.)
The record involves a princess and her general who are trapped slack enemy lines and must form it wait on to their beget land. Of all the Kurosawa films I’ve seen this is the most commercial, and should satisfy fans of extinct action and adventure. Of particular interest is Toshiro Mifune who is a Kurosawa regular. He plays General Rokurota – an all around badass. When his party gets stopped by soldiers trying to hunt them down he like a flash kills a couple of them, and then grabs a horse to go hunt down the two trying to elope, all the while letting out a warrior’s scream. This action sequence ends in a duel between Rokurota and an opposing general he has a competitive but top-notch relationship with. The duel is one of the greatest fight scenes in cinema, and not unbiased because of the blooming choreography (although that too), but because of how exciting these two characters are. They respect each other, but if they met on a battlefield then duty would prevail.
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This is mighty more of an action adventure film than something like Roshomon, but Kurosawa calm manages to throw in a lot of themes. The princess has a microscopic epiphony while walking among the peasants, and decides to attach a girl before she becomes a sex slave; Tahei and Matakishi are both morally bankrupt but they peaceful seem to befriend a purpose in society; and General Rokurota and his rival both seem to say something about the merits and limits of honor. These themes are enormous and add some depth, but are subservient to sheer adventure of the film, which is how it should be.
This is a spacious swashbuckling film that is hands down better than any action film made in the last twenty years. Some have approach cessation, but I judge most will agree that nothing beats The Hidden Fortress. It is absolutely extraordinary that with all of the technical achievements over the years Kurosawa’s action-adventure fraction aloof holds up so well over the years. Astonishing.
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