Ed note: For the next several weeks, composer and film aficionado Lewis Saul has agreed to supply us with in-depth commentary about the films of Akira Kurosawa, now showing in an extended festival at the Film Forum. Even if you're unable to stop by the Forum, we think Lew's insights will deepen your appreciation of these important movies.
Waga seishun ni kuinashi (No Regrets for Our Youth) [1946]
PLAYING January 25th at The Film Forum
For a detailed frame-by-frame (literally, at one point!) analysis, click here.
Although Yukie Yagihara (Setsuko Hara) says this line to Itokawa (Akitake Kôno, five early films with AK) very late in the film, the line resonates throughout this fantastic 1946 film -- Kurosawa's first post-war film.
It is a shame that Criterion has not released this as a regular Criterion Collection DVD, with some expert commentary. The political situation alone is important enough to the film to have someone discuss that in depth. But let us be thankful for what we have -- a nice, quite watchable print on the Eclipse Series line -- no frills, but the price is right (and four other films in the package)...
Galbraith's précis is nice:
"Professor Yagihara is dismissed from Kyoto University, and the students revolt. Yukie is courted by two of Yagihara's students, Noge (Susumu Fujita) and Itokawa (Kôno). Yukie lives in a carefree, bourgeois world oblivious to the tumultuous events that surround her. Noge is expelled for his anti-militaristic activities, while the weak-willed Itokawa chooses the opposite path, joining the military government as a public prosecutor. Yuke follows Noge to Tokyo, becoming first his secretary, then his wife. Noge is arrested again and dies in jail, presumably tortured to death. She returns briefly to her parents before deciding to take her husband's remains to his rice farmer parents (Haruko Sugimura [a favorite of Ozu's, but AK used her only used more, in Akahige {Red Beard} |1965|] and Kokuten Kôdô). Because of their son's infamy, the parents are ostracized from the village community and forced to eke out a living during the night. The mother curses her son. But Yukie's selfless decision to work in their rice paddies like an ordinary peasant, refusing to hide in the shadows, gradually impresses Noge's parents. When their neighbors viciously trample their rice crop, Yukie determinedly starts over, in spite of total
- Watch Yukie (in a white hat) as she walks up the wide road with her friends. Some farmers are going in the opposite direction, balancing baskets on their heads. Yukie imitates the action and her friends laugh. This seems completely innocent at the moment -- but on repeat viewing it has a wonderful, very subtle payoff. (What does Yukie become, after all, at the end of the film?)
- Her father, Professor Yagihara (Denjirô Ôkôchi, only four roles with early Kurosawa, but all memorable characters, played exquisitely) is the grounding force in this film. In my opinion, Ôkôchi was one of the finest actors of his era (1898-1962), and his performance here is amazing.
- The initial location shoot is gorgeous. Idyllic and peaceful, it is a natural prelude for something bad about to happen ...
- I mentioned what I think is a nice little Eisenstein tribute in my post on Kakushi toride no san akunin (The Hidden Fortress) [1958] ... here is an earlier one: during the montage of the rioting students, there are four separate scenes divided by dissolves. The last one seems to be pretty obvious...
- I am still moved every time Yukie's father visits her in her room as she considers leaving home. "But remember: You have to take responsibility for your actions." A pause, as the Professor turns his head to look out the window. The camera is filled with the faces of father and daughter. "Freedom ... is something you have to fight for. There will be difficult sacrifices and the heavy burden of responsibility. Remember that." At this, we hear a muffled cry from outside the room. The camera remains close on father and daughter, as both their heads turn. Cut to outside the room, mother crying at the door. She shuffles over to the staircase. Fade to black.
- The scene with Itokawa and Yukie having dinner in Tokyo is very creepy.
- I am still amazed when I look at the film frame-by-frame to see how Kurosawa filmed Yukie falling down the stairs.
- The scene with her parents as she decides to leave to go to Noge's parents is extremely powerful.
- The last acts of the film have many decidedly Eisensteinian moments!
- There are no wipes in this film.
