28 February 2012

Akira Kurosawa's Dreams

Akira Kurosawa, (1990)



For my first entry I decided to delve as far back as memory would allow, and revisit what may well have been my first foray into the huge world of Japanese cinema. I must have been about fifteen or so, and I had videotaped a late night SBS broadcast of Akira Kurosawa’s Dreams. Of course I had heard his name, so I figured it was about time I explore some of his work. Having since watched many Kurosawa films, I have many conflicting feelings regarding Dreams being my first introduction to the Japanese cinema master. At times I think that if I could have my time again, I would not have started here, a twilight years Kurosawa, with the samurai tales he is so associated with long behind him. In fact, in recommending Kurosawa’s work to others, I would most probably suggest other more accessible works, namely Throne of Blood or The Hidden Fortress. On the other hand, I would not have it any other way, and can’t imagine having started anywhere else. I have such fond memories of this film, and it continues to evolve and grow on me in many ways upon repeated viewings. I liken watching this film to spending a solid few hours in an art gallery viewing an exhibition (in this case, something of a retrospective) of an artist with a formidable history and absolute command over his craft. It is mentally challenging, visually stimulating and ultimately, hugely rewarding.


Kurosawa presents what was to be his third last film as a series of eight visions. Dreams he actually saw throughout different stages in his life. These dream sequences cover a wide range of subjects and concerns, yet all are linked through Kurosawa’s perfectly realised visual style. Some are steeped in Japanese tradition and folklore, while others reflect more directly Kurosawa’s personal concerns of ecology and even impending apocalypse. The film grows steadily deeper and darker as it progresses; the opening sequence Sunshine through the Rain is arrestingly beautiful, as is its proceeding dream The Peach Orchard. The deliberately slow pace of the film is established from the outset, with emphasis definitely on imagery rather than dialogue, and unfortunately, this is what will turn many people off this film. My favourite dream, The Blizzard is a drawn out sequence of mountaineers facing their icy death brought about by a Yuki-Onna (ice woman) on a mountainside. There is hardly any dialogue, or even movement, but it is pure visual wonder.


When I first heard the news of the Fukushima Nuclear power plant disaster last year, the first thing that went through my mind was “Kurosawa was right.” Indeed, it seems he foresaw the tragedy with his eerie sequence Mount Fuji in Red, which, along with The Weeping Demon would be better described as nightmares rather than dreams. Following a power plant meltdown, Japanese citizens flee from the nuclear fallout, throwing themselves from cliff faces rather than face the gas that will surely turn them into mutants.
I believe that Dreams may be Kurosawa’s most personal work, and upon viewing, one can sense that the director was in his final years. A feeling of beautiful nostalgia is often present, and some characters are easily read as a young Kurosawa. His influences and loves, Japanese or otherwise, are clear, particularly in Crows, his tribute to Van Gogh (Played by Martin Scorsese no less), as are his fears, and what could be seen as memories of childhood and wartime.


As I said, this movie is quite challenging, and most people will brand it “Boring” within the first ten minutes. But if you are patient and don’t mind an absence of dialogue and action scenes, the rewards are great and many. This movie is something of an old friend to me, and just like the works of great painters or writers, its beauty, particularly the extended musical, visual and even dance sequences, can be revisited and appreciated over and over. Unfortunately it is not as well-known as other Kurosawa works (of course, the Samurai films), especially in Australia, where it has not received a local release, but I think SBS still screen it every now and then.

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