It seems strange and almost blasphemous to say that a film of Kurosawa Akira feels "ordinary," but as this explores film noir and the crime drama, it carries somewhat different sensibilities than his best known and most celebrated works. Put aside the Japanese setting and the details that come with it, and it's easy to imagine how this would look had it come out of Hollywood in the 40s or 50s; there are even themes in Sato Masaru's original score that plainly recall some work of western composers. Of course, "ordinary" is hardly a reflection on the picture's quality, and though 'The bad sleep well' may not be as immediately striking, wholly absorbing, or ultimately fulfilling as some of its brethren, at length it's just as sharp and entertaining in its own way. If to any degree this falls short of being a must-see like 'Ikiru,' 'Red Beard,' or 'Ran,' for the level on which the filmmaker operates the distinction isn't all that important.
Yes, this feature may come across as relatively conventional in some fashion, arguably accentuated for those ways in which Kurosawa and his co-writers draw elements from Shakespeare's 'Hamlet' in shaping the narrative. Yet in and of itself this is low-key brilliant, with plenty of flavorful odds and ends that help it to sometimes stand taller than the nearest points of comparison. Sato's rich score alternates between somber, dramatic chords that infuse darker energy into the proceedings - sometimes with big band instrumentation suggesting the likes of Henry Mancini - and lighter, more playful phrases that complement the shocks of wry humor. The story plays in a genre space familiar to audiences as corruption and conspiracy beget vengeance and brutality, but the writing deftly rides the line between the hard edges that let the dourness have the desired effect, and the softness that allows scenes of emotional weight to have equal impact. Plot development splits the difference between fostering cold, palpable tension, and stirring the pot with restrained deliberation, yet at all times the storytelling is kept sufficiently fresh to engage us.
Overall the screenplay may leap out to us most, both in its compelling narrative and in the robust scene writing that builds it. Yet while in other regards 'The bad sleep well' might not make a huge impression, it's safe to say that every aspect is realized with the skill, intelligence, and care we assume of Kurosawa. The man's direction is as smart and tight as it ever was, with some terrific shot composition all throughout, and both Aizawa Yuzuru's cinematography and Kurosawa's editing are marvelously shrewd and dynamic, doing much in their own right to catch our eyes. The same can definitely be said of the filming locations and sets, and even the lighting. And the cast is absolutely to be congratulated for excellent performances across the board, with even those in smaller supporting parts having their time to shine. Naturally acclaimed star Mifune Toshiro gets the most attention, but Mori Masayuki, Kagawa Kyoko, Mihashi Tatsuya, and Kato Takeshi, among others, are all just as superb in summoning the sometimes downright ferocious vibes that the tale bears at select moments.
Curiously, I'm of the mind that insofar as there are any weaknesses here, they might come in the very last stretch. In the last ten minutes or so there is a considerable amount of plot left to wrap up, and the manner of doing so here feels rushed, overfull, and both not completely convincing and not as impactful as it could have been. I don't know what an alternative solution may have been, yet there is a touch of messiness to the ending that in my mind notably contrasts with the mindful construction to otherwise characterize the title. It's not bad, but it's not entirely satisfying as a result. Be that as it may, by and large the movie claims such strength in every regard that it still remains a classic well worth exploring; it may not be as luminous or essential as some of Kurosawa's other works, but few things are. Don't necessarily go out of your way for 'The bad sleep well,' but if you do have the opportunity to watch, even being a smidgen imperfect this is well worth checking out and earns my solid recommendation.
Yes, this feature may come across as relatively conventional in some fashion, arguably accentuated for those ways in which Kurosawa and his co-writers draw elements from Shakespeare's 'Hamlet' in shaping the narrative. Yet in and of itself this is low-key brilliant, with plenty of flavorful odds and ends that help it to sometimes stand taller than the nearest points of comparison. Sato's rich score alternates between somber, dramatic chords that infuse darker energy into the proceedings - sometimes with big band instrumentation suggesting the likes of Henry Mancini - and lighter, more playful phrases that complement the shocks of wry humor. The story plays in a genre space familiar to audiences as corruption and conspiracy beget vengeance and brutality, but the writing deftly rides the line between the hard edges that let the dourness have the desired effect, and the softness that allows scenes of emotional weight to have equal impact. Plot development splits the difference between fostering cold, palpable tension, and stirring the pot with restrained deliberation, yet at all times the storytelling is kept sufficiently fresh to engage us.
Overall the screenplay may leap out to us most, both in its compelling narrative and in the robust scene writing that builds it. Yet while in other regards 'The bad sleep well' might not make a huge impression, it's safe to say that every aspect is realized with the skill, intelligence, and care we assume of Kurosawa. The man's direction is as smart and tight as it ever was, with some terrific shot composition all throughout, and both Aizawa Yuzuru's cinematography and Kurosawa's editing are marvelously shrewd and dynamic, doing much in their own right to catch our eyes. The same can definitely be said of the filming locations and sets, and even the lighting. And the cast is absolutely to be congratulated for excellent performances across the board, with even those in smaller supporting parts having their time to shine. Naturally acclaimed star Mifune Toshiro gets the most attention, but Mori Masayuki, Kagawa Kyoko, Mihashi Tatsuya, and Kato Takeshi, among others, are all just as superb in summoning the sometimes downright ferocious vibes that the tale bears at select moments.
Curiously, I'm of the mind that insofar as there are any weaknesses here, they might come in the very last stretch. In the last ten minutes or so there is a considerable amount of plot left to wrap up, and the manner of doing so here feels rushed, overfull, and both not completely convincing and not as impactful as it could have been. I don't know what an alternative solution may have been, yet there is a touch of messiness to the ending that in my mind notably contrasts with the mindful construction to otherwise characterize the title. It's not bad, but it's not entirely satisfying as a result. Be that as it may, by and large the movie claims such strength in every regard that it still remains a classic well worth exploring; it may not be as luminous or essential as some of Kurosawa's other works, but few things are. Don't necessarily go out of your way for 'The bad sleep well,' but if you do have the opportunity to watch, even being a smidgen imperfect this is well worth checking out and earns my solid recommendation.