A very, very vivid film from Japanese legend, Akira Kurosawa. The Japanese town that is the setting for "Drunken Angel" is vividly captured by Kurosawa, and the filthy swamp that separates the doctor from the filthiness of the town is brilliant. Toshiro Mifune plays a tuberculosis stricken gangster who is slowly won over, despite his vicious pride, by the caring but sarcastic doctor. The swamp is a reflection of the corruption in the town and in one of the first scenes a group of children are seen playing in it. Kurosawa's way of foreshadowing these children's future since the town is controlled by the immoral gangsters. With the arrival of Okadu, a released convict and gangster, and struggles with his health, Mifune struggles through conflicts of soul which are brilliantly metaphored by Kurosawa. A great drama with some brilliant commentary about post-WW2 Japan. Solid characters carry with film about typical with the Doctor being an unforgettable creation and Toshiro Mifune giving a powerful performance.
59 Reviews
"Drinking? You don't want to be cured!"
Steffi_P15 October 2006
Kurosawa began his career as a jobbing director, making the pictures the studio wanted him to in conventional, by-the-book style. It was with Drunken Angel, his eighth film, that he turned a corner. He regarded it as the first film that was really his, and typically here combining bold social commentary with tender sympathy towards flawed and downtrodden characters.
This also marks the beginning of one of the greatest actor-director relationships in the history of cinema, with the young Toshiro Mifune making his debut for Kurosawa. It is amazing how naturally talented an actor Mifune was. He already knew exactly how to move in front of the camera, and could convey so much with the tiniest of gestures. However, he doesn't get to show off his full range here. Also, in the leading role, is Kurosawa regular and fantastic character actor Takashi Shimura. There isn't really one bad performance in the whole thing.
Drunken Angel is essentially a lament for the state of post-war Japanese society. Not only does the story concern the victims of that era, it is also an extended allegory using illness and contamination as a metaphor for the state of the nation. The central characters a tubercular gangster (Mifune) and an alcoholic doctor (Shimura) are partly to blame for their own conditions, and while they want to get better haven't the willpower to do so. The pond of stagnant water outside the doctor's surgery, a constantly recurring image of despair, seems to be the result of a bomb crater from the war.
The plot structure is episodic and bitty, somewhat reminiscent of neo-realist cinema. Unfortunately this makes the whole thing a bit lacking in pace and even boring in places. Things really start to pick up in the second half of the film when the plot starts to come together. The introduction of Okada, a gangland boss who has just finished a stint in prison, adds an element of danger to what has so far only been a gloomy drama.
Music is a constant presence in Drunken Angel, with diagetic music (i.e. really there in the scene rather than a background score) being used to give atmosphere and introduce characters. A whole variety of tunes are heard blasting from bars and dance halls, but most memorable of all is a man who sits outside the surgery playing a dismal Japanese folk melody on an acoustic guitar. This acts like a theme tune for the doctor. However, when Okada appears he takes the guitar and announces his presence by playing a doom-laden classical piece. This seems to have been a major influence on Sergio Leone, particularly on the character of Harmonica in his Once Upon a Time in the West (1968).
It is in the final act of this picture that Kurosawa reveals his talent for deeply sentimental and emotional direction. I won't reveal exactly what happens, but as the film looks set to reach a tense finale (in what is the only proper action sequence) Kurosawa turns it on its head, using expert timing, camera-work, cross-cutting and Fumio Hayasaka's score to produce a scene of incredible poignancy. Another Kurosawa trademark which is established here was his way of injecting a little note of hope into the ending of his darker pessimistic pictures, with the final scene suggesting there may be a cure for this sick society.
Despite all these developments in Kurosawa's style, he was not quite yet ready to turn out a masterpiece. In some ways he seems to have simply crammed every idea he had at the time into the 95 minutes. There is even a dream sequence in which Mifune smashes open a coffin is chased by a zombie version of himself. This hints towards Kurosawa's later horror-tinged work and a similar but better done scene in Kagemusha (1980), but here it seems a little clichéd and very much at odds with the overall tone of the film. Drunken Angel has its moments and is packed with good elements, which is why I rate it as highly as I do, but as a whole it doesn't come together enough to really suck the viewer in.
This also marks the beginning of one of the greatest actor-director relationships in the history of cinema, with the young Toshiro Mifune making his debut for Kurosawa. It is amazing how naturally talented an actor Mifune was. He already knew exactly how to move in front of the camera, and could convey so much with the tiniest of gestures. However, he doesn't get to show off his full range here. Also, in the leading role, is Kurosawa regular and fantastic character actor Takashi Shimura. There isn't really one bad performance in the whole thing.
Drunken Angel is essentially a lament for the state of post-war Japanese society. Not only does the story concern the victims of that era, it is also an extended allegory using illness and contamination as a metaphor for the state of the nation. The central characters a tubercular gangster (Mifune) and an alcoholic doctor (Shimura) are partly to blame for their own conditions, and while they want to get better haven't the willpower to do so. The pond of stagnant water outside the doctor's surgery, a constantly recurring image of despair, seems to be the result of a bomb crater from the war.
The plot structure is episodic and bitty, somewhat reminiscent of neo-realist cinema. Unfortunately this makes the whole thing a bit lacking in pace and even boring in places. Things really start to pick up in the second half of the film when the plot starts to come together. The introduction of Okada, a gangland boss who has just finished a stint in prison, adds an element of danger to what has so far only been a gloomy drama.
Music is a constant presence in Drunken Angel, with diagetic music (i.e. really there in the scene rather than a background score) being used to give atmosphere and introduce characters. A whole variety of tunes are heard blasting from bars and dance halls, but most memorable of all is a man who sits outside the surgery playing a dismal Japanese folk melody on an acoustic guitar. This acts like a theme tune for the doctor. However, when Okada appears he takes the guitar and announces his presence by playing a doom-laden classical piece. This seems to have been a major influence on Sergio Leone, particularly on the character of Harmonica in his Once Upon a Time in the West (1968).
It is in the final act of this picture that Kurosawa reveals his talent for deeply sentimental and emotional direction. I won't reveal exactly what happens, but as the film looks set to reach a tense finale (in what is the only proper action sequence) Kurosawa turns it on its head, using expert timing, camera-work, cross-cutting and Fumio Hayasaka's score to produce a scene of incredible poignancy. Another Kurosawa trademark which is established here was his way of injecting a little note of hope into the ending of his darker pessimistic pictures, with the final scene suggesting there may be a cure for this sick society.
Despite all these developments in Kurosawa's style, he was not quite yet ready to turn out a masterpiece. In some ways he seems to have simply crammed every idea he had at the time into the 95 minutes. There is even a dream sequence in which Mifune smashes open a coffin is chased by a zombie version of himself. This hints towards Kurosawa's later horror-tinged work and a similar but better done scene in Kagemusha (1980), but here it seems a little clichéd and very much at odds with the overall tone of the film. Drunken Angel has its moments and is packed with good elements, which is why I rate it as highly as I do, but as a whole it doesn't come together enough to really suck the viewer in.
Simple tale underpinned by fantastic performances
Leofwine_draca25 April 2015
DRUNKEN ANGEL sees the master of Japanese cinema, Akira Kurosawa, on solid form in the simplistic tale of the developing friendship between an alcoholic doctor and a dying gangster who comes to him for help. While the story is set very noticeably in a poor, run-down, post-WW2 Japan, the story is one which brims with life and vitality, which is somewhat ironic given the subject matter.
The calibre of the acting is second to none which is no surprise for fans of the director. Takashi Shimura underpins the whole thing as the titular character, a stressed-out doctor battling the bottle as well as the problems of his various associates and patients, but it's Toshiro Mifune who gives the stand-out turn here. This was the star's first collaboration with Kurosawa and it comes as no surprise that the pair would go on to re-team many times in the future. Mifune's performance as the small-fry gangster, addicted to drinking and partying and yet suffering from the effects of tuberculosis, is one of his greats.
Kurosawa's cinematography is another winner here, and there are some fine moments of tension including a great, extended fight scene at the climax. My favourite moment is a bizarre dream sequence in which Mifune is chased along a beach by a corpse only to find himself trapped in a slow motion run. It's one of the few times that the director went for outright horror (along with THRONE OF BLOOD) and it makes me wish he had made an all-out horror film at least once in his career.
The calibre of the acting is second to none which is no surprise for fans of the director. Takashi Shimura underpins the whole thing as the titular character, a stressed-out doctor battling the bottle as well as the problems of his various associates and patients, but it's Toshiro Mifune who gives the stand-out turn here. This was the star's first collaboration with Kurosawa and it comes as no surprise that the pair would go on to re-team many times in the future. Mifune's performance as the small-fry gangster, addicted to drinking and partying and yet suffering from the effects of tuberculosis, is one of his greats.
Kurosawa's cinematography is another winner here, and there are some fine moments of tension including a great, extended fight scene at the climax. My favourite moment is a bizarre dream sequence in which Mifune is chased along a beach by a corpse only to find himself trapped in a slow motion run. It's one of the few times that the director went for outright horror (along with THRONE OF BLOOD) and it makes me wish he had made an all-out horror film at least once in his career.
In my top ten favorites of Kurosawa; under-rated (or maybe under-seen)
Quinoa198431 July 2005
Considering this is the first collaboration between one of the 'heavyweight' director/star combos in cinema (tops in the Japanese film world, probably their equal to America's Scorsese/De Niro), this is quite a powerhouse of drama. That's not to say it's a completely dour film- some of Akira Kurosawa's trademark ironic (and subtle) humor is laced into scenes. But more-over, Kurosawa made here an important film for its time. While the team of Kurosawa and Toshiro Mifune would become even more internationally known for the thrilling Japanese mystery Stray Dog, and the masterpiece Rashomon, this film seems to get a little under-looked by Kurosawa fans (at least those that haven't quite dug into the catalog of their work). Is it their very best? Not quite, but it ranks high up there for me.
And it's not just the collaboration of the director and the star- there is also the co-star, Takashi Shimura, who has made his great mark on many of Kurosawa's films (the two I mentioned previous, plus his best role in Ikiru, and Seven Samurai as well). He plays a doctor who can't quite lay off the booze, even as he tries to help the people around him who seem to be contracting all sorts of bad diseases from the contaminated water (most notably tuberculosis). Mifune plays a member of the Yakuza crime gang, but is more of just a low level thug than a real 'somebody'. He's getting signs of TB, and goes to the 'good' doctor, who refuses help to the Yakuza, having outright contempt for them. Through the course of the film, The two actors portray these people as fragile, intense, hostile, compassionate, and with all the great emotional impact that comes in Japanese dramas.
While one might want to check this out for the context of the Yakuza part of the plot (which was one reason I wanted to check it out- not the Yakuza in today's Japanese cinema of course), the side that Kurosawa shows wonderfully in a film like Red Beard is also brought to light here. There's some action, but it gets thrown into a larger, more emotional context as Mifune's character starts to deteriorate. It becomes very theatrical in a sense, but there is also the realism that Kurosawa had on his sleeve, one that he had to express in post-war Japan (many of these post-war images are better expressed in Stray Dog, but he gives some ample time here too in a subtler, more dangerous context). So this mix comes together, and it turns into one hell of a picture. It may feel a little on the weak side compared to some of Kurosawa's magnum opuses (Seven Samurai, Ran, Yojimbo come to mind). Yet it ranks as an important point in the careers of the actors and director, and it contains enough great moments, enough in terms of the position of the camera and the often shattering music, to make it an under-rated (perhaps minor) classic. Personally, I loved it- especially the last twenty minutes.
And it's not just the collaboration of the director and the star- there is also the co-star, Takashi Shimura, who has made his great mark on many of Kurosawa's films (the two I mentioned previous, plus his best role in Ikiru, and Seven Samurai as well). He plays a doctor who can't quite lay off the booze, even as he tries to help the people around him who seem to be contracting all sorts of bad diseases from the contaminated water (most notably tuberculosis). Mifune plays a member of the Yakuza crime gang, but is more of just a low level thug than a real 'somebody'. He's getting signs of TB, and goes to the 'good' doctor, who refuses help to the Yakuza, having outright contempt for them. Through the course of the film, The two actors portray these people as fragile, intense, hostile, compassionate, and with all the great emotional impact that comes in Japanese dramas.
While one might want to check this out for the context of the Yakuza part of the plot (which was one reason I wanted to check it out- not the Yakuza in today's Japanese cinema of course), the side that Kurosawa shows wonderfully in a film like Red Beard is also brought to light here. There's some action, but it gets thrown into a larger, more emotional context as Mifune's character starts to deteriorate. It becomes very theatrical in a sense, but there is also the realism that Kurosawa had on his sleeve, one that he had to express in post-war Japan (many of these post-war images are better expressed in Stray Dog, but he gives some ample time here too in a subtler, more dangerous context). So this mix comes together, and it turns into one hell of a picture. It may feel a little on the weak side compared to some of Kurosawa's magnum opuses (Seven Samurai, Ran, Yojimbo come to mind). Yet it ranks as an important point in the careers of the actors and director, and it contains enough great moments, enough in terms of the position of the camera and the often shattering music, to make it an under-rated (perhaps minor) classic. Personally, I loved it- especially the last twenty minutes.
The recurring theme of this movie is great
LyQuid1 April 2004
Warning: Spoilers
The theme that is shown in the movie is that people sacrifice things for stupid reasons even when they know the consequences of those sacrifices are deep.
* Please note that there are some spoilers in this quick review *
There are several instances of this during the movie Drunken Angel.
The main character ( Tishiro Mifune ) continually decides to sacrifice his life by not acknowledging his condition. He also sacrifices himself somewhat to his former boss who just got released from jail. He introduced his girlfriend at the time, to open the door for the new boss's approval, yet sealing his own fate by doing so. All of this is settled by a beautiful climax at the end, wonderfully choreographed by Kurosawa and his crew, and well acted by actors. Particularly the scene when the door opens to the sun.
Other characters displayed pointless sacrifices as well. Such as the Doctor who mentioned he was careless as a younger student, for such things as women. His Treating of gangsters, which somewhat goes against what he believes in as well. But he is at a point where he contrasts those past mistakes by the good natured sacrifices he makes during the movie, one such was standing up for his friend.
Nanou, the girlfriend of the Gangster, made a decision based on gangster politics, to better herself. This may also be seen as a part of the story which adds to the overall theme.
Even the friend of the Doctor out of fear wishes to greet the released gangster, even though she has been abused by him before.
The theme itself is directly mentioned a few times ( Why do we continue to sacrifice ourselves for silly things? ) by the Leading character ( doctor ), who also gave a great performance in Ikiru.
I hope viewers of this movie appreciate Kurosawa's message here as much as I did.
* Please note that there are some spoilers in this quick review *
There are several instances of this during the movie Drunken Angel.
The main character ( Tishiro Mifune ) continually decides to sacrifice his life by not acknowledging his condition. He also sacrifices himself somewhat to his former boss who just got released from jail. He introduced his girlfriend at the time, to open the door for the new boss's approval, yet sealing his own fate by doing so. All of this is settled by a beautiful climax at the end, wonderfully choreographed by Kurosawa and his crew, and well acted by actors. Particularly the scene when the door opens to the sun.
Other characters displayed pointless sacrifices as well. Such as the Doctor who mentioned he was careless as a younger student, for such things as women. His Treating of gangsters, which somewhat goes against what he believes in as well. But he is at a point where he contrasts those past mistakes by the good natured sacrifices he makes during the movie, one such was standing up for his friend.
Nanou, the girlfriend of the Gangster, made a decision based on gangster politics, to better herself. This may also be seen as a part of the story which adds to the overall theme.
Even the friend of the Doctor out of fear wishes to greet the released gangster, even though she has been abused by him before.
The theme itself is directly mentioned a few times ( Why do we continue to sacrifice ourselves for silly things? ) by the Leading character ( doctor ), who also gave a great performance in Ikiru.
I hope viewers of this movie appreciate Kurosawa's message here as much as I did.
Great movie ... where's the DVD?
Irradiata20 September 2006
I loved this movie for many reasons:
The film history : it's the first collaboration between Akira Kurosawa (director) and Toshiro Mifune (actor) that continued through 15 more films including the sublime Rashomon, Seven Samurai and Yojimbo.
The style : it's a great film noir with gangsters, zoot suits, speakeasy's, gambling etc.,
The history : post WW II Japan is a frightening place with rubble, raw sewage, crime and hope. It's a world I hadn't seen before.
Toshiro Mifune : What an amazing actor. He oozes charisma and you cannot take your eyes off of him. His performance reminded me of the first time I saw Russell Crowe, in a little seen mediocre movie called "For the Moment" which I watched many times because of Crowe's intensity.
My only problem is the copy I saw was terrible. The print was faded and half of the subtitles were illegible. When will this be released on DVD? It's not Kurosawa's best film, but it's certainly better than most of the drivel out there.
The film history : it's the first collaboration between Akira Kurosawa (director) and Toshiro Mifune (actor) that continued through 15 more films including the sublime Rashomon, Seven Samurai and Yojimbo.
The style : it's a great film noir with gangsters, zoot suits, speakeasy's, gambling etc.,
The history : post WW II Japan is a frightening place with rubble, raw sewage, crime and hope. It's a world I hadn't seen before.
Toshiro Mifune : What an amazing actor. He oozes charisma and you cannot take your eyes off of him. His performance reminded me of the first time I saw Russell Crowe, in a little seen mediocre movie called "For the Moment" which I watched many times because of Crowe's intensity.
My only problem is the copy I saw was terrible. The print was faded and half of the subtitles were illegible. When will this be released on DVD? It's not Kurosawa's best film, but it's certainly better than most of the drivel out there.
Drunken Angel
Shostakovich34328 March 2021
Akira Kurosawa's "Drunken Angel" is a film in two parts -- first an atmospheric social drama that stands with the director's best work; second a gangster story as they come a dime a dozen. A good thing the better half will draw you in.
Japan, 1947. The Empire has lost the War and American culture is spreading like wildfire. Jazz, whisky, and slick suits have invaded the traditional streetview. It is summer, and hot. You can almost smell the town -- hardly more than a slum, inhabited by ill and crooked people. Amidst them, the alcoholic doctor Sanada (Takashi Shimura) is trying to root out tuberculosis.
One evening, Sanada is visited by a wounded gangster named Matsunaga (Toshirô Mifune, in his first of sixteen collaborations with Kurosawa). Sanada bandages his wounds, but sees there is more at hand. He diagnosis Matsunaga with tuberculosis. If he doesn't seek treatment, he will die. The gangster is too proud to admit he is scared, and leaves. But Sanada does not give up easily. He becomes set on curing Matsunaga, hoping to convince him to change his ways.
The counterpoint between these leads is what drives "Drunken Angel". As Matsunaga, Mifune practically established the 'violent but troubled yakuza' stereotype. The range of emotions he manages to convey is remarkable, especially considering this was only his fourth ever film role. But it is Sanada who stands out most. He is the 'drunken angel', blessed with both unflinching altruism and at least a dozen bad habits. He drinks and swears, throws glass bottles when he is angry. He could have been a rich practitioner if he hadn't been so honest with his patients. 'I've killed more men than you,' he yells at Matsunaga.
The scenes establishing Sanada's routine are the most captivating part of the film. Kurosawa shows his growing artistic maturity with slight touches. Note how he keeps the same landmarks in the background of his long shots, often from different angels, to create a unity of place and stress the spirals in which his story moves.
The film begins to struggle in its second half, once focus shifts to the local gang life. Matsunaga's old boss returns from prison, friction arises in the hierarchy, love causes the usual troubles... Run-of-the-mill material, lacking Kurosawa's trademark humanism, done better elsewhere. Trading in the Dostoevskian slum drama for slick jazz clubs and stiff action (no sign whatsoever that Kurosawa would direct "Seven Samurai" six years later) was a mistake.
Small surprise, then, to discover that "Drunken Angel" was originally all about Sanada, and Kurosawa decided to increase Matsunaga's part after being impressed with Mifune. Yes, Mifune was a great actor, but had Kurosawa decided to 'kill his darlings' and kept the story close to Sanada, "Drunken Angel" might have been his first great film. As is, the reputation of 'fine early Kurosawa' is deservedly modest.
Japan, 1947. The Empire has lost the War and American culture is spreading like wildfire. Jazz, whisky, and slick suits have invaded the traditional streetview. It is summer, and hot. You can almost smell the town -- hardly more than a slum, inhabited by ill and crooked people. Amidst them, the alcoholic doctor Sanada (Takashi Shimura) is trying to root out tuberculosis.
One evening, Sanada is visited by a wounded gangster named Matsunaga (Toshirô Mifune, in his first of sixteen collaborations with Kurosawa). Sanada bandages his wounds, but sees there is more at hand. He diagnosis Matsunaga with tuberculosis. If he doesn't seek treatment, he will die. The gangster is too proud to admit he is scared, and leaves. But Sanada does not give up easily. He becomes set on curing Matsunaga, hoping to convince him to change his ways.
The counterpoint between these leads is what drives "Drunken Angel". As Matsunaga, Mifune practically established the 'violent but troubled yakuza' stereotype. The range of emotions he manages to convey is remarkable, especially considering this was only his fourth ever film role. But it is Sanada who stands out most. He is the 'drunken angel', blessed with both unflinching altruism and at least a dozen bad habits. He drinks and swears, throws glass bottles when he is angry. He could have been a rich practitioner if he hadn't been so honest with his patients. 'I've killed more men than you,' he yells at Matsunaga.
The scenes establishing Sanada's routine are the most captivating part of the film. Kurosawa shows his growing artistic maturity with slight touches. Note how he keeps the same landmarks in the background of his long shots, often from different angels, to create a unity of place and stress the spirals in which his story moves.
The film begins to struggle in its second half, once focus shifts to the local gang life. Matsunaga's old boss returns from prison, friction arises in the hierarchy, love causes the usual troubles... Run-of-the-mill material, lacking Kurosawa's trademark humanism, done better elsewhere. Trading in the Dostoevskian slum drama for slick jazz clubs and stiff action (no sign whatsoever that Kurosawa would direct "Seven Samurai" six years later) was a mistake.
Small surprise, then, to discover that "Drunken Angel" was originally all about Sanada, and Kurosawa decided to increase Matsunaga's part after being impressed with Mifune. Yes, Mifune was a great actor, but had Kurosawa decided to 'kill his darlings' and kept the story close to Sanada, "Drunken Angel" might have been his first great film. As is, the reputation of 'fine early Kurosawa' is deservedly modest.
Odd but fascinating film
planktonrules19 July 2006
This is a strange film about a very committed but screwed up doctor in post-war Japan. The doctor lives in the slums of Tokyo and is amazed at the filth and widespread incidence of preventable diseases among the poor. While this is an important cause to him, so is getting drunk and screwing up his life. However, the doctor meets a young hoodlum, played by Toshiro Mifune, and he treats him even when the guy insists everything is just fine! And, at times afterwards, Mifune alternates from being thankful and decent to being belligerent and completely antisocial. Throughout the film, the doctor works hard to keep this unlikable character alive--despite it seeming pretty obvious that Mifune has a death wish. A fascinating and odd story about the relationship between two very oddly matched men.
It is easy to fall in the mud, how difficult it is to leave
luisguillermoc330 April 2010
Happy encounter between master Akira Kurosawa and Toshiro Mifune great actor. Started the shooting of the film, the script was fully focused on the character of Dr. Sanada, a temperamental physician, sharp and heavy drinker, but at the same time noble and condescending, who played the wise actor Takashi Shimura, member of the filmic family of Japanese director. It was to show the ambivalent relationship of singular physician with some of his patients, and Mifune's character, a gangster named Matsunaga, who arrives to take you off a "nail", was intended as one more among Sanada's patients... but behold, the amazing performance of Toshiro delighted the visionary director leaves, and soon, his character is extended to the point of putting one on one with which interprets Shimura. And thus would begin a relationship that would lead to outstanding a number of films that are today the most significant part of which gave us the Far East ("Stray Dog", "Rashomon", "Seven Samurai", "Throne of Blood", "Yojimbo", "Red Beard"...).
The story is set in a poor village, where gangsterism is a source of survival and power. The rain water inundated streets unpaved, and the mud then, becomes a leitmotif for Kurosawa reveals the sinking of being in the midst of alcohol and irresponsibility, and perhaps, the abandonment of a State for all miss opportunities.
The Sanada and Matsunaga characters, move in an interesting love-hate, I accept you-you rejection, live and die, that accounts for human ambivalence where what seems is not as it seems.
The doctor's character is also quite interesting, because he realizes the man with no pretensions, no worries of enrichment, and the ability to perform so naturally, falls in the act shamelessly unfair, in the sentence harsh and in the alcohol allows him to escape, at times, a reality that don't is offering great prospects.
It is thus a portrait of ordinary people, viewed sympathetically and with the clearest assessment features. It is clear that Kurosawa, knew well the people.
The story is set in a poor village, where gangsterism is a source of survival and power. The rain water inundated streets unpaved, and the mud then, becomes a leitmotif for Kurosawa reveals the sinking of being in the midst of alcohol and irresponsibility, and perhaps, the abandonment of a State for all miss opportunities.
The Sanada and Matsunaga characters, move in an interesting love-hate, I accept you-you rejection, live and die, that accounts for human ambivalence where what seems is not as it seems.
The doctor's character is also quite interesting, because he realizes the man with no pretensions, no worries of enrichment, and the ability to perform so naturally, falls in the act shamelessly unfair, in the sentence harsh and in the alcohol allows him to escape, at times, a reality that don't is offering great prospects.
It is thus a portrait of ordinary people, viewed sympathetically and with the clearest assessment features. It is clear that Kurosawa, knew well the people.
Yoidore tenshi: Best Toho film I've seen thus far
Platypuschow6 August 2018
Drunken Angel returns Toho to their bleak, dark roots and on this occasion it certainly worked no end.
It tells the story of the tremulous relationship between an alcoholic doctor and his violent mafia member patient. The doctor see's his younger self in the Yakuza and set's about going the extra mile to help him despite being fought every stage along the way.
After a series of mediocre Toho films I was already losing faith in the Kurosawa hype, therefore this came as a really pleasant surprise to me.
Powerful, hard hitting and wonderfully constructed Drunken Angel is by far the best Toho movie I've seen thus far.
The Good:
Well written
Some poignant moments
The Bad:
Things I Learnt From This Movie:
Bullets come out of a persons body in the same condition they went in
I'd have let them get typhus......and that's reason no.57579853789 why I should never have kids
It tells the story of the tremulous relationship between an alcoholic doctor and his violent mafia member patient. The doctor see's his younger self in the Yakuza and set's about going the extra mile to help him despite being fought every stage along the way.
After a series of mediocre Toho films I was already losing faith in the Kurosawa hype, therefore this came as a really pleasant surprise to me.
Powerful, hard hitting and wonderfully constructed Drunken Angel is by far the best Toho movie I've seen thus far.
The Good:
Well written
Some poignant moments
The Bad:
Things I Learnt From This Movie:
Bullets come out of a persons body in the same condition they went in
I'd have let them get typhus......and that's reason no.57579853789 why I should never have kids
Far from angelic drunkards
AAdaSC14 June 2018
Dr Takashi Shimura (Sanada) is a local doctor in Japan shortly after the war has ended. The district he works in is in decay and is ruled by gangsters. The scary gang leader in this particular locale is Toshiro Mifune (Matsunaga). He gets the girls and he doesn't pay for things on market stalls - he's the main man. One problem, though, he's ill with TB and visits the Dr. Here begins an unlikely friendship. It's tempestuous. And you can say that again! One day, the previous gang leader Reizaburo Yamamoto (Okada) is released from prison and returns to town.....
The film mainly concentrates on the relationship between Dr and patient and we get a lot of humour out of this interaction. They are both nuts! And they both like a drink. If you're going to boss the town, don't get yourself into a drunken, paralytic stupour. You need to be in control. You don't find the drug dealers at the top of their game actually taking the drugs they distribute. They run things as a sobering business. Just a top tip for anyone interested in pursuing this avenue.
The film develops at a slow pace but it is more of a character study of the 2 main actors. The "drunken angel" refers to the Dr as he can't help his passion for putting people right but he's also a bit of a lush. I had a doctor like that until recently. He retired early to spend more time drinking in the local pubs. He also didn't mince his words just like our drunken angel of the film.
The film mainly concentrates on the relationship between Dr and patient and we get a lot of humour out of this interaction. They are both nuts! And they both like a drink. If you're going to boss the town, don't get yourself into a drunken, paralytic stupour. You need to be in control. You don't find the drug dealers at the top of their game actually taking the drugs they distribute. They run things as a sobering business. Just a top tip for anyone interested in pursuing this avenue.
The film develops at a slow pace but it is more of a character study of the 2 main actors. The "drunken angel" refers to the Dr as he can't help his passion for putting people right but he's also a bit of a lush. I had a doctor like that until recently. He retired early to spend more time drinking in the local pubs. He also didn't mince his words just like our drunken angel of the film.
Another classic from arguably the greatest filmmaker of all time.
Alan-573 November 1998
Drunken Angel is another classic from arguably the greatest filmmaker of all-time. The story revolves around a petty gangster (Toshiro Mifune), who contracts TB and the Doctor (Takashi Shimura) who attempts to treat him despite the gangster's foolish pride. Mifune and Shimura, Kurosawa regulars, are brilliant in their respective roles. Kurosawa takes on film noir as well as any auteurs of his time. This is a must see for Kurosawa fans.
Life's a Swamp
Rindiana29 June 2009
This good, if not great early Kurosawa is still rough around the edges and not free of obvious symbolism and narrative weaknesses. It all feels somewhat forced and not quite as fluent and natural as later works.
But, needless to say, there are always pleasures to be had from a movie made by this wonderful artist: Kurosawa favourites Shimura and Mifune (in his first teaming with Kurosawa) give their usual multi-layered performances, the mise-en-scène is superb, and a sound gimmick featuring guitar-playing is brilliantly used to enhance atmosphere.
In this instance, though, one cannot fully swallow the director's "life's a swamp but use your willpower and watch out for the silver lining"-attitude. He jumbled it this time. But glorious things would follow...
7 out of 10 buckets of immaculately white paint
But, needless to say, there are always pleasures to be had from a movie made by this wonderful artist: Kurosawa favourites Shimura and Mifune (in his first teaming with Kurosawa) give their usual multi-layered performances, the mise-en-scène is superb, and a sound gimmick featuring guitar-playing is brilliantly used to enhance atmosphere.
In this instance, though, one cannot fully swallow the director's "life's a swamp but use your willpower and watch out for the silver lining"-attitude. He jumbled it this time. But glorious things would follow...
7 out of 10 buckets of immaculately white paint
Kurosawa's overlong, drawn out imbroglio between curmudgeon doctor and defensive gangster client
Turfseer10 May 2021
Warning: Spoilers
One of Akira Kurosawa's early pictures, this marked the first of sixteen collaborations between the famed Japanese director and actor Toshiro Mifune. The film was made in 1948 during the American occupation of Japan and Kurosawa had to alter his screenplay to please both military and civilian censors. In addition to eliminating any hint of the military occupation by the US Army, nationalistic as well as feudal sentiments were strictly forbidden. The censors were basically looking for democratic themes in which individualism and cooperation were encouraged as opposed to an authoritarian group mentality, so prevalent prior to Japan's defeat in World War II.
Kurosawa's narrative focuses on the conflict between Dr. Sanida (Takashi Shimura), who ministers to lower income clients in a neighborhood fueled by a black market economy and Matsunaga (MIfune), a small-time gangster (Yazuka in Japanese), who reluctantly seeks medical help after being stabbed in the hand and exhibiting symptoms of tuberculosis.
Kurosawa managed to slip in some of the darker elements of Japanese society at the time which was discouraged by the censors. This included prostitutes on the street as well as violent scenes between the Yazuka. The doctor, representing the democratic forces, castigates Matsunaga for his allegiance to the Yazuka "feudalistic" code of honor. Kurosawa was not averse however to criticizing the American occupation.
Many of those in the Japanese film industry were angry with the Americans after they sided with the film companies against the unions despite initially encouraging unionization. Kurowsawa's implicit criticism was subtly made by depicting the Yazuka as being thoroughly westernized. One gets the impression that Kurosawa had a love/hate relationship with the American occupiers. One can view the song he wrote in the nightclub scene-"The Jungle Boogie"-as either a straight parody of a wild African-American 30s jazz number or simply a true homage to American music that most Japanese people embraced.
The first half of the film basically involves Sanida and Matsunaga butting heads over Sanida's insistence that Matsunaga start taking care of himself. To his credit, Kurosawa's "angel" is no angel at all. Dr. Sanida is a curmudgeon, prone to alcohol and is on a crusade to make everyone take their health seriously. But as his female assistant recognizes, Dr. Sanida knows nothing about tact. Matsunaga clearly resents Sanida's sanctimonious attitude especially when he tries to bully him by claiming that he fears a diagnosis that could be fatal.
Indeed Sanida appears correct that Matsunaga is suffering from TB and this is confirmed by Sanida's upscale physician colleague who took X-rays of Matsunaga's chest, revealing a large perforation. Sanida's prescription for rest but told in such an arrogant way, causes Matsunaga to assault the doctor on more than one occasion. These belligerent interchanges go on for a little too long. Matsunaga finally sees the light and admits that Dr. Sanida really was acting in his best interest-despite his lack of manners.
The rest of Drunken Angel concerns the return of another Yazuka, Okada (Reisaburo Yamamoto), recently released after being incarcerated for three years and now looking to rekindle a relationship with Dr. Sanida's assistant. The headstrong Sanida is not intimidated by Okada, a vicious thug, and will not reveal where Okada can find his former flame.
Meanwhile Matsunaga is about to be dispensed with by the big crime boss in favor of Okada, so the two end up in a knife fight in which Matsunaga meets his end. The fight is expertly choreographed--memorable for the two gangsters slipping and sliding on a floor splattered with paint. Matsunaga's death is also visually memorable-as he staggers after receiving Okada's fatal knife wound, laundry on clotheslines flaps in the wind.
The machinations between the Yazuka are pretty standard stuff and one is left unimpressed by the overall level of screenwriting here. While Kurosawa ably doesn't put his curmudgeon doctor up on a pedestal, in the end he's still an "angel," in which health ministries prove positively contrasted with the backward behavior of the Yazuka. Obviously a positive protagonist was needed to satisfy the censors who demanded a good example for a population only a few years earlier under the yoke of a repressive, militaristic government.
The irony of course is that Dr. Sanida, in his crusade to bring good health consciousness to an indifferent populace, can go overboard by insisting that his medical education gives him an exclusive monopoly on treatment. People no longer can make judgements about their own health when the "expert" stands above them and dictates how they should behave. While Sanida might have been right about Matsunaga and his health situation, the fact remains a man like Sanida cannot always be right-although he might feel his medical degree confers a distinct aura of entitlement. The appellation of "angel" here is incorrect despite Kurosawa's modest attempt to humanize his protagonist.
Kurosawa's narrative focuses on the conflict between Dr. Sanida (Takashi Shimura), who ministers to lower income clients in a neighborhood fueled by a black market economy and Matsunaga (MIfune), a small-time gangster (Yazuka in Japanese), who reluctantly seeks medical help after being stabbed in the hand and exhibiting symptoms of tuberculosis.
Kurosawa managed to slip in some of the darker elements of Japanese society at the time which was discouraged by the censors. This included prostitutes on the street as well as violent scenes between the Yazuka. The doctor, representing the democratic forces, castigates Matsunaga for his allegiance to the Yazuka "feudalistic" code of honor. Kurosawa was not averse however to criticizing the American occupation.
Many of those in the Japanese film industry were angry with the Americans after they sided with the film companies against the unions despite initially encouraging unionization. Kurowsawa's implicit criticism was subtly made by depicting the Yazuka as being thoroughly westernized. One gets the impression that Kurosawa had a love/hate relationship with the American occupiers. One can view the song he wrote in the nightclub scene-"The Jungle Boogie"-as either a straight parody of a wild African-American 30s jazz number or simply a true homage to American music that most Japanese people embraced.
The first half of the film basically involves Sanida and Matsunaga butting heads over Sanida's insistence that Matsunaga start taking care of himself. To his credit, Kurosawa's "angel" is no angel at all. Dr. Sanida is a curmudgeon, prone to alcohol and is on a crusade to make everyone take their health seriously. But as his female assistant recognizes, Dr. Sanida knows nothing about tact. Matsunaga clearly resents Sanida's sanctimonious attitude especially when he tries to bully him by claiming that he fears a diagnosis that could be fatal.
Indeed Sanida appears correct that Matsunaga is suffering from TB and this is confirmed by Sanida's upscale physician colleague who took X-rays of Matsunaga's chest, revealing a large perforation. Sanida's prescription for rest but told in such an arrogant way, causes Matsunaga to assault the doctor on more than one occasion. These belligerent interchanges go on for a little too long. Matsunaga finally sees the light and admits that Dr. Sanida really was acting in his best interest-despite his lack of manners.
The rest of Drunken Angel concerns the return of another Yazuka, Okada (Reisaburo Yamamoto), recently released after being incarcerated for three years and now looking to rekindle a relationship with Dr. Sanida's assistant. The headstrong Sanida is not intimidated by Okada, a vicious thug, and will not reveal where Okada can find his former flame.
Meanwhile Matsunaga is about to be dispensed with by the big crime boss in favor of Okada, so the two end up in a knife fight in which Matsunaga meets his end. The fight is expertly choreographed--memorable for the two gangsters slipping and sliding on a floor splattered with paint. Matsunaga's death is also visually memorable-as he staggers after receiving Okada's fatal knife wound, laundry on clotheslines flaps in the wind.
The machinations between the Yazuka are pretty standard stuff and one is left unimpressed by the overall level of screenwriting here. While Kurosawa ably doesn't put his curmudgeon doctor up on a pedestal, in the end he's still an "angel," in which health ministries prove positively contrasted with the backward behavior of the Yazuka. Obviously a positive protagonist was needed to satisfy the censors who demanded a good example for a population only a few years earlier under the yoke of a repressive, militaristic government.
The irony of course is that Dr. Sanida, in his crusade to bring good health consciousness to an indifferent populace, can go overboard by insisting that his medical education gives him an exclusive monopoly on treatment. People no longer can make judgements about their own health when the "expert" stands above them and dictates how they should behave. While Sanida might have been right about Matsunaga and his health situation, the fact remains a man like Sanida cannot always be right-although he might feel his medical degree confers a distinct aura of entitlement. The appellation of "angel" here is incorrect despite Kurosawa's modest attempt to humanize his protagonist.
An underrated but surprisingly amazing film
Jag8521 April 2009
This movie was a big surprise for me. I watched this movie yesterday expecting it to be one of Akira Kurosawa's weaker films, but it ended up being my second-favourite Kurosawa film after Seven Samurai. All the other Kurosawa films I've seen were set in feudal Japan, so it was quite refreshing to see one set in post-war Japan for a change. While Kurosawa's other movies had a major impact on the samurai genre, Drunken Angel was arguably the earliest example of a Yakuza film.
Unlike the other Kurosawa movies I've seen, I found Drunken Angel gripping from the moment it began. Despite the film being shorter than the other Kurosawa films I've seen as well, the character development was very impressive and the ending was powerful. Being Toshiro Mifune's first major role, he obviously looks younger and hasn't yet developed his unique acting mannerisms. That's a good thing though, as it makes him seem like a completely different person in this movie. His portrayal of the Yakuza thug Matsunaga was impressive and very moving. The star of the movie though is Takashi Shimura (another veteran actor of Kurosawa movies), who plays the forward-thinking Dr. Sanada. His sarcastic dialogues in particular were excellent, without feeling clichéd at all.
I think it's a real shame this movie isn't so famous like Kurosawa's other movies, but I found this film incredibly moving and it is now my second-favourite Kurosawa film of all time after Seven Samurai.
9/10
Unlike the other Kurosawa movies I've seen, I found Drunken Angel gripping from the moment it began. Despite the film being shorter than the other Kurosawa films I've seen as well, the character development was very impressive and the ending was powerful. Being Toshiro Mifune's first major role, he obviously looks younger and hasn't yet developed his unique acting mannerisms. That's a good thing though, as it makes him seem like a completely different person in this movie. His portrayal of the Yakuza thug Matsunaga was impressive and very moving. The star of the movie though is Takashi Shimura (another veteran actor of Kurosawa movies), who plays the forward-thinking Dr. Sanada. His sarcastic dialogues in particular were excellent, without feeling clichéd at all.
I think it's a real shame this movie isn't so famous like Kurosawa's other movies, but I found this film incredibly moving and it is now my second-favourite Kurosawa film of all time after Seven Samurai.
9/10
This film has many layers
ilpohirvonen29 December 2009
Warning: Spoilers
This movie has many levels as many Kurosawa's movies do. Many have said that this was not a typical Kurosawa film. Maybe because people haven't seen other films by Kurosawa than his Samurai-movies which have made him so famous. I didn't find this that extraordinary compared to other movies by Kurosawa, because Kurosawa's films are always extraordinary; compared to other filmmakers'.
Akira Kurosawa usually dealt with taboos of his culture, values in life and with different kind of themes; often same kind of themes Shakespeare was infatuated with. This film dealt with friendship, environment, willpower, life. Big things, films by Kurosawa often have several layers and are open for interprepation.
Even that the main message of the film is that you can get through your problems by willpower, and that's the most important thing when you face an issue. But I think Drunken Angel also tries to say that you should take good care of your environment. The environment of your body, the people and the whole world around you. Because there really are no bad people just bad environments that shape us into different molds.
A very good early Kurosawa. Highly recommended for all interested in his work. I've seen quite many films by him and this certainly isn't in the bottom.
Akira Kurosawa usually dealt with taboos of his culture, values in life and with different kind of themes; often same kind of themes Shakespeare was infatuated with. This film dealt with friendship, environment, willpower, life. Big things, films by Kurosawa often have several layers and are open for interprepation.
Even that the main message of the film is that you can get through your problems by willpower, and that's the most important thing when you face an issue. But I think Drunken Angel also tries to say that you should take good care of your environment. The environment of your body, the people and the whole world around you. Because there really are no bad people just bad environments that shape us into different molds.
A very good early Kurosawa. Highly recommended for all interested in his work. I've seen quite many films by him and this certainly isn't in the bottom.
Friendship, Code of Honor, Dirtiness and Choices
claudio_carvalho14 April 2009
Warning: Spoilers
In the post-war WWII Tokyo, the Yakuza gangster Matsunaga (Toshirô Mifune) seeks the alcoholic Doctor Sanada (Takashi Shimura) to remove a bullet from his hand, and he warns Matsunaga that he has tuberculosis and needs treatment. The bully Matsunaga keeps his arrogant position of tough Yakuza leader in a troubled relationship with Dr. Sanada, but follows his recommendation and stops drinking and smoking. When the former boss Okada (Reisaburo Yamamoto) is released from prison, Matsunaga starts drinking and smoking again with his Okada and his illness worsens. Later Okada threatens Dr. Sanada and his nurse Miyo (Chieko Nakakita) and Matsunaga decides to meets the Yakuza boss invoking their code of honor to help the physician; however, he finds that he is expendable in the underworld where he once ruled.
"Yoidore Tenshi" is one of the first works of the master Akira Kurosawa and the first point that calls the attention in 2009 is the destroyed and soiled Tokyo, surrounded by illness, corruption and open sewage reflecting the poor condition of the after war Japan and their society. The pessimist story is centered in an alcoholic medical doctor and a tubercular gangster, and they have these conditions due to wrong choices in their past. The Yakuza Code of Honor is destroyed with the lack of respect to Matsunaga, who would be sacrificed in a confrontation with the rival Kitajima. However the movie has a hopeful conclusion with the recovering of the seventeen year-old girl. The fate of the gangster Okada is not clear, but I presume he was sent back to prison for killing Matsunaga. My vote is eight.
Title (Brazil): "O Anjo Embriagado" ("The Drunken Angel")
"Yoidore Tenshi" is one of the first works of the master Akira Kurosawa and the first point that calls the attention in 2009 is the destroyed and soiled Tokyo, surrounded by illness, corruption and open sewage reflecting the poor condition of the after war Japan and their society. The pessimist story is centered in an alcoholic medical doctor and a tubercular gangster, and they have these conditions due to wrong choices in their past. The Yakuza Code of Honor is destroyed with the lack of respect to Matsunaga, who would be sacrificed in a confrontation with the rival Kitajima. However the movie has a hopeful conclusion with the recovering of the seventeen year-old girl. The fate of the gangster Okada is not clear, but I presume he was sent back to prison for killing Matsunaga. My vote is eight.
Title (Brazil): "O Anjo Embriagado" ("The Drunken Angel")
good most of the way through
cherold22 March 2009
This film of an alcoholic doctor treating a hoodlum begins very well, with the two leads giving effective, subtle performances. The movie creates a city with a lot of atmosphere. The cinematography is first rate.
Unfortunately the film takes a number of missteps towards the end, including a dumb dream sequence, a surprisingly disjointed, poorly filmed fight sequence, some decidedly zombieish makeup and a seemingly endless coda that drains most of the power out of the ending. The movie also ultimately doesn't seem to have much point to it; I just didn't feel at the end that there was any good reason to have made the film at all.
There's still enough Kurosawa magic to make this one worth watching, and it's really an excellent movie for over an hour. But it is not a very satisfactory movie.
Unfortunately the film takes a number of missteps towards the end, including a dumb dream sequence, a surprisingly disjointed, poorly filmed fight sequence, some decidedly zombieish makeup and a seemingly endless coda that drains most of the power out of the ending. The movie also ultimately doesn't seem to have much point to it; I just didn't feel at the end that there was any good reason to have made the film at all.
There's still enough Kurosawa magic to make this one worth watching, and it's really an excellent movie for over an hour. But it is not a very satisfactory movie.
Mesmerising post-war metaphor about authenticity and corruption
jamesrupert201417 April 2020
Gruff, alcoholic but dedicated doctor Sanada (Takashi Shimura) tries to help young, tubercular yakuza-gangster Matsunaga (Toshiro Mifune) against a background of a ruined, post-war Tokyo. The core metaphor of director Akira Kurosawa's shattered city is the fetid, garbage-filled pond at the center of the rundown slum of dilapidated markets and sleazy bars where Sanada serves as a physician and from which corruption spreads (Sanada frequently warns people, especially children, of the dangerous water). Despite taking place shortly after the end of the war in the Pacific, there is no sign of the Allied occupation force (although American styles, English signage and jazz music are all evidence of an unseen influence). The film is deeply existentialist. Sanada mocks Matsunaga's so-called yakuza values, which the young gangster later finds out to be base-less when he is betrayed by his honourless boss Okada (Reizaburô Yamamoto). Sanada also criticises the Japanese compulsion to sacrifice themselves for what they perceive as some higher ideal (and which ultimately led to ruination) and questions why his friend Miyo would want to return to her abusive gangster boyfriend out of some vague feeling of obligation, comparing her to a submissive puppy. In the end, Sanada is true to himself, he stays in the slums and fights TB because that is where he is needed. The aging physician tries to help Matsunaga, but the young patient is loath to give up everything he has been told to value: power and 'face', even if maintaining the façade of being a 'tough guy' will ultimately kill him. Shimura is outstanding as the doctor and viewers used to seeing him in kaiju adventures (including nonsense such as 1965's 'Frankenstein vs. Baragon') may be surprised at what an effective and versatile character actor he was. Mifune was also very good as the conflicted hoodlum, as is the rest of the cast. The cinematography is excellent and, as in many of Kurosawa's films, weather plays a role in setting the mood as people sweat in the oppressive heat and complain about the incessant mosquitoes (another legacy of the putrid standing water). Sadness and defeat permeates the story but the relatively up-beat ending brings some welcome hope to the images of a war-crushed society that has to rebuild by first examining its values. I watched what I assume to be recently English sub-titled version on TCM and felt that the 'slang' translations were not a good match the era of the story (especially the repeated use of the term "bro"). Excellent.
Solid
Cosmoeticadotcom7 June 2012
Warning: Spoilers
Unfortunately this is one of the VERY lesser releases from The Criterion Collection. First, the video transfer, in a 1.37:1 aspect ratio, is from a really bad source, and the film is at a mediocre ten year old VHS tape quality, laden with lines, scratches, ghosts, blobs, and assorted other imperfections- the worst reel is the 'dream sequence.' What is puzzling is how Criterion has boasted , in the past, of restoring film quality to films that were far better, to begin with. As example are the re-releases for Seven Samurai and Federico Fellini's Amarcord, whose initial releases had a quality of 90-95 (on a scale of 100, and the rerelease upped that about 5 points. By contrast, this release of Drunken Angel is at a substandard 55-60. Granted, the costs of this would be far more daunting than the tweaks given to the other films, but
.is not that the supposed stated reason Criterion exists? If all we were to get was a half-assed job, then perhaps this could be an Image Entertainment release? The audio portion of this release is not much better. Naturally, no English language dubbed track exists either, and Criterion continues its misguided policy of using white subtitles for a black and white film which often makes reading them an exercise in eyestrain.
The supplements are a bit better, with a 31 minute long making of documentary on the film, part of the Toho Masterworks series Akira Kurosawa: It Is Wonderful To Create. It has some interesting information, but the better feature is Kurosawa And The Censors, a 25 minute long video piece that looks at what Kurosawa faced from American propagandists, while shooting the film, and how that was similar yet different from the censorship he faced under the militarist years of Japan. There's also an insert booklet with an essay by cultural historian Ian Buruma, and excerpts from Kurosawa's memoir, Something Like An Autobiography. Then there is an audio commentary by the hit and miss Japanese film historian Donald Richie, who relates how he was on the set for the filming of Drunken Angel, the first time he was ever invited to do so, and where he first met Kurosawa. It's an OK commentary from Richie, who manages to be hit and miss within a single commentary- usually he's on the mark or rambles off into his own hermetic world of memories. While almost never scene specific with comments, Richie does make some good points, but he also makes some key errors. As example, he feels the film is a bit didactic and preachy, but this really isn't the case. Dr. Sanada is didactic, but the film is not. The film is rather impassive toward its inhabitants. On the other hand, the film does have some flaws, like reveling in American gangster clichés, that Richie does not expound upon. He does pick up on something that I noticed right away, that the film is set in summer, but was filmed in January- thus why characters are seen in light wear, but their breath is visible in the air. But then he gaffes by claiming Sanada and Matsunaga are opposite sides of the same coin. But they are clearly not. Sharing some similarities does not make a pair of individuals part of the same coin. The two men have differing temperaments, philosophies, habits, and goals. Overall, though, it's a solid performance by Richie.
The same can be said for Drunken Angel. It has flaws (as I've detailed above), and they are manifest; the worst of them being a dream sequence where the consumptive Matsunaga emerges from a casket to chase himself on a shoreline. This was done better a decade later, in Ingmar Bergman's Wild Strawberries, and over three decades later in Kurosawa's own Kagemusha. But, it also deftly uses symbolism, visual and musical, and this overcomes its occasional fall into gangster clichés. Kurosawa, himself, felt that this was his first 'real' film, the first unencumbered by interference from outside sources. Thus, it is like its creator, a thing aborning, and while that fact does not mitigate the film's flaws, it does add a bit more to some scenes and actions, for the cineaste, for it adds a duplicity to them: one sees both the flaw and imagines how the older, better Kurosawa would have handled such a scene. And, let's face facts; given that it's Kurosawa, even his biggest flaws are better than the greatest merits of many lesser filmmakers. Thus, the word interesting has more aptness than good, bad, or variants thereof. Take that not as a copout, but an observation, flaws notwithstanding.
The supplements are a bit better, with a 31 minute long making of documentary on the film, part of the Toho Masterworks series Akira Kurosawa: It Is Wonderful To Create. It has some interesting information, but the better feature is Kurosawa And The Censors, a 25 minute long video piece that looks at what Kurosawa faced from American propagandists, while shooting the film, and how that was similar yet different from the censorship he faced under the militarist years of Japan. There's also an insert booklet with an essay by cultural historian Ian Buruma, and excerpts from Kurosawa's memoir, Something Like An Autobiography. Then there is an audio commentary by the hit and miss Japanese film historian Donald Richie, who relates how he was on the set for the filming of Drunken Angel, the first time he was ever invited to do so, and where he first met Kurosawa. It's an OK commentary from Richie, who manages to be hit and miss within a single commentary- usually he's on the mark or rambles off into his own hermetic world of memories. While almost never scene specific with comments, Richie does make some good points, but he also makes some key errors. As example, he feels the film is a bit didactic and preachy, but this really isn't the case. Dr. Sanada is didactic, but the film is not. The film is rather impassive toward its inhabitants. On the other hand, the film does have some flaws, like reveling in American gangster clichés, that Richie does not expound upon. He does pick up on something that I noticed right away, that the film is set in summer, but was filmed in January- thus why characters are seen in light wear, but their breath is visible in the air. But then he gaffes by claiming Sanada and Matsunaga are opposite sides of the same coin. But they are clearly not. Sharing some similarities does not make a pair of individuals part of the same coin. The two men have differing temperaments, philosophies, habits, and goals. Overall, though, it's a solid performance by Richie.
The same can be said for Drunken Angel. It has flaws (as I've detailed above), and they are manifest; the worst of them being a dream sequence where the consumptive Matsunaga emerges from a casket to chase himself on a shoreline. This was done better a decade later, in Ingmar Bergman's Wild Strawberries, and over three decades later in Kurosawa's own Kagemusha. But, it also deftly uses symbolism, visual and musical, and this overcomes its occasional fall into gangster clichés. Kurosawa, himself, felt that this was his first 'real' film, the first unencumbered by interference from outside sources. Thus, it is like its creator, a thing aborning, and while that fact does not mitigate the film's flaws, it does add a bit more to some scenes and actions, for the cineaste, for it adds a duplicity to them: one sees both the flaw and imagines how the older, better Kurosawa would have handled such a scene. And, let's face facts; given that it's Kurosawa, even his biggest flaws are better than the greatest merits of many lesser filmmakers. Thus, the word interesting has more aptness than good, bad, or variants thereof. Take that not as a copout, but an observation, flaws notwithstanding.
He tormented you, made you sick, and then deserted you like a puppy. And you still wag your tail and follow him.
lastliberal1 February 2009
This was Toshiro Mifune's first film with Akira Kurosawa, and only his fourth film in his career. he was so young that it was hard to recognize him, even though he was second billed and essential to the story.
The star of this film was Takashi Shimura, who would go on to earn two BAFTA nominations. He was a doctor who was famous for his ability to treat TB patients, but he was also a slave to alcohol. It didn't affect his work much, but he really looked the part of a drunk.
What was even better was his ability to get to the root of problems. The idea that we do some really stupid things recurred throughout, starting with himself. he lived fast and hard as a young man, and it is telling on him now.
We also see his assistant vacillating between giving her man another chance now that he is out of prison, even thoug he mistreated her shamefully. The Doctor (Shimura) is livid with her for even considering it. She hates hime for what he did, but wants to see if he has changed. You can imagine the rage of the doctor at that! The main part of the story involves Toshiro Mifune, as a Yakuza leader, who has TB. He refuses to cooperate in his treatment and this again makes the doctor furious. He cannot understand why he won't make the necessary sacrifices to save his life.
One of the most fascinating features in the movie was seeing Shizuko Kasagi (Delinquent Girl Boss: Worthless to Confess), as a singer in the dance hall. She reminded me of Cab Calloway in her singing. This was obviously due to the influence of the Americans occupying Japan.
Kirosawa certainly gave us a glimpse of great things to come with this film.
The star of this film was Takashi Shimura, who would go on to earn two BAFTA nominations. He was a doctor who was famous for his ability to treat TB patients, but he was also a slave to alcohol. It didn't affect his work much, but he really looked the part of a drunk.
What was even better was his ability to get to the root of problems. The idea that we do some really stupid things recurred throughout, starting with himself. he lived fast and hard as a young man, and it is telling on him now.
We also see his assistant vacillating between giving her man another chance now that he is out of prison, even thoug he mistreated her shamefully. The Doctor (Shimura) is livid with her for even considering it. She hates hime for what he did, but wants to see if he has changed. You can imagine the rage of the doctor at that! The main part of the story involves Toshiro Mifune, as a Yakuza leader, who has TB. He refuses to cooperate in his treatment and this again makes the doctor furious. He cannot understand why he won't make the necessary sacrifices to save his life.
One of the most fascinating features in the movie was seeing Shizuko Kasagi (Delinquent Girl Boss: Worthless to Confess), as a singer in the dance hall. She reminded me of Cab Calloway in her singing. This was obviously due to the influence of the Americans occupying Japan.
Kirosawa certainly gave us a glimpse of great things to come with this film.
The first of sixteen films Mifune worked with Kurosawa
jordondave-2808522 September 2023
(1948) Drunken Angel
(In Japanese with English subtitles)
DRAMA
Right after WWII, their were small villages in Japan with toxic puddles still lurking around and master film maker Akira Kurosawa exploits this idea by making it metaphorical but effective up until a certain point! It is very humid and theirs a breakout of that exist around the area with the story of a doctor who cares about his patients but loves his liquor, hence the title "Drunken Angel", and is not some Jackie Chan martial art type of film. Anyways, this doctor gets a visit from a suave looking, but hard nosed Yakuza gangster whose contracted TB upon fixing his hand whose played by common Kurosawa team up star Toshiro Mifune. He's in denial and then he accepts, and this happens throughout the rest of the film, which I couldn't tolerate anymore after about a hour and ten minutes since it delves into predictable and instead of keeping viewers fascinated the story continues to dwell on the information viewers already know from the first hour and 10 minutes and ends up to become repetitive. 60% because of the first hour and 10 minutes. The first of sixteen films, Toshiro Mifune collaborated with director Akira Kurosawa.
Right after WWII, their were small villages in Japan with toxic puddles still lurking around and master film maker Akira Kurosawa exploits this idea by making it metaphorical but effective up until a certain point! It is very humid and theirs a breakout of that exist around the area with the story of a doctor who cares about his patients but loves his liquor, hence the title "Drunken Angel", and is not some Jackie Chan martial art type of film. Anyways, this doctor gets a visit from a suave looking, but hard nosed Yakuza gangster whose contracted TB upon fixing his hand whose played by common Kurosawa team up star Toshiro Mifune. He's in denial and then he accepts, and this happens throughout the rest of the film, which I couldn't tolerate anymore after about a hour and ten minutes since it delves into predictable and instead of keeping viewers fascinated the story continues to dwell on the information viewers already know from the first hour and 10 minutes and ends up to become repetitive. 60% because of the first hour and 10 minutes. The first of sixteen films, Toshiro Mifune collaborated with director Akira Kurosawa.
Early Kurosawa Masterpiece
greschiem20027 January 2015
Warning: Spoilers
This is an early gem from Kurosawa who was working with actor Toshiro Mifune for the second time. However the standout performance for me in this film is Takashi Shimura as the Drunken Angel (Shimura plays the titular character who is a Doctor), this is one of his great performances, whereas I find Mifune's acting too "big" in this film. I still believe however, that Mifune was arguably the greatest of all screen actors. The scenes between Mifune and Shimura are powerful , something Kurosawa would continue to use in many future films. Reizaburô Yamamoto is also excellent as the gangster Okada.
There are certainly some hidden sentiments about the then American Occupation of Japan in this film and I find the swamp in the middle of the set very interesting as if it represents the underlying darkness of the situation in Japan at the time seeping out onto the surface. We also see this in a more mundane form of the Gangsters and Japan taking on aspects of the American lifestyle that Kurosawa does not appear to approve of.
As can be seen in other films of Kurosawa's such as Yojimbo, Kurosawa displays his complete contempt for Gangsters in Drunken Angel. There is nothing glamorous about the gangsters in this picture, they are shown for what Kurosawa believes them to be, venal and depraved human beings who create a lot of human misery. Having said that, the strong humanist streak that is ever present in Kurosawa's films is also found in the character of the Drunken Angel, his long suffering helpers at his Medical Clinic and his student patient who is eventually completely cured of TB.
Kurosawa said about Drunken Angel that this was the first time he felt he had found his own style. This film is undoubtedly that of a master film maker.
There are certainly some hidden sentiments about the then American Occupation of Japan in this film and I find the swamp in the middle of the set very interesting as if it represents the underlying darkness of the situation in Japan at the time seeping out onto the surface. We also see this in a more mundane form of the Gangsters and Japan taking on aspects of the American lifestyle that Kurosawa does not appear to approve of.
As can be seen in other films of Kurosawa's such as Yojimbo, Kurosawa displays his complete contempt for Gangsters in Drunken Angel. There is nothing glamorous about the gangsters in this picture, they are shown for what Kurosawa believes them to be, venal and depraved human beings who create a lot of human misery. Having said that, the strong humanist streak that is ever present in Kurosawa's films is also found in the character of the Drunken Angel, his long suffering helpers at his Medical Clinic and his student patient who is eventually completely cured of TB.
Kurosawa said about Drunken Angel that this was the first time he felt he had found his own style. This film is undoubtedly that of a master film maker.
Student Film
masercot14 August 2012
This is among the worst of Kurasawa's films. Oddly enough, that doesn't make it a bad movie. It simply isn't a great movie...
Kurasawa's metaphor's got more sophisticated after this movie. The stagnant pond in the middle of town which emphasized the corrupt nature of the neighborhood was a little blatant. Ignore that and what do we have? Good performances by Toshiro Mifune and Takashi Shimura. Shimura is in a different kind of role than the sane figure he normally plays. The doctor he plays looks more like a Mifune role (and was, in Red Beard). He is a little unstable and is prone to violent outbursts. Mifune seems to be around mostly to look cool. He has a very western look in this feature.
The influence of the west in 1948 is pretty apparent. The music and dancing are all western. The characters are violent and ineffectual, mirroring the mood of a conquered nation. Kurasawa would improve much as he went along, but he captured what he wanted to capture in this film.
I would recommend this movie, but only after watching a few of his later movies.
Kurasawa's metaphor's got more sophisticated after this movie. The stagnant pond in the middle of town which emphasized the corrupt nature of the neighborhood was a little blatant. Ignore that and what do we have? Good performances by Toshiro Mifune and Takashi Shimura. Shimura is in a different kind of role than the sane figure he normally plays. The doctor he plays looks more like a Mifune role (and was, in Red Beard). He is a little unstable and is prone to violent outbursts. Mifune seems to be around mostly to look cool. He has a very western look in this feature.
The influence of the west in 1948 is pretty apparent. The music and dancing are all western. The characters are violent and ineffectual, mirroring the mood of a conquered nation. Kurasawa would improve much as he went along, but he captured what he wanted to capture in this film.
I would recommend this movie, but only after watching a few of his later movies.
Didn't stand out as much as I hoped it would
mistoppi5 February 2016
I found this film in the local library, and thought I'd check it out for two reasons. Firstly, Drunken Angel is an old Japanese movie. Second, the plot seemed very interesting. The movie just happens to be so slow-paced that most of that plot just flows through. I usually enjoy somewhat slow films, but for some reason Drunken Angel was weirdly boring. Of course it was a great movie, with amazing writing and dialogue, but it just isn't something I like.
The use of music was astonishing. Even if the scenes were slow and it was easy to start thinking about something else, the music made those scenes more intensive, which definitely made me pay more attention.
But it's really hard to say anything about the movie. It is good, that I can say for sure, but somehow it just doesn't stand out as much as I hoped it would be. It blends in. Of course it may have something to do with culture differences - and time difference!
The use of music was astonishing. Even if the scenes were slow and it was easy to start thinking about something else, the music made those scenes more intensive, which definitely made me pay more attention.
But it's really hard to say anything about the movie. It is good, that I can say for sure, but somehow it just doesn't stand out as much as I hoped it would be. It blends in. Of course it may have something to do with culture differences - and time difference!
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