Akira Kurosawa – Director – Kagemusha
This might be the most beautiful shot I have ever seen of Akira Kurosawa’s. And believe me there have been plenty of beautiful shots in this old legend’s career. Kagemusha (1980), which means “shadow warrior”, is chock full of great shots. The movie is Kurosawa’s third venture into filming with color and I believe his best. It is pretty amazing this is only his third film made in color since it was made in 1980 and Kurosawa had been making movies since the 1940’s. Those who don’t know Akira Kurosawa is a director from Japan and considered one of the greatest filmmakers to grace this earth. His movie Seven Samuri (1954) is hailed by many to be the greatest movie ever made.
With the movie Rashomon (1950) Kurosawa was able to put the cinema of Japan on the map after the movie won Golden Lion at the Venice Film Festival in 1951. The movie was one of the first time a filmmaker ever shot with the lens looking directly at the sun. Before this many thought film would burn up if you shot directly at the sun. However, after Rashoman the sun became a big theme in Akira Kurosawa’s work.
Getting Kagemusha made was extremely difficult. Kurosawa painted hundreds and hundreds of storyboards. He knew almost every shot of the movie before he even started shooting. He was just waiting to get backing for the project. Sadly at this time in his career the film industry in Japan was at a all time low and many considered Kurosawa to be passed his prime as a filmmaker. Thankfully however two successful young filmmakers from America, George Lucas and Francis Ford Coppola, stepped in and helped finance the picture. This might have suggested to Akira Kurosawa there was some hope for the next generation. Though his industry might have given up on him, there was dedicated group of young filmmakers from the 60’s and 70’s who considered Kurosawa a legend in the realm of filmmaking.
In some ways I feel this shot is melancholy in nature. The troops in shadow look tired and defeated. Where during 1950’s Rushomon Kurosawa shot directly up into the sun that was in the middle of the sky, the sun now is setting representing and end of a way of life. Yet, the picture’s beauty is overpowering and the image of troops marching onto battle is quite inspiring. The deep oranges you see in the picture don’t feel like they represent doom as much as it represents a sort of beautiful momory Kurosawa wants us to keep a hold of.
Akira Kurosawa was a huge admirer of John Ford and Ford was known as the king of the master-shot. Ford told a very young Steven Spielberg that if he could learn why a shot is better when the horizon line is on the top of the screen or at the bottom of the screen instead of in the middle, you might just become a good filmmaker. As you can see Kurosawa places the horizon line at the top of the screen. There is no vast open space in this master shot. The world once full of possibilities is now coming to a close. This is an end of an age. In the movie it represents the ending of the Samurai. However, for Kurosawa I believe it means the moving on of an age in filmmaking. His light is about to go out, there are only a few more movies left in him.