For some reason I decided to start watching today's movie at 2:30 in the morning, so I probably wasn't in the best frame of mind to start watching a three hour movie. The first half of the movie was a bit of a struggle to sit through. I was kind of fidgety and had to pause it a couple times to go to the bathroom or find something to munch on. Kurosawa took his time setting everything up with no real central plot lines to focus on, but the pay off is worth it; the last half of the movie is some of the best stuff Kurosawa has ever filmed.
Red Beard would mark the end of the decades long sixteen film relationship between Kurosawa and Toshiro Mifune. How fitting that in their very first film together, Drunken Angel, Mifune would play the young disciple and in their last film, he would play the role of master. Surprisingly, Mifune's character, Dr. Niide, isn't even the main character of the film. The story is really about Noboru Yasumoto (Yuzo Kayama), a young doctor who is sent to a public clinic for the poor as part of his training. Noboru, arrogant and contemptuous, initially resists his assignment. He is on the fast track to becoming the shogun's personal doctor and feels working with these people is below him. He's received advanced medical training at a prestigious school and doesn't feel like he can learn anything from working at the clinic under "Red Beard" (Dr. Niide's nickname because of the reddish tint of his facial hair). The film's direction is obvious; Noboru does indeed have much to learn. Under the tutelage of the compassionate Dr. Niide and interactions with patients, Noboru learns the harsh realities of the real world and just how precious life is. Redemption, humanism, life lessons, etc etc. Thematically, Red Beard is typical and obvious. In fact, one of Kurosawa's biggest criticisms amongst haters was that he was too naive, too sentimental in his works. (As much as I appreciated Ikiru, I thought he laid the sentiment on pretty thick.) But why is that such a bad thing? Why can't people just watch movies to feel uplifted and think that maybe life is meaningful?
Structurally the film can be divided into three or four chapters, each involving a different patient and Noboru's interactions with them. Through each interaction, Noboru learns a little more about not only what it takes to be a doctor but a human as well. Part of my restlessness throughout the beginning of the film was the fragmented stories and lack of a central plot, but upon further reflection I can see why the film was made this way. The drama of the film can only be told through these interactions, Noboru's growth can only be shown through what he learns from these patients. Each story is given ample time to develop, even though they may not have much relevance to the overall plot of the film, which may or may not turn some people off. However, that does not make any of the stories less compelling and more importantly, any less relevant to Noboru.
The last act of the film is a revelation in itself. It is touching and endearing, heart breaking and heart warming. It involves the story of Otoyo, a young girl rescued from a brothel. (This part of the film is actually pretty hilarious as it involves Dr. Niide unleashing the inner Mifune as he beats up a gang. As the scene started to materialize, I said aloud, "You can't f*ck with Yojimbo, man!") Dr. Niide gives Otoyo to Noboru as his first patient. The two broken characters end up learning from each other and ultimately heal each other. Otoyo, who has only known bad people in her life, slowly learns to trust and care for others. She ends up meeting a seven year old thief and this side story almost brought me to tears.
Visually Red Beard is a very striking film, something you wouldn't really expect from this kind of movie. Kurosawa shoots some interesting pictures. Little details like the spacing between characters on screen can have such a strange effect on a scene. In one scene, Noboru is on the far left of the screen while a woman is on the far right. In a widescreen picture the space between them looks enormous. They have just met each other and are strangers, but watch closely as she reveals more about herself bringing her closer to him. The spacing on screen is directly correlated to the drama in the story. One shot involves Otoyo hiding in a darkened corner with only her eyes visible, as if the entire screen were a ninja's mask. Yet another shot fills up the screen with multiple layers, almost as if shooting two shots in one. It involves Otoyo secretly meeting the young boy in a yard with a bunch of sheets hanging on clotheslines. They are situated in the top half of the screen partially blocked by sheets yet in plain view to the viewer. In the bottom of the screen, Noboru and a nurse secretly eavesdrop on their conversation behind a different row of sheets. It kind of reminded me of that scene in Citizen Kane where there's an interior scene and an exterior scene going on at the same time in the window. Perhaps the best shot of the entire film is also at the core of its biggest moment, so I don't want it away, but pay close attention to the camera's effortless movement and think just how complex it must have been to plan it. It would be very easy to miss given how emotional the scene is, but that is what made Kurosawa so great, he paid attention to every last detail.
Mifune, as always, is great as Dr. Niide. Interestingly though, this film would cause tensions between Kurosawa and his star actor. Red Beard took two years to film and during this time Mifune had to maintain his natural beard which made it impossible for him to star in any other movies at the time, causing some financial strain for the actor. Also, the script writer of the film had mentioned to Kurosawa that Mifune played the part "all wrong." Despite their long history with each other and the fact that Mifune's portrayal earned him universal praise, the script writer's comment caused Kurosawa to question Mifune's abilities for the first time. Perhaps it was just coincidence, but the two never worked together again, marking the end of one of the best director-actor collaborations in the history of cinema.
Kayama as the young Noboru is fine, though it is almost impossible not to only focus on Mifune whenever he is on screen. Not only does he have such immense screen presence but Mifune actually looks physically much bigger than Kayama. I was very impressed by the young girl who played Otoyo, who is practically the main character in the third act and handled her scenes very well.
Red Beard is wonderfully acted and directed. The last half of the movie might be the most touching and emotional work of Kurosawa's career. Yes, its message is simple, maybe even naive as his critics may say, but so what? Since when did humanism become a source for scorn and when did nihilism and negativity dictate how people should perceive life and what we should expect of our stories about it?
Grade: A-
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