Der Idiot

One of Kurosawa's least-seen films is "The Idiot". The film is set in Hokkaido, the northernmost area of Japan. Deep snow covers the earth, and is shoveled into barriers, seeps in through the ruins of a warehouse in great drifts, piles up against the windows in crescents, howls fiercely as Toshiro Mifune's character and Matsayuki Mori's "Prince Myishkin" step foot off a train into a blizzard.

Dostoevsky's great novel is the resource material.The Prince Myishkin character is Christ-like in the novel, and, as transplanted to Japan may be seen as a Boddhisatva-like character (an Avalokiteshvara or Kanon-a saint of compassion). Matsayuki Mori does an amazing job of portraying a damaged but compassionate soul..one that feels deeply the pain of those he encounters, and who speaks the truth simply, with a pure heart and an awareness of suffering. In one scene, he holds Toshiro Mifune's face between his small, gentle hands, and there is such a tender sensibility, his hands seem to communicate love and absorb the pain of Mifune's character. It is a breathtaking moment.

Toshiro Mifune is brilliantly cast as the thuggish suitor who vies with Mori for the soul of the beautiful and doomed Taeko Nasu character played with uncharacteristic drama by Setsuko Hara.

This complex, rich, layered, frightening, deeply disturbing film has been under-appreciated from the outset-beginning with the studio, which cut the film drastically (Kurosawa was outraged! *see trivia). Japanese audiences didn't understand or like the film, and other audiences have found it weird. Some of this relates directly to Donald Richie's seminal work on Kurosawa and his conclusion that "The Idiot" was a failure. Unfortunately, Richie's conclusion seems to have put replaced the nails in "The Idiot's" coffin with screws. It's very hard to pry open the film.

Sure, it is a weird film...that's what is so interesting. Kurosawa has made one of the most powerfully strange films, while stretching the range of his actors (have you ever imagined you would see Setsuko Hara like this? She's terrifying in her desperation and pain!) giving the scenes a grounded reality, and allowing us to enter into the lives of these tragic, doomed souls.

This is one of the finest films of world cinema, although one of the least-viewed.

jonr-3 from Kansas City wonders if the 265-minute version will ever be released.

The answer is a definitive NO because every frame of unreleased footage no longer exists anywhere in any form.

It's a shame, because the film -- fascinating and electrifying as it is in its present form -- would probably have been one of the greatest examples of intertextual cinema of all time had it survived!

One can easily imagine what we're missing simply by examining the way that the initial scene on the train plays out as Mori explains his dream about nearly being executed to Mifune -- and then we are presented with a jarringly disturbing cut to a long intertitle, which basically seems to explain what was cut out by the studio execs [as do the many intertitles which follow]...

Kurosawa's hero-worship of Doestoevsky may be compared to his similar adoration of Gorky and his play "The Lower Depths" -- which is faithfully adapted in the 1957 filmic version -- and although it is much shorter than the tale told by The Idiot {sorry, couldn't resist!}, this reverence in no way makes the film boring or inferior. Just compare it to the 1936 Renoir version (which is quite good in many ways in its own right) to see how this faithfulness pays off...

Read the Doesty and then watch the film and fill in the blanks yourself. Kurosawa's filmic blueprint provides plenty of clues to how the missing footage might have been incorporated into this extremely underseen masterpiece.

It's pretty difficult to judge this film fully. The first half is erratic, and filled with jolting edits, characters that appear and disappear without any introduction. It's a damn shame. The scatological nature of this epic project, adapted from the Russian classic by Fyodor Dostoyevsky, was due to it being horrendously cut down by the studio that funded it. Originally, Akira Kurosawa had created a 266 minute cut of the - incredibly faithful to the source novel - was shortened by 100 minutes. Unfortunately, it would seem that the world may never see the original version, as even when Kurosawa hunted for the missing scenes in the vaults several decades later, he was unable to locate them.

As it is in its now 166 minute format (the longest version available), it is still an incredibly important piece of melodrama. After the devastation of the war, Kinji Kameda (Masayuki Mori) and Denkichi Akama (Toshiro Mifune), travel back to a remote island. Kameda claims that he suffers from an illness, cause by the suffering of war, and simply referred to as idiocy - when expressed on film, this idiocy seems simply to be an innocent, and fundamentally naive view of people. He simply only sees good in people, even if this is not the case. On arriving they both seem to fall for a disgraced woman, Taeko Nasu (Setsuko Hara), who was someones concubine since the age of fourteen, and is being offered for marriage at a price.

What ensues is a strange love triangle that divides not only the two male protagonists, but the community. The film is beautifully shot in black and white by Toshio Ubukata, who had worked with Kurosawa on his previous film, Scandal (1950). It is unfortunate that the films first half suffers so evidently due to extensive cutting. However, it is the relationship between Kameda and Akama that provides the climax (which is seemingly more intact) that provides the films central theme, and its most poignant elements.

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Although severely mutilated, this film still distillates the genius of Kurosawa, unfortunately the artistic decisions are still made by the people who have the money, not by the people who have the talent.

For the people who have read Dostoievski's "The Idiot", I think this film will be an amazing experience. For the rest the movie probably won't be very clear, because the studio edited off over an hour of footage, which obviously crippled the movie.

That was the luck which Kurosawa's "The Idiot" ran. And many of other films too.

Regards

Currently clocking in at a mere 2.75 hours -- following the lopping off of 100 minutes from Kurosawa's (unreleased) original version -- this barely scratches the surface of the plot of Dostoevsky's tremendous novel. Kurosawa modernizes the story and moves it from Russia in summer to Hokkaido in winter. The great Russian director Grigori Kozintsev thought this film captured the spirit of the novel remarkably well -- and who am I to disagree. I seriously wonder whether someone unfamiliar with the novel could follow this film, in its currently disjointed state -- but for those who know and love Dostoevsky's story (and characters), this film is a delight and a revelation. By and large, the actors do a remarkable job of capturing the essence of Dostoevsky's cast. I simply cannot imagine a more suitable Rogozhin (Akama in the film) than Toshiro Mifune -- especially when watching him "merely" standing in the background looking like a bomb ready to explode. Next most convincing was Chieko Higashiyama as Satoko, Ayako's mother not Takeko's as IMDB incorrectly records (Elizaveta Prokofyevna Yepanchin in the novel). This "Edith Bunker as Russian noblewoman" character has always been one of my favorite Dostoevsky creations -- and CH gets every aspect of the character right. Setsuko Hara as Taeko (Natalia Fillipovna) and Yoshiko Kuga as Ayako (Aglaya Ivanovna) are wonderful, as is Takashi Shimura as Ono, Ayako's father (General Yepanchin). Masayuki Mori as Kameda (Prince Myshkin, the eponymous hero of the tale) is hard to assess -- as the "idiot" role is hard to envision. I am not certain that he is the perfect Myshkin, but he is certainly a touching one.

Interlinked with the extraordinarily fine acting, is Kurosawa's tremendous direction here (or what's left of it). I recently also saw an otherwise fine Russian version of "Crime and Punishment", which failed to capture the richness of tone of the novel, missing every trace of any sort of humor (an essential element of the book). Kurosawa, on the other hand, managed to ricochet from melodrama to humor to tragedy without missing a beat -- sometimes within the bounds of a single shot. Frankly, I never would have thought this possible. Another interesting facet of the direction here -- this often looked more like a silent film from the 20s or 30s than a film of the 50s.