Testimonianza di un essere vivente

Based on reviews I had read, I was expecting either a facile ban-the-bomb message film, or a story about greedy relatives trying to have an old man committed so they can get his money.

I should have known better. Part of Kurosawa's genius in his great middle period (1950-1965) is that he refuses to insist on anything. He fairly presents a series of events and invites us to decide what, if anything, they mean.

Everyone in this film has a point. No one here is really a villain. Even those who are jerks (notably the second son, Jiro) are really trying to do the right thing. And the film reminds me a little of THE CAINE MUTINY in that it very artfully moves our sympathies in one direction for most of the film before presenting us with events that make us wonder if we were wrong.

Toshiro Mifune gives a fine performance as Nakajima, but to tell the truth, I wish Kurosawa had given the role to Takashi Shimura, not only because I think Shimura would have played the role even better, but because it would have given him one more tour-de-force leading role in a Kurosawa film, coming directly after IKIRU and SEVEN SAMURAI. Granted, though, that such a move probably would have caused problems with both Toho and Mifune.