The Bad Sleep Well

Arguably the darkest, bleakest & most cynical of all Akira Kurosawa films, The Bad Sleep Well is an impressive amalgamation of assured direction, excellent writing & solid performances that not only works as an effective & engaging revenge drama but also serves as a sharp critique of corporate corruption.

The story begins with a masterly curated wedding sequence that aptly introduces all the relevant characters, and paves its foundation by letting the news reporters provide background details about each through their gossips. The revenge plan is already in motion when the film starts, and that scene does well to bring us up to date.

The set pieces are refined, detailed & beautifully lit while the fluid camerawork & crisp greyscale photography provide the imagery its rich intensity & timeless flair. Editing is carried out well for the most part but pacing does slip a little before the third act. All the actors play their roles responsibly, plus it's got Takashi Shimura in a rare villainous role.

Overall, The Bad Sleep Well finds Akira Kurosawa in complete control of his craft, and is yet another quality addition to the legendary auteur's oeuvre. Maintaining its firm grip on audience, the film is tense, captivating & thrilling for the majority of its 151 mins runtime before culminating with an ending that hits close to real-life. In short, an underrated & underseen gem.

At the start of this film I didn't know what to expect. I thought it might be a mediocre Kurosawa film. By the end of the film I realized it was one of his best. This film about familial discord and corporate manipulation is breathtaking. Its filled with irony, double crosses, cynicism, manipulation and revenge. In short, its endlessly interesting and captivating. Definitly a must see.

The Bad Sleep Well is one of the best revenge movies of all time. It stars the great Toshiro Mifune as a man seeking revenge against the people who forced his father into committing suicide. Unlike many revenge movies, The Bad Sleep Well doesn't glamorize its subject. Instead it shows how in trying to get retribution for a man who is now dead, Mifune ends up injuring himself and other people he loves who are still alive. There are a lot of beautiful and haunting images, like when we see a desperate man struggling to climb a volcano so he can throw himself in, or a number of scenes that are shot at the bombed out wreckage of an old WWII munitions plant. The bleak landscape mirrors the damaged lives of the movie's characters. Powerful and haunting, this is a movie that will follow you for days.

"The Bad Sleep Well" is Akira Kurosawa's second handling of the film noir genre after "Stray Dog" in 1949 and three years before "High and Low" in 1963. These two films were gripping documentary-like police procedurals. In contrast, "The Bad Sleep Well", with its intriguing title and loosely Hamletian undertones, shows the way these procedurals can be made useless by the sheer power of bureaucratic Omerta... and I'm not using the word in vain.

The film is perhaps the most noirish of the three in its vitriolic depiction of corporate corruption, showing us the other side of modern Japan's coin where hierarchy governs not most but all of its institutions, family included. In fact, what the film accomplishes through the precise and uncompromising eye of Kurosawa's camera and a tight (if not somewhat tedious) script, reminds me of a classic among the classics: "The Godfather" and Coppola must have loved "The Bad Sleep Well".

The film is about a bunch of corporate executives in the Construction and Land Development business using their influence, wealth and occasionally disguised threats to hide a kickback scheme that occurred seven years ago. There's the Vice President Iwabushi, the Administrative Officer Moriyama, the Assistant-to-the-Chief Wada, the Contract Officer Shirai, each man representing a stratus protecting the upper layer from collapsing the higher you are, the safer you get, which plays exactly like the Mafia vertical organization with soldiers and "buffers" ... some execute and some are executed. The bad indeed sleep well.

"Ikiru", which is certainly Kurosawa's most acclaimed modern movie, hid behind its existential message an assertive comment against public bureaucracy. "The Bad Sleep Well" goes even further by subverting the clichés about Japanese's discipline with some employees going as far as sacrificing their lives. There's a moment where the accountant receives a message that says grossly "we'll take care of you, everything will be all right", and then he ultimately throws himself under a passing bus.

It's not often that you have two "Godfather" references in one, the message reminded me of the last talk between Tom Hagen and Frank Pentangeli in "Part II" and the sound of the truck coming with the close-up on the ma n's" face echoed the climax of the restaurant scene. And if the "Godfather" trilogy was about gangsters posing as respectable men, "The Bad Sleep Well" is about respectable men acting like gangsters. And I'm not done with the comparisons, the most notable one is the opening sequence with a wedding that makes the exposition elements flow without feeling too forced.

Snarky reporters are covering the wedding between the daughter of Iwabushi, played by Masayuki Mori (I couldn't believe it was 9 years after his youthful appearance in "The Idiot") and Nishi, a quiet and discreet secretary played by Toshiro Mifune. The girl has a lump and rumor has it that Nishi married her out of interests (they're half right actually). And so the wedding allows us to place names in face and a few incidents set up the action: an untimely arrest, Ibawushi's son Tatsuo (Tatsuya Mihashi) makes a speech where he threatens to kill Nishi if he ruins his sister's life but the icing of a cake is the wedding cake itself. In place of the real one, a cake representing the company's building is served, a rose placed in the seventh floor from which an employee jumped to his death, ending an investigation for corruption. "This marks the end of a one-act play," says a reporter "are you kidding?", retorts his colleague, "this is only a prologue".

And so the prologue ends and the action takes off through a series of incidents suggesting that there's a mole in the company who know about the events that occurred seven year ago, who ordered the cake to send a message and who's up to something. The film features one of the most elaborate schemes, a strategy of destruction whose many tactics include the disguise of Wada's disappearance into suicide. In a later scene, the man is allowed to assist his own funeral and hear his employees gloating at his death. Shirai is then gaslighted to the point that you almost feel sorry for him. Finally, Moyamari (Takashi Shimura) is forced to reveal where the dirty money by simply being starved. I had often wondered why no one thought of extorting money with a simple glass of water, glad a film thought of it.

Of course, it doesn't take long to reveal the perpetrator of all these actions, but more importantly his motive. It's obviously Nishi, the central protagonist, and it's easy to make the parallel with the seventh floor's death and his thirst for revenge but the best thing about the film is how conflicted Nishi is. He has obviously married the daughter to approach a man who is his enemy and with time, his sentiments grow. Moreover, even Wada starts to empathize with his actions and advise him against not becoming like the men he fight. The problem of Nishi is that his actions destroy the father of a person he cares for and ironically turns him into a character who, if not morally bad, uses the same tools than his enemies. It doesn't make him worse but his own morality is put in the film's equation.

Nishi's playful whistling is the film's musical leitmotif, suggesting that he's "enjoying" what he does to a limit. We do "enjoy" the way he toys with these serious men's sanity and sense of immunity and the film while two hours and half long, finds a way to draw us in Nishi's action. But the game stops near the third act, when his intentions are revealed, and the enemies fight back.

Now, I'm still puzzled by the ending, to the point I wondered whether it's the best or the worst thing about the film. One thing for sure, when it ended with that head being bowed and the title appeared, I was nodding mine.

I just watched "The Bad Sleep Well," and finished reading the other viewers comments. So I will comment on both. "Seven Samurai" is perhaps my favorite film of all time, and I really like Kurasawa's work. Other than the brief plot summary, I didn't really know what to expect from "The Bad Sleep Well." The beginning can be somewhat confusing, as the reporters throw out lots of Japanese names and the viewer must struggle to understand what's going on and who is who. But as the film progressed, I found myself drawn in and completely absorbed by it. Don't worry if you don't get it at first, all will become clear. I found this to be an excellent film, and I would recommend it to any Kurasawa film. Sure, it's not action-packed like his samurai films. And yes, it is somewhat slow in pace. But I must say that I didn't really mind that. I found it quite engrossing. There are enough plot twists and turns to keep the viewer interested. I din't think that Toshiro Mifune did a bad job either, as some other viewers thought. He's not wild and crazy like in "Seven Samurai" or "Rashomon" but I didn't think he was badly cast. Sadly, I am not intimately familiar with "Hamlet," so I can't comment too much on the similarities. It seems to be the general opinion that this "The Bad Sleep Well" is loosely based on Hamlet, but I also agree that this won't detract from your enjoyment of the film in any way, and that knowing "Hamlet" doesn't mean that you will know what happens in this film. I agree with those who say that this is another underrated Kurarsawa masterpiece, and well worth seeing. Give it a chance!