The Lower Depths

The Criterion Collection offers two different film versions of "The Lower Depths": one made in 1936 by Jean Renoir and another one made in 1957 by Kurosawa. The two directors never worked together on either film. In fact, they only met once in their lives, many years later. Both films are based on Russian writer Maxim Gorky's 1902 play, which describes life in a miserable slum where most characters have lost all sense of hope. Renoir deals with this serious subject matter in a much more humorous and amusing way than Kurosawa, whose film is slower, decidedly somber and a lot more difficult to digest. While Renoir's work takes the viewer in and out of the slums, Kurosawa doesn't allow one to see beyond the wretchedness of the underworld. Both films are great, but it was probably Kurosawa's which left a more durable and deeper impression on me.

I enjoyed it. Everyone in the movie has very distinct character. I really enjoyed the superb performances of skilled actors who acted without going out from the dirty room and surrounding area.

After watching the movie, I read its original stage drama, "The Lower Depth" by Gorky. Most of the characters and the scripts are the same as the original drama. On Gorky's book, I could not help reading it with exact accent and gesture in the movie. Particularly, I can't imagine better way of speaking the pilgrimage Luke's scripts than Kahei acted by Hidari Bokuzen. I am sure the scripts of the movie are based on Nakamura Hakuyo's Japanese translation published from Iwanami. Even the Russian stage drama is adapted to completely different locale, you don't feel any awkwardness. This means perhaps, both the original drama and its adaptation are really great.

What only a movie could do is that you can enjoy subtle expression of countenance at close up. There are unforgettable performances by face, such as the moment of instant tension when the land owner, acted by Nakamura Ganjiro, and Sutekichi the thief, acted by Mifune Toshiro, stand together; or the moment the actor, acted by Fujiwara Kamatari, goes out of the house after gulping sake.

The scene of dancing with mouth instrumentation ('kuchi-syamisen in Japanese) is a great fun. Particularly I enjoyed the fat man Tsugaru dancing with sling; I found the actor is a professional sumo wrestler.

The most unforgettable personality is the old man Kahei. Can I become such a nice old man who can solace and encourage everyone around me? This movie can work out without Sutekichi the thief, but the old man. Therefore, the old man Kahei could be the lead character.

By the way, as a movie that describes the lower depth life with humor and music, I remember "Woman of Breakwater", by Philippine director Mario O'Hara. People in "Woman of Breakwater" came to live outside of the breakwater of Manila Bay. Everyone wants to flee from there, but can not. Just behind the breakwater is a park, and modern buildings. Describing the life of the poor out of the sight of the rich, it portrays mutual love among the people. "Donzoko" does not have such social viewpoint. Instead, it tries to show ugliness and kindness of everyone as a comedy.

"Donzoko" does not rank among Akira Kurosawa's finest films, but that doesn't mean it should be dismissed, considering the quality of his body of work.

Not many films have explored the moral decadence of humanity in face of poverty such as "Donzoko". It reminds us of how most humans are, deep down, only worried about themselves and their own worldy pleasures.

The inclusion of the "Old Man" gives the film an almost Buddhist insight into the situation of the slum, which helps painting its extremely intriguing - even if limited - canvas.

7.7/10

It's one of Kurosawa's most neglected masterpieces. "The Lower Depths" takes us into a ravine tenement, run by greedy, brutal landlords, and inhabited by the lowest of society's strata. All action takes place in two locations: the interior of the tenement, or the tenement grounds.

How amazing, then, is the fascination this film exerts on us, with its very modest settings. I am astonished at the creativity of the film shooting these restricted spaces, in so many varied and telling ways: space expands and contracts as is necessary to the story: the outside is either threatening or an escape, but even once outside, we see that there is no escape, and diagonals show us the human dimensions of restricted choice. Space speaks volumes in the film, accompanied by the beauty of the ensemble acting, expressing profound truths.

We find ourselves engaged in the lives of these people, and puzzled over the character of Bokuzen Hidari as the pilgrim. Is he good? If he is good, and pacifies the dispossessed by acknowledging their illusions, does it mean that self-deception is good? What wonderful ensemble acting! The director put them through long, tough rehearsals, and the result is a seamless film. No wrong notes, no overacting, just a beautiful and strange film that haunts us after we've experienced it. Such invisible, great acting, and humor and pathos.

The character of the actor is the finest piece of work by the Kurosawa veteran Kamatari Fujiwara. It is amazing that this actor appears in such diverse roles as Matahichi in "The Hidden Fortress" and as a corrupt executive in "The Bad Sleep Well". What astonishing range and depth! How brilliantly Kurosawa uses the actor's range! And, of course, we have our beloved Toshiro Mifune, laughing, kicking up his heels in devilish delight, trying to impress the girl, pouting with the landlady, listening with suspicion, then respect to the pilgrim...doing so many things so well, we are bereft when he is absent for the film's conclusion.

And what a conclusion! The harsh clappers that end the movie, the frontal shot of the gambler as he addresses us (for the only time in the film) directly, and the sudden end! Gorky...Kurosawa, Bokuzen Hidari, Toshiro Mifune, Kamatari Fujiwara and the rest....they live on in this masterpiece, for which I am very grateful.

This movie is less easily accessible than other movies by Akira Kurosawa. None of the samurai honor, swordfighting action or visual beauty of his more well known efforts, Still, if you give yourself the time to view and appreciate it, it is a strong, involving movie with better staying power than most of what hits the silver screen in a typical season.