The Hidden Fortress

Those who think that Kurosawa could only direct dramatic films need to see The Hidden Fortress. It is an exiting, funny, and extremely entertaining adventure film. George Lucas cites The Hidden Fortress as the prime inspiration for the Star Wars films.

Two cowardly soldiers Tahei (Minoru Chiaki) and Matashichi (Kamatari Fujiwara) flee from a battle. The two then set up camp for the night, but soon they discover a bar of gold next to their camp. The two begin fighting over it, but before they can decide who gets it, a mysterious man called Rokurota (Toshiro Mifune) appears. He asks the two to help him transport a wagon full of gold and the Lady Yukihime (Misa Uehara) across enemy lines so that they can establish their kingdom again.

This film is a blast and is filled with plenty of action and humor. A departure from Kurosawa's usual dramatic films, but excellent cinema nonetheless.

It might not quite compare with Kurosawa's greatest movies, but "The Hidden Fortress" is good entertainment with an interesting story and characters. Toshiro Mifune is enjoyable to watch as always, and although most of the story is played for action and/or humor, it does have a couple of powerful scenes as well. The story of a defeated general trying to lead his princess past the enemy to safety is given plenty of twists and turns that give all of the characters some good moments.

Along with all of the action, there are some pretty good characters, with Mifune, as the general, a big part of holding everything together in his interactions with all of the others. The rather spoiled princess learns quite a bit about life, and the two greedy farmers learn - and often quickly forget - some lessons of their own. There are also some good scenes with an enemy general. Most of it works well, and it's an entertaining movie.

This is a Toho movie by acclaimed director Akira Kurosawa, starring veteran actor Toshiro Mifune. He, along with a princess, is escorted across enemy lines by two gold-hungry peasants.

The movie takes a really long time to start and gain any steam, and when it does, much of the movie suffers from slow pacing and scenes that tend to drag out to no end. There are some hints of action and good cinematography. Mifune is at one of his finest, but the actress who played the princess, Misa Uehara, seemed to yell out all her lines - displaying no range of emotions or substance whatsoever.

The premise and plot outline for the movie are captivating, but the execution of the story is a bit subpar. It's not an awful movie, just average at best.

Grade C.

Such a fine film maker can hardly help but make a fine movie like this one. It seemed odd to me only in the fact that the plot seemed so UN-Japan like. The most interesting thinks to look for are the similarities to Sergio Leone films: A man who obviously was greatly influenced by Kurosawa. What Leone may not have known, is that those long shots of unmoving fighting men waiting to make a thrust or cut with a sword is very true to the actual way that Samurai fought. Cowboys on the other hand generally shot from behind trees and rocks. For an interesting comparison, watch "Hidden Fortress" followed by "The Good, The Bad, And the Ugly". It will be be an enlightening experience.

Any Kurosawa film is worth watching, but the focus of interest shifts from project to project. This time around, his concern is the new aspect ratio of 'cinemascope' copied and renamed by Toho. Kurosawa is first a visual storyteller who scripts in pictures, each one dramatically framed. All his life until here, that frame was the same, but all of a sudden it changed.

It is a matter of there being three territories where there was formally one. The new territories are on the left and right, which in the original cinerama were actually two additional cameras. One really needs to study his framing in the old format to understand how significant this challenge was. He was master -- indeed largely the creator -- of a visual grammar and the rules had changed.

As with all his scripts, the story reflects his own challenges. So we have a story about three territories and a journey that spans them all. The 'middle' territory is under attack, and our characters must leave their fortress and go all the way from left to right to survive. (Notice the symbols he uses for these three klans.) The two hapless peasants represent to the story what actors represent to the 'real' enterprise of film-making: relatively ignorant, gold-chasers, likely to turn on each other, and liable to go where they are not supposed to. The story is told from their perspective. The gold in the story is hidden in sticks. The gold in the film is hidden in similar harvesting of nature by the eye.

(Mifune's pride and Kurosawa's control were much like that shown here between Mifune's samurai and the peasants. Mifune would eventually run away from Kurosawa's -- probably much needed -- overbearing command. Mifune would end up wealthy and celebrated in Japan. Kurosawa not so.)

At the end of the story, the peasant-actors are on a grand stair that mirrors a similar stair we saw earlier which was the scene of a huge conflict (in turn mirroring the battle on Eisenstein's Odessa steps in 'Potemkin'). But this second time, we are at peace, the frame is serene. Kurosawa has wrestled this new eye and mastered it.

Kurosawa did not respond to the wide format like his American peers who preferred awesome panoramas. His approach to framing had always been layered, usually three layers of activity in fore, middle and background. Here, he was able to relax the axis so that the layers did not have be so much on top of one another. And he reinvented his strategy of panning of motion: compare a running sequence here to the famous woodcutter's running in the beginning of 'Rashomon.' Look at how he panned the General's attack on horseback. He still does diagonals, but fewer, less steep and with less static import. He now has more natural horizontals in his greytone/greystone arrangements so has to create more artificial verticals.

Obligatory Star Wars comment:

I am sure Lucas' film school professors would have explained the relationship of story and visual challenge this way. So that is the real template Lucas took in conceiving his project. His goal was a similar marriage of the visual (space) with story (Joseph Campbell inspired myth). His hidden gold is that miraculous alchemical element in Jedi blood.