1. Sanshiro Sugata (1943)
Akira Kurosawa‘s directorial debut is based on the homonymous novel by Tsuneo Tomita, the son of prominent judoka Tsunejiro Tomita, with the main character drawing from Shiro Saigo, one of the earliest disciples of Judo, a martial art that was originally created by Jigoro Kano. The film revolves around the challenges Sanshiro Sugata faces, both from himself and from opponents, in his effort to prove judo’s superiority over traditional jujitsu techniques. Gennosuke Higaki, the “villain” in the story, is also based on a real-life fighter, Mataemon Tanabe, who is considered one of the greatest modern jujutsuka.
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2. The Most Beautiful (1944)
Yoko Yaguchi, along with the rest of the female actors, gives a terrific performance which sometimes makes you forget you are essentially watching a propaganda piece, when she highlights her character’s feelings of responsibility and care for the other workers, becoming a surrogate mother to some of them. (Rouven Linnarz)
3. Sanshiro Sugata Part II (1945)
Susumu Fajita’s performance is a key factor here, as he highlights Sanshiro’s struggle as he thinks about where his path has led him thus far, and how many opponents he has left shattered and disgraced along the way. Even though he is respected by his peers, there is something undeniably lonely about this man whose path in learning and improving his judo is so much more than preserving the cultural heritage, as is emphasized in the story. (Rouven Linnarz)
4. The Men Who Tread on the Tiger’s Tail (1945)
However, the idea which sets “The Men Who Tread on the Tiger’s Tail” from Kurosawa’s previous feature is a concept he may have borrowed from William Shakespeare, an author he greatly admired. Whereas the majority of the characters are entrapped in their world defined by rituals and principles, Kenichi Enomoto as the porter essentially plays the “fool” character, which we often find in the works of the Bard. (Rouven Linnarz)
5. Those Who Make Tomorrow (1946)
6. No Regrets for Our Youth (1946)
7. One Wonderful Sunday (1947)
8. Drunken Angel (1948)
9. The Quiet Duel (1949)
This might be Kurosawa’s most melodramatic film, often overly theatrical and moralistic, with a predictable storyline. The motivated cast, especially Toshiro Mifune in the role of the idealistic doctor, helps prevent the drama from falling into kitsch. His restrained and quieter performance does not reach the level of “Drunken Angel” or “Stray Dogs”, though. “The Quiet Duel” is a mediocre film, with the best sequence being the opening operation scene. (Alexander Knoth)
10. Stray Dog (1949)
While Akira Kurosawa did not always have the highest opinion of his 1949 effort “Stray Angel”, as he thought it was “too technical”, there is no doubt that his first collaboration with screenwriter Ryuzo Kikushima has its rightful place among the great films made by the director (he would also change his opinion on the film later on in his life). Loosely based on an unpublished novel by Belgian writer Georges Simenon, it can be seen as a precursor for his later detective dramas such as “High and Low”. As with many of his features of that time, “Stray Dog” is also a portrayal of post-war Japan, of the deep wounds left by the war and the structure of its society which is revealed to a police officer after the loss of his gun. (Rouven Linnarz)
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11. Scandal (1950)
12. Rashomon (1950)
“Rashomon” is one of Akira Kurosawa‘s most famous films, and is now considered one of the greatest films ever made. It is a very significant production for the Japanese movie industry since it marked its entrance to the world stage, a move that proved the prowess of Japanese cinema in the best way possible. “Rashomon” went on to win the Golden Lion at the Venice Film Festival in 1951, and an Honorary Academy Award at the 24th Academy Awards in 1952, among a plethora of other awards.
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13. The Idiot (1951)
14. Ikiru (1952)
Considered by many as one of the best films of Akira Kurosawa and of Japanese cinema in general, “Ikiru” is a movie that thrives on the humanism it emits and its harsh critique of bureaucracy. The story focuses on a middle-aged public servant, the chief of the department of Public Cases, who has been doing the exact same job for more than 30 years, even receiving awards for the fact that he has not missed even one day of work. His wife has died, and he lives in the same house with his son and his wife, who seem to only care about his will, however. One day, he learns that he has stomach cancer, a disease that leaves him with only a year to live. As he starts to examine his life, for the first time realizing its futility, he decides to find a purpose. After some time spent in Japan at night, first with an eccentric writer and then with an ex-colleague, Toyo, who introduces him to the night life of after-war Japan, he decides to dedicate the rest of his days to fulfilling the demands of a group of women, who want to transform an area that pollutes into a playground. In his efforts, he has to face the cruel mechanisms of bureaucracy.
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15. Seven Samurai (1954)
The 1950s are considered the Golden Age of Japanese cinema. The aftermath of World War II and particularly the atomic bomb, and the subsequent American occupation left the country scarred, but filled with inspiration and eagerness to start over. One of the most iconic films of this era is Akira Kurosawa‘s “Seven Samurai”, considered among the most influential movies of all time, and the basis for a plethora of productions, with John Sturges’ “The Magnificent Seven” being a direct adaptation. This influence became widely known, even at the time, as the film was nominated for two Oscars (Best Art Direction-Set Decoration, Black-and-White; and Best Costume Design, Black-and-White), while Kurosawa won the Silver Lion at the Venice Film Festival.
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16. I Live in Fear (1955)
When Japan started tests of atom and hydrogen bombs in the 1950s, this event divided the nation, and while many may have felt it was time to show some military strength, the majority of the Japanese population was skeptical or downright against it. Especially after the radioactive rain caused by the tests, the population was, once again after the attacks on Nagasaki and Hiroshima, confronted with the implications of fallout and radioactivity. While he directed a propaganda film for the army in the 1940s, director Akira Kurosawa quickly developed a more critical eye for the political developments in his home country and their nuclear program, which infused many of his works. A direct reaction to the tests was his 1955 feature “I Live I Fear”, a drama whose central family showcased the social divide in the nation and how one is supposed to life when all life can be extinguished so quickly.
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17. Throne of Blood (1957)
After the drama “I Live in Fear”, acclaimed director Akira Kurosawa would return to the jidaigeki with “Throne of Blood”, arguably one of the most popular works within his filmography. Being an adaptation of William Shakespeare’s “Macbeth”, the feature follows the basic structure of the play’s plot. However, Kurosawa infused the story with several elements embedded within Japanese culture, such as bushido, systems of belief and superstition. As a result, “Throne of Blood” stands out among the many adaptations of the famous drama as it stays true to its origin but at the same time explores its themes within the aforementioned cultural narratives Kurosawa has chosen for his feature. (Rouven Linnarz)
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18. The Lower Depths (1957)
19. The Hidden Fortress (1958)
After his dramatic feature “The Lower Depths”, Japanese auteur Akira Kuroswa returned to the jidai geki genre with his 1958 effort “The Hidden Fortress”. While the movie would continue his exploration of the human condition, in particular, its expression during times of war, this work also marks the first time Kurosawa would use the widescreen-format, a technology which would continue to influence his future works. Besides the often quoted “Rashomon” or “Seven Samurai”, to name just two examples, “The Hidden Fortress” may just be one of the director’s most influential features as it inspired the likes of George Lucas and his Star Wars-movies.
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20. The Bad Sleep Well (1960)
In 1959, Japanese director Akira Kurosawa was at the height of his success in his home country and had received much international praise for features such as “Rashomon” and the “Seven Samurai”, works which have defined Asian cinema and how it is perceived throughout the world to this day. To have more creative control over his works, a huge step in that direction was the foundation of the Kurosawa Production Company, especially since his projects tended to become increasingly ambitious, even though it was also linked to a huge financial risk. In that regard, it is somewhat surprising Kurosawa would make a feature like “The Bad Sleep Well”, a work inspired by William Shakespeare’s “Hamlet”, his first film after the foundation of the studio given the film’s very critical view on post-war Japan focusing on how the affiliations of politics and corporations corrode society and democratic principles.
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21. Yojimbo (1961)
Because “The Bad Sleep Well” had not performed as expected commercially, Japanese filmmaker Akira Kurosawa decided to return to the jidai-geki with what is arguably one of his most popular and most beloved films, “Yojimbo”. At the same time, Kurosawa felt the message of his previous film – a bitter image of the corruption in post-war Japan – would also work as a period film while still having the same impact on the viewer. Stylistically, as Kurosawa later admitted, he was inspired by the works of the film noir, in particular Stuart Heisler’s “The Glass Key”, a crime drama dealing with the links between organized crime and politics, as well as the kind of opportunist characters taking advantage of a corrupt system which can be seen as the foundation of the character played by Toshiro Mifune in “Yojimbo”.
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22. Sanjuro (1962)
In 1961, Akira Kurosawa released his fantastic samurai film “Yojimbo.” A movie that would be both a critical and box office success and go on to inspire countless filmmakers, such as Sergio Leone. The entertaining jidaigeki picture had many qualities to admire from its witty screenplay, stunning camerawork by legendary cinematographer Kazuo Miyagawa, fast-paced action scenes, and an outstanding performance from the great actor Toshiro Mifune in one of his most iconic roles. However, to make a sequel to such a groundbreaking piece of cinema would be a challenge. So how does the legendary director Kurosawa follow up on one of the most beloved works of his career? He follows up with “Sanjuro,” a sequel that is not only an excellent continuation but an amazing film on its own.
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23. High and Low (1963)
“High and Low” received nominations for the Golden Lion at the 24th Venice Film Festival, and the Best Foreign Film at the 21st Golden Globe Awards. It was also awarded at the Mainichi Film Awards for the Best Film, and for the Best Screenplay. Upon its release in Japan, it earned approximately $1.3 million and became the top-grossing film of 1963.
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24. Red Beard (1965)
“Red Beard” is a film that reminds one that the distance to be travelled is far longer than the distance that was already covered. Not only in the case of medical studies, which happened to be the professional field of the protagonist of the movie, but also in the whole gamut of activities of all people in this world: in their professions, in arts, in sports, in literature, in studies, in knowledge and in case of anything and everything, the unknown is several times more than the known and is spread like a vast ocean. This realisation is the essence of this Kurosawa movie.
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25. Song of the Horse (1970)
26. Tora! Tora! Tora! (1970)
27. Dodeskaden (1970)
28. Dersu Uzala (1975)
The early 1970s marked a torrid time for legendary Japanese filmmaker Akira Kurosawa. Coming off the back of his first outright commercial failure with “Dodes’ka-den” (1970) and having been fired from the Hollywood project “Tora! Tora! Tora!” (1970), the director attempted to take his own life in 1971, miraculously surviving. However, the auteur’s fortunes would take a turn the following year, as studio Mosfilm of the Soviet Union offered him the opportunity to adapt V.K. Arsenyev’s 1923 memoir “Dersu Uzala”. Having wanted to work with the material earlier in his career, Kurosawa accepted, thus producing one of his most overlooked epics. (Tom Wilmot)
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29. Kagemusha (1980)
“Kagemusha” is one of the best films Akira Kurosawa ever shot and is considered one of the definite masterpieces of world cinema. However, its production was one of the most difficult accomplishments in the master’s filmography. Initially, the film was not considered financially viable, and it took the influence of both George Lucas and Francis Ford Coppola to get additional funds for it to be completed, since Toho, the initial production company, had given up on the film. However, the problems continued during the shooting, with probably the most significant being that Kurosawa had to replace Shintaro Katsu, who was originally cast as Takeda Shingen, with Tatsuya Nakadai, after the two of them had a falling out. The production faced many additional problems, but Kurosawa eventually managed to complete the movie, with its premiere taking place in Tokyo. His struggles, however, paid off, since “Kagemusha” was a huge hit both critically and financially.
The film won the Palme d’Or at the 1980 Cannes Film Festival, was nominated for two Oscars, and won a BAFTA for direction and one for costume design, among a plethora of other awards from festivals all over the world. Its success allowed Kurosawa to shoot “Ran”. Today, “Kagemusha” holds a place among the best films of all time.
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30. Ran (1985)
Akira Kurosawa‘s last epic was probably the most notorious entry in his vast filmography, since it was the most expensive Japanese film ever produced up to that point, with a budget of $11 million. It was also almost dropped for lack of funding, and the 75-year-old master lost his wife during the shoot, in an event that only stopped him for a day. Eventually, and after many ‘skirmishes’ with the Japanese film industry, it received Oscar nominations for art direction, cinematography, costume design (which it won), and Kurosawa’s direction, after a campaign started by Sidney Lumet. It is currently considered one of the greatest films ever made.
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31. Dreams (1990)
When “Ran” was released in 1985 many cinephiles as well as critics thought it would be the swan song of director Akira Kurosawa, after a career which had spanned over 40 years starting with the first film of his in 1943. The Japanese had helped to put Japan on the map internationally in terms of cinema with classics such as “The Seven Samurai”, “Rashomon”, “Stray Dog” and “Kagemusha”. With “Ran” it was clear, considering the age of the filmmaker, that his career had probably reached its end, which was only emphasized by the fact that although “Ran” was praised by critics worldwide it made very little money.
However, it was his dream which made Kurosawa go back to the medium he had mastered so many times in the past. Ever since he heard about the dream journal of famous Russian writer Fyodor Dostoyevsky, he kept such a journal for himself which he wrote in regularly. He describes a number of recurring dreams which he had over the years, about his fears for his home country Japan as well as his own youth and childhood. While he was not able to find anyone of the Japanese studios willing to finance his film, eventually with the help of American director Steven Spielberg, who helped in convincing Warner Brothers to produce it, the movie was ready to go into production. (Rouven Linnarz)
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