Akira Kurosawa, a lover of horses since his youth, spent a lot of time at the Hippodrome in Meguro. In the 1940s, he wrote a screenplay titled “Jajauma Monogatari” (The Story of a Bad Horse), which was never realized. During a career stagnation after “Red Beard” in 1965, he made his only documentary film, “Song of the Horse“, in collaboration with Ryo Kinoshita and his production company Kurosawa Productions and Nippon TV.
The documentary is divided into two main parts: the first focuses on the birth and breeding of a racehorse, while the second part delves into horse races in Japan, particularly highlighting the story of Shinzan, a successful stallion. Preceding these parts is a prologue that places the narrative within a broader cultural context, exploring the historical relationship between humans and horses in Japan. The film also introduces the role of horses in Japanese religious customs and folklore.
Narration is provided by two actors, Noboru Mitani and Hiroyuki Kawase, who portray a father and son, engaging in a dialogue that explains the scenes and adds a lively touch to the storytelling. In contrast to the merely didactic voice-over technique seen in most other documentaries, this is a rather unorthodox way of narration. It feels welcoming and intimate and helps the documentary to have a real charm. The narration also adds up to Kurosawa’s aim to personify the animals. Like in “Dersu Uzala” (1975) and in some scenes of “Madadayo” (1993), he uses attributions and comparisons to equate humans and animals expressing his deep respect for all living creatures.
The film is a stylistic reference to Kurosawa’s fiction films, featuring subtle light-and-shade aesthetics and a focus on movement. It is noteworthy that Kurosawa had never directed a color film before this documentary and “Dodes’ka-den” in 1970. The use of climatic changes like rain, sunlight, and mist, along with motifs of galloping horses and ocean waves, creates a poetic rhythm. The eclectic score by Masaru Sato, incorporating various instruments and electronic devices, enhances the adventurous and experimental feel of the film.
The overall format may not be very Kurosawa-esque, but some of the cinematography is truly captivating. The framing and compositions are exceptional, with the filmmaker and DP successfully capturing moments of ethereal beauty. There are stunning shots of horses in motion, wind sweeping through fields, and perfectly framed scenes. It truly is a visual feast at times.
Nevertheless, the picturesque scenes also act as a stark reminder of the extent to which humanity has ravaged the natural world. Several of Kurosawa’s films from 1948 onwards critique consumer culture, and “Song of the Horse” also offers a critical commentary on a contemporary Japan where machines have supplanted horses. Later on, we observe young horses being separated from their parents and sold for racing purposes. The auction scene for horses seems as peculiar as a fashion show for humans. Horses are paraded before interested buyers, bought for a good sum of money, and then trained and raced to bring glory to their owners. This highlights the delicate line between nature and capitalism, a concept that Kurosawa delved into in “Dersu Uzala” It also serves as a reflection on the peculiarities of the human race.
