Akira Kurosawa
Akira Kurosawa was a Japanese filmmaker who directed 30 feature films in a career spanning six decades. With a bold and dynamic style strongly influenced by Western cinema yet distinct from it, he is widely regarded as one of the greatest and most influential filmmakers in the history of cinema. Known as a filmmaker, he was heavily involved with all aspects of production as a director, writer, producer, and editor.
Following a brief stint as a painter, Kurosawa entered the Japanese film industry in 1936. After years of working on numerous films as an assistant director and screenwriter, he made his directorial debut during World War II with the popular action film Sanshiro Sugata, released when he was 33 years old. Following the war, he cemented his reputation as one of the most important young filmmakers in Japan with the critically acclaimed Drunken Angel, in which he cast the actor Toshiro Mifune in a starring role; the two men would then collaborate on 15 more films.
Rashomon premiered in Tokyo and became the surprise winner of the Golden Lion at the 1951 Venice Film Festival. The commercial and critical success of the film opened up Western film markets to Japanese films for the first time, which in turn led to international recognition for other Japanese filmmakers. Kurosawa directed approximately one film per year throughout the 1950s and early 1960s, including a number of highly regarded and often adapted films, including Ikiru, Seven Samurai, Throne of Blood, The Hidden Fortress, Yojimbo, High and Low, and Red Beard. He became much less prolific after the 1960s, though his later workincluding two of his final films, Kagemusha and Ran continued to receive critical acclaim.
In 1990, Kurosawa accepted the Academy Award for Lifetime Achievement. He was posthumously named "Asian of the Century" in the "Arts, Literature, and Culture" category by AsianWeek magazine and CNN, who cited him as one of the five people who most prominently contributed to the improvement of Asia in the 20th century. His career has been honored by many releases in many consumer media in addition to retrospectives, critical studies, and biographies in both print and video.
Biography
Childhood to war years (1910–1945)
Childhood and youth (1910–1935)
Kurosawa was born on March 23, 1910, in, . However, he once claimed he was born in Akita and later came to Tokyo as an infant. His mother, Shima, came from a merchant's family in Osaka; his father, Isamu, was a member of a samurai family from Akita Prefecture and worked as the director of the Army's Physical Education Institute's lower secondary school. Akira was the eighth and youngest child of the moderately wealthy family, with two of his siblings already grown up at the time of his birth and one deceased, leaving him to grow up with three sisters and a brother.In addition to promoting physical exercise, Isamu was open to Western traditions, and considered theatre and cinema to have educational merit. He encouraged his children to watch films; a young Kurosawa viewed his first films at the age of six. He attended elementary school and became close friends with Keinosuke Uekusa, while an important formative influence was his teacher Mr. Tachikawa, whose progressive educational practices ignited in him first a love of drawing and then an interest in education in general. During this time, he also studied calligraphy and Kendo swordsmanship.
Another major childhood influence was Kurosawa's older brother by four years, Heigo. In the aftermath of the Great Kantō earthquake and the subsequent Kantō Massacre of 1923, Heigo took the 13-year-old Kurosawa to view the devastation. When Kurosawa wanted to look away from the corpses of humans and animals scattered everywhere, Heigo forbade him to do so, encouraging him to instead face his fears by confronting them directly. Some commentators have suggested that this incident would influence Kurosawa's later artistic career, as he was easily willing to confront and explore unpleasant truths in his work. Heigo was academically gifted, but after failing to secure a place in Tokyo's foremost high school, he began to detach himself from the rest of the family and preferred to concentrate on his interest in foreign literature. In the late 1920s, Heigo quickly made a name for himself as a benshi for Tokyo theaters showing foreign films. Kurosawa, who at this point planned to become a painter, moved in with Heigo and the two became inseparable.
With Heigo's guidance, Kurosawa avidly watched not only films but also theater and circus performances, while exhibiting his paintings and working for the left-wing Proletarian Artists' League. He was never able to make a living with his art, and lost his enthusiasm for painting due to this and his growing belief that most of the proletarian movement boiled down to "putting unfulfilled political ideals directly onto the canvas". With the increasing production of talking pictures in the early 1930s, film narrators like Heigo began to lose work, and Kurosawa moved back in with his parents. In July 1933, Heigo took his own life; Kurosawa has commented on the lasting sense of loss he felt at his brother's death, and the chapter of Something Like an Autobiography that describes it—written nearly 50 years after the event—is titled "A Story I Don't Want to Tell". Just four months after Heigo's suicide, Kurosawa's eldest brother also died, leaving 23-year-old Kurosawa as the sole surviving brother amongst his three sisters.
Director in training (1935–1941)
In 1935, the new film studio Photo Chemical Laboratories, known as P.C.L., advertised for assistant directors. Although he had demonstrated no previous interest in film as a profession, Kurosawa submitted the required essay, which asked applicants to discuss the fundamental deficiencies of Japanese films and find ways to overcome them. His half-mocking view was that if the deficiencies were fundamental, there was no way to correct them. Kurosawa's essay earned him a call to take the follow-up exams, and director Kajirō Yamamoto, who was among the examiners, took a liking to Kurosawa and insisted that the studio hire him. Kurosawa joined P.C.L. in February 1936, at the age of 25.During his five years as an assistant director, Kurosawa worked under numerous directors, but by far the most important figure in his development was Yamamoto. Of his 24 films as A.D., he worked on 17 under Yamamoto, many of them comedies featuring the popular actor Ken'ichi Enomoto, known as "Enoken". Yamamoto nurtured Kurosawa's talent, promoting him directly from third assistant director to chief assistant director after a year. Kurosawa's responsibilities increased, and he worked at tasks ranging from stage construction and film development to location scouting, script polishing, rehearsals, lighting, dubbing, editing, and second-unit directing. In the last of Kurosawa's films as an assistant director for Yamamoto, Horse, Kurosawa took over most of the production, as his mentor was occupied with the shooting of another film.
Yamamoto advised Kurosawa that a good director needed to master screenwriting. Kurosawa soon realized that the potential earnings from his scripts were much higher than what he was paid as an assistant director. He later wrote or co-wrote all his films and frequently penned screenplays for other directors such as Satsuo Yamamoto's film, A Triumph of Wings. This outside scriptwriting would serve Kurosawa as a lucrative sideline lasting well into the 1960s, long after he became famous.
Wartime films and marriage (1942–1945)
In the two years following the release of Horse in 1941, Kurosawa searched for a story he could use to launch his directing career. Towards the end of 1942, about a year after the Japanese attack on Pearl Harbor, novelist Tsuneo Tomita published his Musashi Miyamoto-inspired judo novel, Sanshiro Sugata, the advertisements for which intrigued Kurosawa. He bought the book on its publication day, devoured it in one sitting, and immediately asked Toho to secure the film rights. Kurosawa's initial instinct proved correct as, within a few days, three other major Japanese studios also offered to buy the rights. Toho prevailed, and Kurosawa began pre-production on his debut work as director.Shooting of Sanshiro Sugata began on location in Yokohama in December 1942. Production proceeded smoothly, but getting the completed film past the censors was an entirely different matter. The censorship office considered the work to be objectionably "British-American" by the standards of wartime Japan, and it was only through the intervention of director Yasujirō Ozu, who championed the film, that Sanshiro Sugata was finally accepted for release on March 25, 1943. The movie became both a critical and commercial success. Nevertheless, the censorship office would later decide to cut out some 18 minutes of footage, much of which is now considered lost.
He next turned to the subject of wartime female factory workers in The Most Beautiful, a propaganda film which he shot in a semi-documentary style in early 1944. To elicit realistic performances from his actresses, the director had them live in a real factory during the shoot, eat the factory food and call each other by their character names. He would use similar methods with his performers throughout his career. During production, the actress playing the leader of the factory workers, Yōko Yaguchi, was chosen by her colleagues to present their demands to the director. She and Kurosawa were constantly at odds, and it was through these arguments that the two paradoxically became close. They married on May 21, 1945, with Yaguchi two months pregnant, and the couple would remain together until her death in 1985. They had two children, both surviving Kurosawa as of 2026: a son, Hisao, born December 20, 1945, who served as producer on some of his father's last projects, and Kazuko, a daughter, born April 29, 1954, who became a costume designer.
Shortly before his marriage, Kurosawa was pressured by the studio against his will to direct a sequel to his debut film. The often blatantly propagandistic Sanshiro Sugata Part II, which premiered in May 1945, is generally considered one of his weakest pictures. Kurosawa decided to write the script for a film that would be both censor-friendly and less expensive to produce. The Men Who Tread on the Tiger's Tail, based on the Kabuki play Kanjinchō and starring the comedian Enoken, with whom Kurosawa had often worked during his assistant director days, was completed in September 1945. By this time, Japan had surrendered and the occupation of Japan had begun. The new American censors interpreted the values allegedly promoted in the picture as overly "feudal" and banned the work. It was not released until 1952, the year another Kurosawa film, Ikiru, was also released. Ironically, while in production, the film had already been savaged by Japanese wartime censors as too Western and "democratic", so the movie most probably would not have seen the light of day even if the war had continued beyond its completion.