Zwischen Himmel und Hölle

This is one of the outstanding detective films. For me, the most remarkable feature of this film is its architecture - the beginning is a long, static set piece taking place in one room. however, about a third of the way through the movie, it erupts into action, showing the resourcefulness of a largely blue collar police force tracking a lone sociopathic criminal.

The film is a fascinating portrait of '60's Japan, but at the same time reveals its roots in Ed McBain's _King's Ransom_, from which it was taken.

This is one of those films which doesn't seem to age after several viewings. Especially affecting are the police detectives, whose proletarian roots contrast sharply with the cold insensitivity of the powerful corporate executives. But the police find a hero in Gondo, the rebellious general manager who stakes his entire fortune to rescue his chauffeur's son. The admiration that the police detectives feel for him is one of the key emotions in the film.

A child of a chauffeur is mistakenly kidnapped in the place of a businessman's son. The businessman, involved in a high-stakes takeover of his company from his erring bosses, chooses to risk losing his shirt to pay the ransom for a child not his own. While the clock is ticking on both the businessman's fortune and the child's life, the police decide that they want a sure conviction rather than a quick arrest.

A suspenseful crime story based on a novel by Evan Hunter (aka Ed McBain) transported to 1960's Japan. The soon to be famous "Economic miracle" is in full swing as Japan rebuilds its war-ravaged landscape. The mix of optimism and despair of the people in the thick of this economic transformation is palpable beneath the multiple story lines of scrappy cops following their hunches, the inventive kidnapper and the businessman.

Toshiro Mifune shines as the businessman while Tatuya Nakadai makes a fine appearance as Inspector Tokura. Tsutomu Yamazaki as the kidnapper debuts into a glorious career. Many of the bit players who appear only briefly eventually became big stars notably Eijiro Tono as the worker in a shoe factory and Nekohachi Edoya as the charming engineer who identifies a train, gesturing with chopsticks, by merely listening to recorded sounds.

Kingo Gondo is a wealthy executive at the National Shoes company in Yokohama. He aims to make affordable, sturdy footwear for the masses. His co-workers opt instead for those of the cheap, low-quality variety that will wear easily, meaning they will need to be replaced often. In secret, Gondo organizes a leveraged buyout of the company, mortgaging all he has to afford it. However, just before he makes the deal, the son of his chauffeur is kidnapped and held for ransom. It's clear the kidnappers intended to kidnap Gondo's child, and he feels just as responsible as if they had. Will the police- led by the capable Inspector Tokura- be able to find the child and solve the extortion plot before it's too late?

Loosely based on Ed McBain's novel 'King's Ransom,' Akira Kurosawa's 'High and Low' is a powerful police procedural that will keep viewers' attentions held rapt from start to finish. With a screenplay by Kurosawa, Hideo Oguni, Ryûzô Kikushima and Eijirô Hisaita, the film examines many themes in an eloquent manner, including those of honor and morality. It also paints a picture of then-contemporary Yokohama as a city built upon an endemic inequality between the classes, and shows how easily the disenfranchised and impecunious can fall into a life of crime.

'High and Low' is a tense thriller that feels most authentic. Kurosawa shows us with precision the minutia that the police engage in, how they build their case and begin scavenging the city for clues to the kidnapping. Slowly, but steadily, headway is made, and Kurosawa doesn't rush the procedural process of the investigation. This is not to say the film is in any way slow-moving or drawn out, because the opposite is the case: 'High and Low' rockets along at a brisk pace, feeling all too short at 143 minutes; if anything.

The film reunites Kurosawa with cinematographers Asakazu Nakai and Takao Saitô, whose camera-work and shot construction is mightily impressive. 'High and Low' has an assured visual style, and the utilization of shadows is most striking. There is one instance of color being used in the film, which is to great effect; while the remainder of the black and white cinematography is rich and textured. Though he made some beautiful looking pictures in his time, the naturalism and style with which 'High and Low' is captured makes it a standout in Kurosawa's filmography.

As do the terrific, power-house performances from his cast. His second-to-last collaboration with the incomparable Toshirô Mifune, here his original muse stars as Gondo, giving a masterful performance of much restraint. Mifune creates in Gondo an initially fastidious character, whose evolution over the course of the film feels both authentic and subtle. Often, when one thinks of Kurosawa and Mifune, the Samurai pictures spring first to mind; though their work together here is just as impactful and entertaining as any of those earlier films.

Co-starring as Inspector Tokura is Kurosawa's second muse, the great Tatsuya Nakadai. Always a commanding presence on screen, he plays Tokura as a charming, determined detective who will do anything to catch his man. Though he has less emotional volubility to exhibit in the role, Nakadai performs just as strongly as Mifune; and neither man overshadows the other. Additionally, in a small but pivotal role stars Tsutomu Yamazaki, who showcases much depth and range, leaving a lasting impression on the viewer.

Thrilling from beginning to end, Akira Kurosawa's 'High and Low' is a brilliant piece of film noir, featuring an interesting examination of class at its center. Boasting stunning cinematography, as well as strong performances from all in the cast, there is little fault one can find with it. If you haven't seen it before, and you're a fan of police procedurals, they look no further: for 'High and Low' is a masterpiece of the genre.

"High and Low" is one of those deceptive detective-thrillers that sneak in under your radar and grab you from behind with their storytelling magic. It's proof positive of Kurosawa's mastery of film and all its imagery.

The story was adapted from an Ed McBain "87th Precinct" novel, "King's Ransom", and is really very simple. A successful businessman (Mr. Gondo) in the middle of a major deal is told his son has been kidnapped. All concerns about money fly out the window...until Gondo learns it was actually his chauffeur's son who was taken by mistake. Doesn't matter; the kidnapper still wants him to pay the ransom, even though it will bankrupt him. Will Gondo destroy his standing in the business world to save the life of a child that is not even his? Or will he just leave it to the police and fate to determine whether the child lives or dies? This makes up the first half of the film.

The second half deals with the search for the kidnapper and his accomplices, and it does not shy away from showing how dull and grueling good police work is. Step by step, the cops narrow their field of suspects and build their evidence to link their prey to murder as well as the kidnapping, meaning he would face execution. This makes up the second half of the film.

It helps to know that in the original story, the businessman refuses to pay the ransom but does help the police track down the kidnappers. It also helps to understand that in Japan, working your way up from making shoes and satchels by hand to being in a position where you could wind up owning the company is a HUGE accomplishment in a caste driven society. It means he is due additional respect, and this is what Gondo faces losing if he pays the ransom, which is far more important than the fact that he will be driven into bankruptcy.

From the first scene through an amazingly exciting section on a bullet train to the ending moments between Gondo and the kidnapper, Kurosawa shows exactly why he is a master of cinema. To take what is basically an episode of "Law and Order" and make it into a meditation on the meaning of life and evil is not something just any film school twit could do.

To me, the best moment on a human level comes when Gondo descends the stairs the morning after the kidnapping to explain to the police why he cannot pay the ransom for a child not even his. You can see the man realizing he is allowing himself go to hell in order to protect his family and station in life, and Toshiro Mifune underplays it beautifully...and Kurosawa lets it just simply happen. Wonderful.

THIS is the movie Mel Gibson's "Ransom" wishes it had been. something real and human and meaningful instead of merely kick-ass.

Ten out of ten stars.

This is one of those rare movies I had to watch twice to catch all the meaning and beauty of its construction, that is how sleek and polished this film is. The storyline is deceptively simple -- a businessman named Gondo is about to take control of the company he's worked in for years when he's told his son's been kidnapped. It turns out the kidnappers got his chauffeur's son by mistake, but they still want him to pay the ransom. If he does, he will be financially ruined. If he doesn't, he will be reviled. Which will he choose? This makes up the first half of the movie, culminating in a breathtaking scene on one of Japan's bullet trains. The second half is the police search for the kidnapper/murderer and how a case is built that will take him to the gallows.

Now this sounds like your typical cop thriller, the type Hollywood churns out with one hand tied behind its back, but Kurosawa makes it into a meditation on honor and decency, and on how one's choices can lead one to Heaven or to Hell in little steps that seem to be taking you nowhere. Gondo is an honorable man who worked hard to built himself a life of wealth and power. This is no small feat, considering Japan is not known as a society where one can easily change one's station in life, so this adds to his dilemma; he will not only lose his fortune, he will also lose his hard-gained power and respect in the business community, all for a child that is not even his. And not only will he lose but his own wife and son will, as well. But to NOT pay the ransom means he will lose everything in him that is human and decent, and his wife and son will suffer from that, too.

This is a big deal -- not just in Japanese society but in the world as a whole. It doesn't matter if you live in Nepal or Kenya or Argentina or New York City, when faced with the choice of losing your position in your society or losing your soul, which would you choose? And would you still make that choice knowing that even if the cops catch the bad guy, it will make no difference in your own circumstances? Just a glance at some of the recent stock scandals gives you a good idea of where most people fall in their choices. And even Ed McBain, upon whose novel this movie is based, knew how hard it would be to give up your world for your spirit; his businessman refuses to pay the ransom.

To me, this movie is Kurosawa at his best and most subtle. Every shot is composed and measured and done just right. Not all films have to have bombs exploding and chase scenes and people going "Boo!" to affect you; sometimes just a man riding on a train en route to what he knows will be a catastrophe to him and his world is enough to make you thank the heavens for a story well told.