Nachtasyl

Having watched Kurosawa's retelling of Dostoyevsky's "The Idiot" a couple weeks ago, and come away feeling that one viewing was already a bit too much, I was not expecting much from this. After all, Gorky is generally regarded as a notch or three below Dostoyevsky.

But whereas "The Idiot" did not begin to mesh with a Japanese idiom, "The Lower Depths" fits in very well indeed. Much of the film involves the hopes, dreams, schemes and machinations of a handful of characters, all fixated on escaping the tenement and its soul-numbing poverty.

An enigmatic old man who appears one day and spends some time in the hovel has a salutary effect on several of the residents, merely by dint of a level of kindness and sympathy that any of us would take for granted. When he leaves, the spark of compassion he has kindled dies quickly. Yet before he arrives and after he has left, there nonetheless remains a minimal spirit of camaraderie. I have not read Gorky's novel, but the "depths" here may (be taken to) refer to this bare-minimum level of feeling for one's fellow paupers.

Running through the script is the theme of lies and (self-)deception, and how they can ease the bitter reality that society's outcasts must face every day. This above all works well here, for the Japanese themselves have a utilitarian (so to speak) view of truth and falsehoods. The hoary Japanese adage "uso mo houben", often rendered "a white lie can be expedient", could have been a tagline for this movie; for the alcoholic ex-actor and several others have little other than self-delusion to help them get through another day.

Kurosawa manages to inject a measure of droll comedy while keeping the grim facts unprettified, showing us how the luckless souls at the very bottom of society grasp at the slimmest of hopes and somehow manage (...or don't manage) to keep on going. Superb.

The Criterion Collection offers two different film versions of "The Lower Depths": one made in 1936 by Jean Renoir and another one made in 1957 by Kurosawa. The two directors never worked together on either film. In fact, they only met once in their lives, many years later. Both films are based on Russian writer Maxim Gorky's 1902 play, which describes life in a miserable slum where most characters have lost all sense of hope. Renoir deals with this serious subject matter in a much more humorous and amusing way than Kurosawa, whose film is slower, decidedly somber and a lot more difficult to digest. While Renoir's work takes the viewer in and out of the slums, Kurosawa doesn't allow one to see beyond the wretchedness of the underworld. Both films are great, but it was probably Kurosawa's which left a more durable and deeper impression on me.

LOWER DEPTHS perhaps isn't the place to start if you're completely unfamiliar with Kurosawa - but it still ranks as one of his great films, and definitely one of his most underrated.

Based on a Maxim Gorky play (an earlier Jean Renoir film draws upon the same source material), LOWER DEPTHS seems a bit stagey at first, but Kurosawa manages to enliven it considerably - the performances are all top-notch, and the combination of skillful editing (straight cuts only here, but the usual Kurosawa multi-camera shooting method) and inventive set design (with diagonals and angles trapping characters, heighetning the intensity of the dialogue and acting) making this an unforgettable film to watch - easily as accomplished as the better known THRONE OF BLOOD from a little earlier. One will definitely note how tightly constructed - in all ways - this film is.

This film does (along with IKIRU, RED BEARD and HIGH & LOW) illuminate some of Kurosawa's underlying philosophies, specifically a sense of social realism in cinema that can cast a critical gaze upon injustice, and in this film a sense of anger and frustration is articulated with an unusual degree of eloquence, testament to both Kurosawa's technical virtuosity, and his greater awareness of the world.

But for all of the cruelty on display here, there's an equal amount of humor, typically irreverent and loaded with sly social commentary, but also spontaneous: the two impromptu musical episodes, which blend Japanese theatrical conventions with a Chaplin-like sense of visual choreography to very striking effect.

Not as well known as SEVEN SAMURAI, THRONE OF BLOOD or YOJIMBO, but just as accomplished - filled with delight and insight.

"Donzoko" does not rank among Akira Kurosawa's finest films, but that doesn't mean it should be dismissed, considering the quality of his body of work.

Not many films have explored the moral decadence of humanity in face of poverty such as "Donzoko". It reminds us of how most humans are, deep down, only worried about themselves and their own worldy pleasures.

The inclusion of the "Old Man" gives the film an almost Buddhist insight into the situation of the slum, which helps painting its extremely intriguing - even if limited - canvas.

7.7/10

This movie is less easily accessible than other movies by Akira Kurosawa. None of the samurai honor, swordfighting action or visual beauty of his more well known efforts, Still, if you give yourself the time to view and appreciate it, it is a strong, involving movie with better staying power than most of what hits the silver screen in a typical season.