Dodeskaden

Another demonstration of Kurosawa's genius, his first colour film is a darkly surreal look into the tragic lives of Tokyo slum dwellers, essentially a series of interweaving vignettes depicting several groups of people eking out a perilous existence in a harsh and uncaring post-war shanty town. Swinging from comedy to tragedy and back, this film shows how people deal with the worst kind of life each in their own way, mostly retreating into themselves and living in the fantasy worlds of their own heads, withdrawing emotionally from those around them or drowning themselves in alcohol. Mixing kitchen-sink realism with Kabuki-esque theatrics, Kurosawa toys expertly with the emotions of his audience, drawing tears and laughter with equal deftness. A wonderful, draining experience.

Dodes'ka-den is the monotonous sound of the trolley clickety-clacking down the rails; the mindless drone of a brain damaged or retarded "trolley freak" acting out his repetitive fantasy in the Tokyo city dump where he lives with his long-suffering mother; and, a cinematic masterpiece from Kurosawa.

The film doesn't have a traditional plot, it's a snapshot of the lives of a strange ensemble of characters who live in the dump. (In much of the third world today, municipal dumps are inhabited by poor people who scavenge trash to make their living. It wasn't that long ago that the same was true in the US, by the way. In the late 1800's the NYC dump was home to a population of desperate scavengers too.) Kurosawa does his usual brilliant job of creating a full spectrum of characters, except that here most of them are damaged and dysfunctional. Kurosawa is loved for his portrayals of honor, courage, and heroism. Some find it more difficult to appreciate his unblinking examination of loss, failure, wickedness and despair. This film lays bare some of the dark corners of the human heart, and presents the full spectrum of human reality, warts and all - but with an emphasis on the warts.

It's not a dark film nonetheless. These tragic blighted lives are shown with zen clarity and humor. We see a cross-section of human psychology, both good and bad, and the genius of Kurosawa makes it clear that each of us share the feelings and foibles of these Tokyo dregs.

The title is onomatopoeic, the sound of a streetcar clacking on the rails. It is metaphoric for all that the people who live in the dump cannot have. The misery of those people is illustrated by the passing streetcar which represents the relatively unobtainable rich life of the middle class. The pathos of the little boy and his beloved yet sadly insane father is most touching. This was Kurosawa's first film in colour and he uses beautifully shocking hues, colours seen only in dreams. The movie is surreal and surpassing in beauty. The compassion for humanity is the underling force, but as always, Kurosawa is focused on capturing the beauty of the film. It is a masterwork by a genius of cinema.

This is a movie about the small scale. What could be more fitting for contemporary Japan?

It's too easy to give Kurosawa his laurels on the strength of the Toshiro Mifune films, his great panoramas of mist and rain, and Fuji, always, shrouded, revealed. Dodesukaden (Dodeska-Den in the US release from Janus) brings you right up into the characters, right into their faces, their homes, their hovels, their dreams. It's billed as Kurosawa's first color film. The composition is phenomenal, really. Each shot, no matter how it moves or how it doesn't, is as wonderfully framed as a painting, as balanced as a beautiful face. The color saturation is complete, and yet they seem to float above the screen rather than clobber you or intrude.

I am astounded by this film. I've never thought of Kurosawa as someone who would know how to handle squalor and the rude life of the bottom of the underclass. I was wrong. There isn't a false step in this picture, from the use of color to the editing to the choice of music and the times it's used. It's as moving a portrait of a community as I'll ever see. Dodesukaden belongs at the top of the canon of Kurosawaa's work, with Ran and The Hidden Fortress next to it.

The daily lives of those who live in a slum on the outskirts of Tokyo, forgotten by time and society.

The film is a mix of several stories, from neighbors who share the same house (and wives), to others isolated from the world and life itself.

The narrative is interesting, it's like a case study of a community that even living in the worst conditions is able to dream and be happy, and even with almost nothing they cling to it with all their strength. It was Kurosawa's first color film, where the director clearly sees himself adapting to that format.

Some scenes are a bit too long, where almost nothing goes on and evolves, which can lead to a bit of distraction by the viewers, if they are easy to get bored.

This film needs to be talked about more when someone discusses Kurosawa's filmography.