L'idiot

Although severely mutilated, this film still distillates the genius of Kurosawa, unfortunately the artistic decisions are still made by the people who have the money, not by the people who have the talent.

For the people who have read Dostoievski's "The Idiot", I think this film will be an amazing experience. For the rest the movie probably won't be very clear, because the studio edited off over an hour of footage, which obviously crippled the movie.

That was the luck which Kurosawa's "The Idiot" ran. And many of other films too.

Regards

Currently clocking in at a mere 2.75 hours -- following the lopping off of 100 minutes from Kurosawa's (unreleased) original version -- this barely scratches the surface of the plot of Dostoevsky's tremendous novel. Kurosawa modernizes the story and moves it from Russia in summer to Hokkaido in winter. The great Russian director Grigori Kozintsev thought this film captured the spirit of the novel remarkably well -- and who am I to disagree. I seriously wonder whether someone unfamiliar with the novel could follow this film, in its currently disjointed state -- but for those who know and love Dostoevsky's story (and characters), this film is a delight and a revelation. By and large, the actors do a remarkable job of capturing the essence of Dostoevsky's cast. I simply cannot imagine a more suitable Rogozhin (Akama in the film) than Toshiro Mifune -- especially when watching him "merely" standing in the background looking like a bomb ready to explode. Next most convincing was Chieko Higashiyama as Satoko, Ayako's mother not Takeko's as IMDB incorrectly records (Elizaveta Prokofyevna Yepanchin in the novel). This "Edith Bunker as Russian noblewoman" character has always been one of my favorite Dostoevsky creations -- and CH gets every aspect of the character right. Setsuko Hara as Taeko (Natalia Fillipovna) and Yoshiko Kuga as Ayako (Aglaya Ivanovna) are wonderful, as is Takashi Shimura as Ono, Ayako's father (General Yepanchin). Masayuki Mori as Kameda (Prince Myshkin, the eponymous hero of the tale) is hard to assess -- as the "idiot" role is hard to envision. I am not certain that he is the perfect Myshkin, but he is certainly a touching one.

Interlinked with the extraordinarily fine acting, is Kurosawa's tremendous direction here (or what's left of it). I recently also saw an otherwise fine Russian version of "Crime and Punishment", which failed to capture the richness of tone of the novel, missing every trace of any sort of humor (an essential element of the book). Kurosawa, on the other hand, managed to ricochet from melodrama to humor to tragedy without missing a beat -- sometimes within the bounds of a single shot. Frankly, I never would have thought this possible. Another interesting facet of the direction here -- this often looked more like a silent film from the 20s or 30s than a film of the 50s.

Before watching this film, I read the 700 page novel. Obviously, Mr. Kurosawa had to omit characters and even chapters, but he has made a coherent, wonderful and even a little disturbing film about obsession. Kameda (Masayuli Mori) is given a reprieve from being shot by the Americans in Okinawa post war (a good context to begin this film, the book is set in Russia in the 1850's) and goes to relatives in Hokkaido. He sees a portrait of Taeko Nasu (Ms. Hara) and is just struck by it. He meets her and though she was about to give her answer to one man regarding marriage, she asks Kameda, a veritable stranger whom she feels knows her, to make the decision and he says no. She runs off with Akama (Mr. Mifune) and Kameda follows. Also in the mix is the young, very pretty Ayako (Yoshiko Kuga), who may instead be be throed to Kameda. The choices have to be made, but bear in mind Kameda is still beguiled by Taeko. The acting, with many actors you've seen before or since in films of the period from Japan, are all uniformly good, but no one holds a torch to Setsuko Hara's Taeko. Her role is all about expressions and emotions, and she is absolutely perfect. You see her anguish, her foreboding, her sarcasm in every scene. The beautiful Ms. Hara is just amazing in this role, as she was in so many others. If you are ambitious, read the book first and you'll see what a great job Mr. Kurosawa did in adapting and directing this film. Without reading the book, I don't think you'll like it as much but it will definitely hold your interest. Lastly, the term "The Idiot" is more about Kameda having fits (somewhat like epilepsy), not being weak of mind. One of Kurosawa's best, Setsuko Hara is phenomenal and it is an excellent adaptation to the classic novel.

"To be or not to be, that's the question."

And that's the central question that encompasses many aspects of film-making. We gather that it's all about what is and what is not, what seems and what reality is, if it can be taken for granted... but that the iconic question was raised by the appearance of a spectrum speaks another truth about cinema: it's about death as much as it's about life.

It's about death in the sense that we're watching a present that is no more and the older a film gets, the fuller of ghosts the screen is. It's also about death because fiction isn't reality in the first place. We learn about life through a ghostly present called fiction, or a living death in motion, that's the first truth. And like life, "The Idiot" opens with a scream, a seminal scream tracing the invisible frontier between life and death. It's upon that screaming truth that "The Idiot" opens in an overcrowded train where passengers are sleeping.

Kameda (Masayuki Mori) shares with Akama (Toshiro Mifune) the nightmare he just had, a dream-like flashback of the execution from which he barely escaped. After that episode where he literally saw the ghost of death coming to seize him, he made a tacit pact with destiny: anything carrying life would be instantly precious, from the dog he threw stones at as a kid to any human being, everyone was worthy of his goodness. But because of the shell shock and the war-trauma, Kameda spent time in an asylum, and his dementia was translated into an uglier word: idiot, a verbal leitmotif with the same resonance as 'stupid' in "Forrest Gump".

Kurosawa adapted Dostoyevsky's famous novel changing its Imperial Russian setting to post-war Japan. He was perhaps one of his biggest fans, considering him the most truthful author when it came to paint humanity. And indeed, you can see another truth in Kameda's behavior: he's a good person, not candid or naïve, but good because he learned to fear death, it's the awareness of his mortality that forged his goodness. Goodness is at the core of being human, because what defines our condition is death and what should define it is being good. This good/dead duality turns Makeda into a zombie-figure, a ghost sleepwalking among humans.

Normal people are too stubbornly attached to life to realize that they miss its very point. And it's only until they look at themselves through Kameda's eyes, played with quiet intensity by Mori that they're too disarmed to toy with feelings. I never really liked staring at people in the eyes because I found it like obscenely undressing them. And it's true that the titular idiot while not doing anything except reading, speaking or being present, allow these people to unmask their real selves. In a way, he is like a living metaphor of the camera, the threshold between the living and the seeming, a trigger to people's honesty.

I mentioned Forrest Gump, but the idiot can be also compared to Peter Sellers in "Being There" where his candidness was mistaken for profundity. In the case of Kameda, there is a genuine perceptiveness in his eyes, capable to see beyond the barriers of reputation or social bearings, but that capability backfires at him because you just can't idealize everyone without hurting some. Kurosawa's movies have always been about people who could 'look' but being a passive observer was only one step before action, there was no meaningless look. In "The Idiot", looking is active by essence and meaningful by necessity, not just for the observer.

Indeed, it all starts with Akama showing a picture of Taeko (Setsuko Hara) a woman he's literally buying from a "benefactor" who's literally auctioning her, Kayama played by the baby-faced Minoru Chiaki is also interested to buy her for a lesser dowry. When Kameda sees the picture of Taeko, it's not just love but truth at first sight, he can't see the whole thing, until a birthday party where he reveals with a sharp candor the amount of humanity he can read in Taeko, connecting it to the same fearful look he saw in a man who was executed. Taeko is so fascinated by the man she asks him if she should marry Kayama.

Later in the film, the triangular love has evolved, the rivalry isn't between Akama and Makeda but between Taeko and Ayako (Yoshiko Kuga) the daughter of Kameda's host played by Takashi Shimura. The two women love the same man, a situation that is likely to have two collateral damages and speaks another truth about life: the intentions no matter how good they are carry inevitable bad effects and vice versa. And Makeda's ambiguous relationship with Akama (Mifune has rarely been as intense... and sexy) reminds of their previous confrontation in "Rashomon", two men with two versions of the same story, each one living in his own fantasy or dream-like vision of life, each one driven mad because of truth.

Dreams or alternate realities are often present in Kurosawa's oeuvre, maybe to better preserve us from the painful truth as if goodness was too unbearable. The film is set in a cold wintery town, covered by snow, where people are too struck by coldness to act naturally, or during a carnival or a fancy reception where everyone plays a role and only one person stays the same, the man without a personality, a persona, a mask. He's the man who affect personalities, allowing them to transcend their condition, encouraging a woman with a reputation to emancipate herself, a crook to apologize and the weakly Mayaka to renounce money.

Every scene is staged with an opposition between passive liveliness and active inertia, reminding of that transcendent power of the camera, a frontier between life and death, dream and reality. The film speaks so many truths (a word I used a lot) maybe at the risk of being overlong, but it carries an irresistible poetry of its own.

Masayuki Mori, the slain husband from Roshomon, is fantastic as Kameda, a pure and simple, yet insightful, man who remains mentally frail after recovering from a breakdown. The film chronicles his relationships with two very different women, both in love with him, and with the volatile and violent Akama, a perfect part for Toshiro Mifune. Prior to reading the novel, I found the plot disjointed and difficult to follow. I think this film is best appreciated as a series of set pieces. The interaction among the players in each scene is completely absorbing as Kameda, through his passivity and selflessness, elicits a whole range of emotions from the rest of the cast. Minoru Chiaki, the woodchopper samurai from Seven Samurai, has a small but absolutely riveting role.

The 2003 Russian miniseries by Vladimire Bortko, at nearly 10 hours, captures far more of Dostoyevski's novel than does this film. However, somehow, Kurosawa has been able to capture the essence of the novel. It's a shame that over an hour was cut from the film and is now lost.

Setsuko Hara is tremendous as the "Natassya" character from the novel and Chieko Higashiyama as the "Lizaveta" character. Both are regulars from Ozu films but its unusual to find them together in Kurosawa.

If you have read the novel, you won't have any trouble following the story, even though it has been transposed from czarist Russia to Post-WW II Japan. If you don't know the story, just enjoy the incredible acting and direction of Kurosawa.