Editing Akira Kurosawa (section)

==== International recognition (1950–1958) ====
After finishing ''Scandal'', Kurosawa was approached by [[Daiei Film|Daiei studios]] to make another film for them. Kurosawa picked a script by an aspiring young screenwriter, [[Shinobu Hashimoto]], who would eventually work on nine of his films. Their first joint effort was based on [[Ryūnosuke Akutagawa]]'s experimental short story "[[In a Grove]]", which recounts the murder of a samurai and the rape of his wife from various different and conflicting points of view. Kurosawa saw potential in the script and, with Hashimoto's help, polished and expanded it and then pitched it to Daiei, who were happy to accept the project due to its low budget.<ref>{{Harvnb|Galbraith|pp=127–138}}</ref>

The shooting of ''[[Rashomon (film)|Rashomon]]'' began on July 7, 1950, and, after extensive location work in the primeval forest of [[Nara, Nara|Nara]], wrapped on August 17. Just one week was spent in hurried post-production, hampered by a studio fire, and the finished film premiered at Tokyo's [[Imperial Theatre (Japan)|Imperial Theatre]] on August 25, expanding nationwide the following day. The movie was met by lukewarm reviews, with many critics puzzled by its unique theme and treatment, but it was nevertheless a moderate financial success for Daiei.<ref>{{Harvnb|Kurosawa|1983|pp=180–187}}</ref><ref>{{Harvnb|Nogami|pp=82–99}}</ref><ref>{{Harvnb|Galbraith|p=132}}</ref>

[[File:Vasily Perov - Портрет Ф.М.Достоевского - Google Art Project.jpg|thumb|upright|[[Fyodor Dostoevsky]] wrote ''[[The Idiot]]'', which Kurosawa adapted into a [[The Idiot (1951 film)|Japanese film of the same name]] in 1951. [[Vasily Perov|Perov's]] portrait from the 1800s]]
Kurosawa's next film, for Shochiku, was ''[[The Idiot (1951 film)|The Idiot]]'', an adaptation of the novel by the director's favorite writer, [[Fyodor Dostoevsky]]. The story is relocated from Russia to [[Hokkaido]], but otherwise adheres closely to the original, a fact seen by many critics as detrimental to the work. A studio-mandated edit shortened it from Kurosawa's original cut of 265 minutes to just 166 minutes, making the resulting narrative exceedingly difficult to follow. The severely edited film version is widely considered to be one of the director's least successful works and the original full-length version no longer exists. Contemporary reviews of the much shortened edited version were very negative, but the film was a moderate success at the box office, largely because of the popularity of one of its stars, [[Setsuko Hara]].<ref>{{Harvnb|Galbraith|pp=144–147}}</ref><ref>{{Harvnb|Prince|pp=135–142}}</ref><ref>{{Harvnb|Yoshimoto|pp=190–193}}</ref><ref>{{Harvnb|Richie|1999|pp=81–85}}</ref>

Meanwhile, unbeknownst to Kurosawa, ''Rashomon'' had been entered in the [[Venice Film Festival]], due to the efforts of [[Giuliana Stramigioli]], a Japan-based representative of an Italian film company, who had seen and admired the movie and convinced Daiei to submit it. On September 10, 1951, ''Rashomon'' was awarded the festival's highest prize, the [[Golden Lion]], shocking not only Daiei but the international film world, which at the time was largely unaware of Japan's decades-old cinematic tradition.<ref>{{Harvnb|Galbraith|p=136}}</ref>

After Daiei briefly exhibited a subtitled print of the film in Los Angeles, [[RKO Pictures|RKO]] purchased distribution rights to ''Rashomon'' in the United States. The company was taking a considerable gamble. It had put out only one prior subtitled film in the American market, and the only previous Japanese talkie commercially released in New York had been Mikio Naruse's comedy, ''[[Wife! Be Like a Rose!]]'', in 1937: a critical and box-office flop. However, ''Rashomon''{{'}}s commercial run, greatly helped by strong reviews from critics and even the columnist [[Ed Sullivan]], earned $35,000 in its first three weeks at a single New York theatre, an almost unheard-of sum at the time.

This success in turn led to a vogue in America and the West for Japanese movies throughout the 1950s, replacing the enthusiasm for [[Italian neorealism|Italian neorealist]] cinema.<ref>{{Harvnb|Galbraith|pp=137–142}}</ref> By the end of 1952 ''Rashomon'' was released in Japan, the United States, and most of Europe. Among the Japanese film-makers whose work, as a result, began to win festival prizes and commercial release in the West were [[Kenji Mizoguchi]] (''[[The Life of Oharu]]'', ''[[Ugetsu]]'', ''[[Sansho the Bailiff]]'') and, somewhat later, [[Yasujirō Ozu]] (''[[Tokyo Story]]'', ''[[An Autumn Afternoon]]'')—artists highly respected in Japan but, before this period, almost totally unknown in the West.<ref>{{Harvnb|Bock|1978|pp=35, 71}}</ref> Kurosawa's growing reputation among Western audiences in the 1950s would make Western audiences more sympathetic to the reception of later generations of Japanese film-makers ranging from [[Kon Ichikawa]], [[Masaki Kobayashi]], [[Nagisa Oshima]] and [[Shohei Imamura]] to [[Juzo Itami]], [[Takeshi Kitano]] and [[Takashi Miike]].

His career boosted by his sudden international fame, Kurosawa, now reunited with his original film studio, Toho (which would go on to produce his next 11 films), set to work on his next project, {{lang|ja-latn|[[Ikiru]]}}. Based on [[Leo Tolstoy]]'s ''[[The Death of Ivan Ilyich]]'', the movie stars Takashi Shimura as a cancer-ridden Tokyo bureaucrat, Watanabe, on a final quest for meaning before his death.<ref>{{cite journal |last=Simone |first=R. Thomas |date=1975 |title=The Mythos of "The Sickness Unto Death" Kurosawa's "Ikiru" and Tolstoy's "The Death of Ivan Ilyich" |url=https://www.jstor.org/stable/43795380 |journal=Literature/Film Quarterly |volume=3 |issue=1 |pages=2–12 |jstor=43795380 |access-date=April 27, 2024}}</ref> For the screenplay, Kurosawa brought in Hashimoto as well as writer [[Hideo Oguni]], who would go on to co-write twelve Kurosawa films. Despite the work's grim subject matter, the screenwriters took a satirical approach, which some have compared to the work of [[Berthold Brecht|Brecht]], to both the bureaucratic world of its hero and the U.S. cultural colonization of Japan. (American pop songs figure prominently in the film.) Because of this strategy, the filmmakers are usually credited with saving the picture from the kind of sentimentality common to dramas about characters with terminal illnesses. {{lang|ja-latn|Ikiru}} opened in October 1952 to rave reviews—it won Kurosawa his second Kinema Junpo "Best Film" award—and enormous box office success. It remains the most acclaimed of all the artist's films set in the modern era.<ref>{{Harvnb|Galbraith|pp=155–167}}</ref><ref>{{Harvnb|Richie|1999|pp=86–96}}</ref><ref>{{Harvnb|Prince|pp=99–113}}</ref>

In December 1952, Kurosawa took his {{lang|ja-latn|Ikiru}} screenwriters, Shinobu Hashimoto and Hideo Oguni, for a forty-five-day secluded residence at an inn to create the screenplay for his next movie, ''[[Seven Samurai]]''. The [[ensemble cast|ensemble]] work was Kurosawa's first proper [[samurai cinema|samurai film]], the genre for which he would become most famous. The simple story, about a poor farming village in [[Sengoku period]] Japan that hires a group of samurai to defend it against an impending attack by bandits, was given a full epic treatment, with a huge cast (largely consisting of veterans of previous Kurosawa productions) and meticulously detailed action, stretching out to almost three-and-a-half hours of screen time.<ref name="seven">{{Harvnb|Galbraith|pp=170–171}}</ref>

Three months were spent in pre-production and a month in rehearsals. Shooting took up 148 days spread over almost a year, interrupted by production and financing troubles and Kurosawa's health problems. The film finally opened in April 1954, half a year behind its original release date and about three times over budget, making it at the time the most expensive Japanese film ever made. (However, by Hollywood standards, it was a quite modestly budgeted production, even for that time.) The film received positive critical reaction and became a big hit, quickly making back the money invested in it and providing the studio with a product that they could (and did) market internationally—though with extensive edits. Over time—and with the theatrical and home video releases of the uncut version—its reputation has steadily grown. It is now regarded by some commentators as the greatest Japanese film ever made, and in 1999 a poll of Japanese film critics also voted it the best Japanese film ever made.<ref name="seven" /><ref>{{Harvnb|Mellen|2002|p=6}}</ref><ref>{{Harvnb|Richie|1999|pp=97–108}}</ref> In the most recent (2022) version of the widely respected [[British Film Institute]] (BFI) ''[[Sight & Sound]]'' "Greatest Films of All Time" poll, ''Seven Samurai'' placed 20th among all films from all countries in the critics' and tied at 14th in the directors' polls, receiving a place in the Top Ten lists of 48 critics and 22 directors.<ref>{{cite web|title=Seven Samurai (1954)|url=https://www.bfi.org.uk/film/01391b07-5940-5d02-aa47-1158142f2b64/seven-samurai|archive-url=https://web.archive.org/web/20231218162901/https://www.bfi.org.uk/film/01391b07-5940-5d02-aa47-1158142f2b64/seven-samurai|archive-date=December 18, 2023|website=BFI Film Forever|publisher=British Film Institute|access-date=December 18, 2023}}</ref>

In 1954, nuclear tests in the Pacific were causing radioactive rainstorms in Japan and one particular [[Daigo Fukuryū Maru|incident]] in March had exposed a Japanese fishing boat to [[nuclear fallout]], with disastrous results. It is in this anxious atmosphere that Kurosawa's next film, ''[[I Live in Fear]]'', was conceived. The story concerned an elderly factory owner (Toshiro Mifune) so terrified of the prospect of a nuclear attack that he becomes determined to move his entire extended family (both legal and extra-marital) to what he imagines is the safety of a farm in Brazil. Production went much more smoothly than the director's previous film, but a few days before shooting ended, Kurosawa's composer, collaborator, and close friend [[Fumio Hayasaka]] died (of tuberculosis) at the age of 41. The film's score was finished by Hayasaka's student, [[Masaru Sato]], who would go on to score all of Kurosawa's next eight films. ''I Live in Fear'' opened in November 1955 to mixed reviews and muted audience reaction, becoming the first Kurosawa film to lose money during its original theatrical run. Today, it is considered by many to be among the finest films dealing with the psychological effects of the global nuclear stalemate.<ref>{{Harvnb|Galbraith|pp=214–223}}</ref><ref>{{Harvnb|Goodwin|1994|p=125}}</ref><ref>{{Harvnb|Prince|pp=159–170}}</ref>

Kurosawa's next project, ''[[Throne of Blood]]'', an adaptation of [[William Shakespeare]]'s ''[[Macbeth]]''—set, like ''Seven Samurai'', in the Sengoku Era—represented an ambitious transposition of the English work into a Japanese context. Kurosawa instructed his leading actress, [[Isuzu Yamada]], to regard the work as if it were a cinematic version of a ''Japanese'' rather than a European literary classic. Given Kurosawa's appreciation of traditional Japanese stage acting, the acting of the players, particularly Yamada, draws heavily on the stylized techniques of the [[Noh]] theater. It was filmed in 1956 and released in January 1957 to a slightly less negative domestic response than had been the case with the director's previous film. Abroad, ''Throne of Blood'', regardless of the liberties it takes with its source material, quickly earned a place among the most celebrated Shakespeare adaptations.<ref>{{Harvnb|Galbraith|pp=230–239}}</ref><ref>{{Harvnb|Richie|1999|pp=115–124}}</ref><ref>{{Harvnb|Kurosawa (WNET)|loc=bonus materials: Isuzu Yamada interview}}</ref><ref>{{Harvnb|Prince|pp=142–149}}</ref>

Another adaptation of a classic European theatrical work followed almost immediately, with production of ''[[The Lower Depths (1957 film)|The Lower Depths]]'', based on [[The Lower Depths|a play]] by [[Maxim Gorky]], taking place in May and June 1957. In contrast to the Shakespearean sweep of ''Throne of Blood'', ''The Lower Depths'' was shot on only two confined sets, in order to emphasize the restricted nature of the characters' lives. Though faithful to the play, this adaptation of Russian material to a completely Japanese setting—in this case, the late [[Edo period]]—unlike his earlier ''The Idiot'', was regarded as artistically successful. The film premiered in September 1957, receiving a mixed response similar to that of ''Throne of Blood''. However, some critics rank it among the director's most underrated works.<ref>{{Harvnb|Galbraith|pp=239–246}}</ref><ref>{{Harvnb|Prince|pp=149–154}}</ref><ref>{{Harvnb|Bock|1978|pp=171, 185–186}}</ref><ref>{{Harvnb|Richie|1999|pp=125–133}}</ref>

Kurosawa's three next movies after ''Seven Samurai'' had not managed to capture Japanese audiences in the way that that film had. The mood of the director's work had been growing increasingly pessimistic and dark even as Japan entered a boom period of [[Japanese economic miracle|high-speed growth]] and rising standards of living. Out of step with the prevailing mood of the era, Kurosawa's films questioned the possibility of redemption through personal responsibility, particularly in ''Throne of Blood'' and ''The Lower Depths''. He recognized this and deliberately aimed for a more light-hearted and entertaining film for his next production while switching to the new [[widescreen]] format that had been gaining popularity in Japan. The resulting film, ''[[The Hidden Fortress]]'', is an action-adventure comedy-drama about a medieval princess, her loyal general, and two peasants who all need to travel through enemy lines in order to reach their home region. Released in December 1958, ''The Hidden Fortress'' became an enormous box-office success in Japan and was warmly received by critics both in Japan and abroad. Today, the film is considered one of Kurosawa's most lightweight efforts, though it remains popular, not least because it is one of several major influences on [[George Lucas]]'s 1977 [[space opera]], ''[[Star Wars (film)|Star Wars]]''.<ref>{{Harvnb|Galbraith|pp=253–264}}</ref><ref>{{Harvnb|Richie|1999|pp=134–139}}</ref><ref>{{Harvnb|Star Wars|loc=George Lucas com1mentary}}</ref><ref>{{Harvnb|Conrad|2022|pp=123–128}}</ref>