The following is a list of works, both in film and other media, for which the Japanese filmmaker Akira Kurosawa made some documented creative contribution. This includes a complete list of films with which he was involved (including the films on which he worked as assistant director before becoming a full director), as well as his little-known contributions to theater, television and literature.
Year | Title | Japanese | Romanization |
---|---|---|---|
1943 | Sanshiro Sugata (Judo Saga) | 姿三四郎 | Sugata Sanshirō |
1944 | The Most Beautiful | 一番美しく | Ichiban utsukushiku |
1945 | Sanshiro Sugata Part II (Judo Saga 2) | 續姿三四郎 | Zoku Sugata Sanshirō |
The Men Who Tread on the Tiger's Tail | 虎の尾を踏む男達 | Tora no o wo fumu otokotachi | |
1946 | No Regrets for Our Youth | わが青春に悔なし | Waga seishun ni kuinashi |
1947 | One Wonderful Sunday | 素晴らしき日曜日 | Subarashiki nichiyōbi |
1948 | Drunken Angel | 酔いどれ天使 | Yoidore tenshi |
1949 | The Quiet Duel | 静かなる決闘 | Shizukanaru kettō |
Stray Dog | 野良犬 | Nora inu | |
1950 | Scandal | 醜聞 | Sukyandaru (Shūbun) |
Rashomon | 羅生門 | Rashōmon | |
1951 | The Idiot | 白痴 | Hakuchi |
1952 | Ikiru (To Live) | 生きる | Ikiru |
1954 | Seven Samurai | 七人の侍 | Shichinin no samurai |
1955 | I Live in Fear (Record of a Living Being) | 生きものの記録 | Ikimono no kiroku |
1957 | Throne of Blood (Spider Web Castle) | 蜘蛛巣城 | Kumonosu-jō |
The Lower Depths | どん底 | Donzoko | |
1958 | The Hidden Fortress | 隠し砦の三悪人 | Kakushi toride no san akunin |
1960 | The Bad Sleep Well | 悪い奴ほどよく眠る | Warui yatsu hodo yoku nemuru |
1961 | Yojimbo (The Bodyguard) | 用心棒 | Yōjinbō |
1962 | Sanjurō | 椿三十郎 | Tsubaki Sanjūrō |
1963 | High and Low (Heaven and Hell) | 天国と地獄 | Tengoku to jigoku |
1965 | Red Beard | 赤ひげ | Akahige |
1970 | Dodesukaden | どですかでん | Dodesukaden |
1975 | Dersu Uzala | デルス・ウザーラ | Derusu Uzāra |
1980 | Kagemusha (The Shadow Warrior) | 影武者 | Kagemusha |
1985 | Ran | 乱 | Ran |
1990 | Dreams (Akira Kurosawa's Dreams) | 夢 | Yume |
1991 | Rhapsody in August | 八月の狂詩曲 | Hachigatsu no rapusodī (Hachigatsu no kyōshikyoku) |
1993 | Madadayo (Not Yet) | まあだだよ | Mādadayo |
A documentary film about the Noh theater, Gendai no No (Modern Noh), which was begun by the director during a break in the shooting of Ran, but was abandoned after about fifty minutes were filmed, is being completed according to Kurosawa's script and notes. [1] [2]
Note: Data for the remainder of this filmography is derived primarily from the complete filmography created by Kurosawa's biographer, Stuart Galbraith IV, [3] supplemented by IMDb's Kurosawa page. [4]
For the following films that Kurosawa directed, he also received a production credit:
In addition, Kurosawa received a production credit on one film that he himself did not direct: Haru no tawamure (1949) (Spring Flirtation), written and directed by Kajiro Yamamoto, on which he served as an associate producer.
Kurosawa wrote or co-wrote the screenplays for all the films he himself directed. However, to supplement his income, he also wrote scripts for other Japanese directors throughout the 1940s, and even through the 1950s and part of the 1960s, long after he had become world-famous. He also worked on the scripts for two Hollywood productions he was slated to direct, but which, for complex reasons, were completed by and credited to other directors (although he reportedly did shoot some scenes for Tora tora tora!, the footage from which has apparently not survived). Finally, near the end of his life, he completed scripts he intended to direct but did not live to make, which were then filmed by others. A table of all these screenplays is given below; all titles are Japanese productions unless otherwise noted.
Year | Original Title | English Title (International Release Title) | Director(s) | Screenplay Collaborator(s) |
---|---|---|---|---|
1941 | Uma (uncredited) | Horse | Kajirō Yamamoto | Kajirō Yamamoto |
1942 | Seishun no kiryū | Wind Currents of Youth | Shū Fushimizu | None |
Tsubasa no gaika | The Triumphant Song of the Wings | Satsuo Yamamoto | Bonhei Sotoyama | |
1944 | Dohyōsai | Wrestling-Ring Festival | Santaro Marune | None |
1945 | Tenbare Isshin tasuke | Bravo! Tenbare Isshin | Kiyoshi Saeki | None |
1947 | Yotsu no koi no monogatari (dai ichi-wa Hatsukoi) | Four Love Stories (segment First Love) | Shirō Toyoda | None |
Ginrei no hate | To the End of the Snow-Capped Mountains ( Snow Trail ) | Senkichi Taniguchi | Senkichi Taniguchi | |
1948 | Shōzō | The Portrait | Keisuke Kinoshita | None |
1949 | Jigoku no kifujin | The Lady from Hell | Motoyoshi Oda | Motosake Nishikame |
Jyakoman to Tetsu | Jakoman and Tetsu | Senkichi Taniguchi | Senkichi Taniguchi | |
1950 | Akatsuki no dassō | Escape at Dawn | Senkichi Taniguchi | Senkichi Taniguchi |
Jiruba no Tetsu | Tetsu of Jilba | Isamu Kosugi | Goro Tanada | |
Tateshi danpei | Fencing Master | Masahiro Makino | None | |
1951 | Ai to nikushimi no kanata e | Beyond Love and Hate | Senkichi Taniguchi | Senkichi Taniguchi |
Kedamono no yado | The Den of Beasts | Tatsuyasu Osone | None | |
1952 | Araki Mataemon: Kettô kagiya no tsuji | Mataemon Araki – Duel at Keymakers' Corner ( Vendetta for a Samurai ) | Kazuo Mori | None |
Sengoku burai | Vagabonds in a Country at War ( Sword for Hire ) | Hiroshi Inagaki | Hiroshi Inagaki | |
1953 | Fukeyo harukaze | Blow! Spring Wind (My Wonderful Yellow Car) | Senkichi Taniguchi | Senkichi Taniguchi |
1955 | Kieta chūtai | Vanished Enlisted Man | Akira Mimura | Ryuzo Kikushima |
Asunaro monogatari | Hiba Arborvitae Story (Tomorrow I'll Be a Fire Tree) | Hiromichi Horikawa | None | |
1957 | Nichiro sensō shōno hishi - Tekichū ōdan sanbyaku ri | Three Hundred Miles Through Enemy Lines (Advance Patrol) | Kazuo Mori | Hideo Oguni [note 1] |
1959 | Sengoku guntō-den | The Story of Robbers of the Civil Wars (Saga of the Vagabonds) | Toshio Sugie | None |
1962 | Tateshi danpei [note 2] | Fencing Master | Harumi Mizuho | None |
1964 | Jyakoman to Tetsu [note 3] | Jakoman and Tetsu | Kinji Fukasaku | Senkichi Taniguchi |
1965 | Sugata Sanshirō [note 4] | Sanshirō Sugata | Sei-ichirō Uchikawa | None |
1970 | Tora tora tora! (USA) | Tora! Tora! Tora! (uncredited) [note 5] [5] | Richard Fleischer, Toshio Masuda and Kinji Fukasaku | Japanese sequences: Hideo Oguni and Ryuzo Kikushima; American sequences: Larry Forrester |
1985 | Runaway Train (USA) | Runaway Train (uncredited) [note 6] [6] | Andrei Konchalovsky | Djordje Milicevic, Paul Zindel and Edward Bunker (based on the script by AK, Hideo Oguni and Ryuzo Kikushima |
2000 | Ame Agaru [note 7] | After the Rain | Takashi Koizumi | None |
Dora-heita | Alley Cat | Kon Ichikawa | Kon Ichikawa, Keisuke Kinoshita and Masaki Kobayashi ("The Club of the Four Knights") [note 8] [7] | |
2002 | Umi wa miteita [note 9] | The Sea Was Watching (The Sea Is Watching) | Kei Kumai | None |
In addition, Kurosawa wrote the following unproduced scripts, composed during the pre-war period in the 1930s and also the wartime period in the 1940s, either when he was still an assistant director or had just graduated to full director. Some of these won prizes in screenwriting contests, establishing his reputation as a promising talent even though they were never filmed. [8]
Year | Romanization of Japanese Title | English Title | Director | Kurosawa's Credit |
---|---|---|---|---|
1936 | ||||
Shojo Hanazono | Paradise of the Virgin Flowers | Shigeo Yagura | Third Assistant Director | |
Enoken no senman chōja | Enoken's Ten Million (The Millionaire or Enoken the Millionaire) | Kajirō Yamamoto | Third Assistant Director | |
Zoku Enoken no senman chōja | Enoken's Ten Million Sequel | Kajirō Yamamoto | Third Assistant Director | |
Tōkyō rapusodi | Tokyo Rhapsody | Shū Fushimizu | Third Assistant Director | |
1937 | ||||
Sengoku guntō-den – Dai ichibu Tora-ōkami (Sengoku guntō-den – Zenpen Tora-ōkami) | Saga of the Vagabonds – Part One: Tiger-wolf | Eisuke Takizawa | Third Assistant Director | |
Sengoku guntō-den – Dai nibu Akatsuki no zenhin (Sengoku guntō-den – Kōhen Akatsuki no zenhin) | Saga of the Vagabonds – Part Two: Forward at Dawn | Eisuke Takizawa | Third Assistant Director | |
Otto no teisō – Haru kureba (Otto no teisō – Zenpen Haru kureba) | A Husband's Chastity – If Spring Comes | Kajirō Yamamoto | Third Assistant Director | |
Otto no teisō – Aki futatabi (Otto no teisō – Kōhen Aki futatabi) | A Husband's Chastity – Fall Again | Kajirō Yamamoto | Third Assistant Director | |
Nihon josei dokuhon | Japanese Women's Textbook | Kajirō Yamamoto (Volume I only) | Third Assistant Director (Volume I only) | |
Nadare | Avalanche | Mikio Naruse | Assistant Director | |
Enoken no chakkiri Kinta – Zenpen Mamayo sandogasa: Ikiha yoiyoi | Enoken's Chikiri Kinta Part 1 – Momma, the Hat: The Nice Way | Kajirō Yamamoto | Third Assistant Director | |
Enoken no chakkiri Kinta – Kōhen kaeri wa Kowai mateba hiyori | Enoken's Chikiri Kinta Part 2 – Returning Is Scary, but the Weather Will Clear If You Wait | Kajirō Yamamoto | Third Assistant Director | |
Utsukushiki taka | The Beautiful Hawk | Kajirō Yamamoto | Chief Assistant Director | |
1938 | ||||
Chinetsu | Subterranean Heat | Eisuke Takizawa | Chief Assistant Director | |
Tōjūrō no koi | Tojuro's Love | Kajirō Yamamoto | Chief Assistant Director | |
Tsuzurikata kyōshitsu | Composition Class | Kajirō Yamamoto | Chief Assistant Director | |
Enoken no bikkuri jinsei | Enoken's Surprising Life | Kajirō Yamamoto | Chief Assistant Director | |
1939 | ||||
Enoken no gatchiri jidai | Enoken's Shrewd Period | Kajirō Yamamoto | Chief Assistant Director | |
Chūshingura – Kōhen | Chushingura Part 2 | Kajirō Yamamoto | Chief Assistant Director | |
Nonki Yokochō | Easy Alley | Kajirō Yamamoto | Chief Assistant Director | |
1940 | ||||
Roppa no shinkon ryokō | Roppa's Honeymoon | Kajirō Yamamoto | Chief Assistant Director | |
Enoken no zangiri Kinta | Enoken's Cropped Kinta | Kajirō Yamamoto | Chief Assistant Director | |
Songokū – Zenpen | Songoku Part 1 | Kajirō Yamamoto | Chief Assistant Director | |
Songokū – Kōhen | Songoku Part 2 | Kajirō Yamamoto | Chief Assistant Director | |
1941 | ||||
Uma | Horse | Kajirō Yamamoto | Second Unit Director (Also, editor, co-screenwriter and co-director (uncredited)) |
Kurosawa edited all his own films, though he only occasionally took screen credit for it. There are, however, only a few instances in which he edited the work of others, as listed below.
During the mid-to-late 1940s, for the first and apparently the only time in his career, Akira Kurosawa involved himself in a number of theater-related projects.
Shortly before the theatrical release of Dodesukaden , a TV documentary about horses called Uma no Uta (Song of the Horse), directed by Kurosawa, was broadcast in Japan on August 31, 1970. (Kurosawa otherwise totally avoided working in television.) Almost nothing is known about this documentary and, as of August 2010, it is not available on home video in any form. [2] [16]
Prior to writing the screenplay to his film, Stray Dog (Nora Inu, 1949), Kurosawa created, in about six weeks, a novel based on the same story (presumably also called Stray Dog), which he never published. It was written in the style of one of his favorite writers, the French crime author Georges Simenon. Writing it was supposed to help him compose the script as quickly as possible, but he found that writing the screenplay took even longer than usual because of the complex differences between literature and film. [17] [18]
In 1980, inspired by the memoir of one of his heroes, Jean Renoir, he began to publish in serial form his autobiography, entitled Gama no abura (An Oily Toad). The book deals with the period from the director's birth to his winning the Golden Lion for Rashomon from the Venice Film Festival in 1951; the period from 1951 through 1980 is not covered. The title of the book is a reference to a legend according to which, if one places a deformed toad in a box full of mirrors, it will become so afraid of its own reflection that it will begin to sweat, and this sweat allegedly had medicinal properties. Kurosawa compared himself to the toad, nervous about having to contemplate, through the process of writing his life story, his own multiple "reflections." It was published as a book in Japan in 1981, and in English translation the following year under the title Something Like an Autobiography . The book's appearance coincided with the revival of interest in Kurosawa's work following the international release of Kagemusha. ( ISBN 0394509382) [19] [20]
In 1999, his book, Yume wa tensai de aru (A Dream Is a Genius) was published posthumously. It has not been translated into English, except for Chapter 3. This chapter consists of a selection of 100 of the director's favorite films, listed in chronological order, with detailed commentaries on each film, all given at the request of Kurosawa's daughter, Kazuko. (Since he deliberately limits himself to one film per director, however, the list emerges as more of a "favorite directors" list than a "greatest films" list.) This chapter, but not the remainder of the book, can be found in English on the Internet. ( ISBN 4163555706) [21]
Complete Drawings (with text in Japanese) was published by Shogakukan in 1999. ( ISBN 4096996114)
The screenplays of many of Kurosawa's films have been published in English. For further information, consult the Wikipedia articles relating to the individual films.
Akira Kurosawa was a Japanese film director and screenwriter, who directed 30 films in a career spanning 57 years. He is regarded as one of the most important and influential filmmakers in the history of cinema.
Toshiro Mifune was a Japanese actor who appeared in over 150 feature films. He is best known for his 16-film collaboration (1948–65) with Akira Kurosawa in such works as Rashomon, Seven Samurai, The Hidden Fortress, Throne of Blood, and Yojimbo. He also portrayed Miyamoto Musashi in Hiroshi Inagaki's Samurai Trilogy and one earlier Inagaki film, Lord Toranaga in the NBC television miniseries Shōgun, and Admiral Isoroku Yamamoto in three different films.
Sanjuro is a 1962 black-and-white Japanese jidaigeki film directed by Akira Kurosawa and starring Toshiro Mifune. It is a sequel to Kurosawa's 1961 Yojimbo.
Yojimbo is a 1961 Japanese samurai film directed by Akira Kurosawa. It tells the story of a rōnin, portrayed by Toshiro Mifune, who arrives in a small town where competing crime lords vie for supremacy. The two bosses each try to hire the newcomer as a bodyguard.
Ishirō Honda, sometimes miscredited in foreign releases as "Inoshiro Honda", was a Japanese film director and screenwriter. He is best known for his kaiju and tokusatsu films, including several entries in the Godzilla franchise, but also worked extensively in the documentary and war genres earlier in his career. Honda was also a lifelong friend and collaborator of Akira Kurosawa, and worked with Kurosawa extensively during the 1980s and 1990s.
Stray Dog is a 1949 Japanese crime drama film noir directed by Akira Kurosawa and starring Toshiro Mifune and Takashi Shimura. It was Kurosawa's second film of 1949 produced by Film Art Association and released by Shintoho. It is also received as a detective movie that explores the mood of Japan during its painful postwar recovery. The film is considered a precursor to the contemporary police procedural and buddy cop film genres.
Drunken Angel is a 1948 Japanese yakuza film directed by Akira Kurosawa. It is notable for being the first of sixteen film collaborations between director Kurosawa and actor Toshiro Mifune.
Shinobu Hashimoto was a Japanese screenwriter, film director and producer. A frequent collaborator of Akira Kurosawa, he wrote the scripts for such internationally acclaimed films as Rashomon and Seven Samurai.
Fumio Hayasaka was a Japanese composer of classical music and film scores.
Senkichi Taniguchi was a Japanese film director and screenwriter.
Snow Trail is a 1947 black-and-white Japanese film directed by Senkichi Taniguchi from Akira Kurosawa's screenplay. It was the first film role for Toshirō Mifune, later to become one of Japan's most famous actors. Mifune and the other main actor in the film, Takashi Shimura, later became long-term collaborators of film director Akira Kurosawa.
Stuart Eugene Galbraith IV is an American film historian, film critic, essayist, and audio commentator.
Tora-san Goes NorthakaTorasan, Remind Shiretoke is a 1987 Japanese comedy film directed by Yoji Yamada. It stars Kiyoshi Atsumi as Torajirō Kuruma (Tora-san), Keiko Takeshita as the film's "Madonna", and Toshiro Mifune as Takeshita's father. Tora-san Goes North is the thirty-eighth entry in the popular, long-running Otoko wa Tsurai yo series.
A number of Akira Kurosawa's films have been remade.
Kajirō Yamamoto was a Japanese film director, screenwriter, and actor who was known for his war films and comedies and as the mentor of Akira Kurosawa. The combined list of his efforts as a director for documentaries, silent, and sound films includes over 90 film titles during his lifetime.
Something Like an Autobiography is the memoir of Japanese film director Akira Kurosawa. It was published as a book in 1981 and the English translation by Audie E. Bock appeared the following year.
Ryuzo Kikushima was a Japanese writer and film producer who is best known for co-writing the screenplays for several Akira Kurosawa films, including Throne of Blood, The Hidden Fortress, Yojimbo and High and Low. He also produced several of Kurosawa's early 1960s films. In addition to his work with Kurosawa, screenplays he wrote or co-wrote include Tora! Tora! Tora!, Hiroshi Inagaki's Arashi and The Birth of Japan, and Mikio Naruse's When a Woman Ascends the Stairs, on which he also served as producer.
Sōjirō Motoki was a Japanese filmmaker who served primarily as a film producer, but also as a writer and director. He was most famous for producing several films for Akira Kurosawa, including Seven Samurai, Ikiru and Throne of Blood. He also produced films for other directors, including Mikio Naruse, for whom he produced Spring Awakens and Battle of Roses, and Kazuo Mori, for whom he produced Vendetta for a Samurai. As a writer, he provided the story for Kei Kumai's 1968 film The Sands of Kurobe, starring Kurosawa favorite Toshiro Mifune.
The legacy of filmmaking technique left by Akira Kurosawa for subsequent generations of filmmakers has been diverse and of international influence. The legacy of influence has ranged from working methods, influence on style, and selection and adaptation of themes in cinema. Kurosawa's working method was oriented toward extensive involvement with numerous aspects of film production. He was also an effective screenwriter who would work in close contact with his writers very early in the production cycle to ensure high quality in the scripts which would be used for his films.
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