Drunken Angel is an important movie in many ways. It is Tishoro Mifune’s debut film as well as the first in which Shimura and Mifune have acted together. Most importantly, this is Kurosawa’s take on the American film noir genre which, in a way, highlights the soft corner that he had for Hollywood; for which he was often criticized by other Japanese directors as well as the audience. It is safe to say though, that Kurosawa’s Drunken Angel, not only redefined the film noir genre but also made American film noir biggies look like midgets in comparison.

Drunken Angel is an oxymoron and so are the various characters and locations in this movie. The credits roll out at the beginning of the movie against a back drop of a garbage infested pond devoid of life but right beside this pond stays a doctor who seems to save lives. There is also the guitarist who plays soft melodious music beside this obnoxious pond that strangely appears beautiful in the moonlight with the music playing in the background. Then comes the doctor himself played by Takashi Shimura. He is the Drunken Angel; blunt in his criticism but honest to his work. Although he has taken to his bottle(not even sparing the alcohol for anesthesia), he advocates a rational approach to everything because in his opinion, it can not only cure diseases but also other problems in life. The person who fails to understand this is the other protagonist played by Tishoro Mifune; A dapper yakuza who is in charge of a certain area of a Tokyo slum in which our doctor also happens to live. Although tough and arrogant externally, he appears to have a conscience that seems to suggest that he still has hope for a better life.

It is the meeting of these two oxymoron’s that generates fireworks, which are unarguably the strength of this movie. The doctor hurls abuses as well as other objects at the yakuza for being stupid and not paying heed to his health. He diagnoses a life threatening disease which the yakuza isn’t ready to believe initially and literally bashes the doctor just short of serious physical harm. The doctor doesn’t pay any heed to this and continues to provoke the yakuza who cant help but control his anger against the doctor who is always right.

This movie ends up becoming a character study of these two protagonists. There are other characters that fit the bill and the whole movie effectively traces the important tenets of the film noir genre but it is Kurosawa’s use of metaphorical images and the strength of his character actors that makes this a genre defining film. Takashi Shimura delivers a performance that I personally consider his finest. Finally, what can I say about the debutant Mifune? Many actors would have given up their lives to deliver such a performance even in their final films.

Note: Look out for the raunchy cabaret number in this movie. Mifune shows us some mean dancing moves with an attitude that could have humbled the likes of Presley, MJ and Travolta!