Working with his most celebrated actor, Toshiro Mifune, Akira Kurosawa’s faithful adaptation of Maxim Gorky’s classic proletariat play keeps the original’s focus on the conflict between illusion and reality.
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Kurosawa, très bon comme toujours...
Un éclairage effrayant sur la nature humaine, sur la mesquinerie et la médiocrité mais aussi sur la détresse et les comportements qu'elle engendre.
On en ressort pas avec la foi en l'homme...
Mais le moment est beau, bon et générateur de réflexion
Un huit-clos dans lequel les personnages malgré leur faux-semblant sont au terminus "de la gare de la misère". Dans ce monde misérable, l'espoir est mince mais réel, encore faut-il avoir la force d'en sortir et tout seul. Film remarquable. Merci M. Akira Kurosawa.
En observateur avisé, Kurosawa nous montre des humains assez pitoyables, tiraillés entre leur désir de sortir de la misère à tout prix et leurs penchants autodestructeurs. En filmant un espace très réduit, il accentue brillamment la tonalité "sans issue" de son propos.
A beautifully composed film, with thoughtful staging in depth and excellent characterisation. The bleakness of its vision is significantly at odds with the lighter tone of the -also excellent- 1936 Renoir version. Worth getting both films in the Criterion DVD set.
I'm not kidding, that dance scene at the end is one of the funniest things I have ever seen! Other than that, a really good film, solid script filled with interesting characters and I really liked the fact it only used two locations. Although partially flawed it is still a very good film. 4/5
The great Kurosawa uses two locations,ensemble acting at its best and creative editing to involve us in this cruel,mostly hopeless world.
Fun to see Toshiro Mifune (greatest screen actor ever) as a petty thief.
I don't know how to rate Kurosawa films any more: it's simply not possible for them to be passable or below average (a 3-star or lower on my scale) but there are so many gradations of vision, skill and talent between the 4-star and 5-star. This is one of my least favorite selections from his filmography but there's a cynical wisdom driving it, conveyed through words as sharp as a tack.
There is a masterstroke to the movie in the way the characters are portrayed, where each one of them might represent a state of mind and the cast as a whole convey the primary spectrum of human emotions, completing the metaphor of the film as the tribulations of a single human mind, as a multidimensional ying-yang instead of several individual problems unrelated to one another. The lower depths of our own existence.