Akira Kurosawa's "Drunken Angel" is a film in two parts -- first an atmospheric social drama that stands with the director's best work; second a gangster story as they come a dime a dozen. A good thing the better half will draw you in.
Japan, 1947. The Empire has lost the War and American culture is spreading like wildfire. Jazz, whisky, and slick suits have invaded the traditional streetview. It is summer, and hot. You can almost smell the town -- hardly more than a slum, inhabited by ill and crooked people. Amidst them, the alcoholic doctor Sanada (Takashi Shimura) is trying to root out tuberculosis.
One evening, Sanada is visited by a wounded gangster named Matsunaga (Toshirô Mifune, in his first of sixteen collaborations with Kurosawa). Sanada bandages his wounds, but sees there is more at hand. He diagnosis Matsunaga with tuberculosis. If he doesn't seek treatment, he will die. The gangster is too proud to admit he is scared, and leaves. But Sanada does not give up easily. He becomes set on curing Matsunaga, hoping to convince him to change his ways.
The counterpoint between these leads is what drives "Drunken Angel". As Matsunaga, Mifune practically established the 'violent but troubled yakuza' stereotype. The range of emotions he manages to convey is remarkable, especially considering this was only his fourth ever film role. But it is Sanada who stands out most. He is the 'drunken angel', blessed with both unflinching altruism and at least a dozen bad habits. He drinks and swears, throws glass bottles when he is angry. He could have been a rich practitioner if he hadn't been so honest with his patients. 'I've killed more men than you,' he yells at Matsunaga.
The scenes establishing Sanada's routine are the most captivating part of the film. Kurosawa shows his growing artistic maturity with slight touches. Note how he keeps the same landmarks in the background of his long shots, often from different angels, to create a unity of place and stress the spirals in which his story moves.
The film begins to struggle in its second half, once focus shifts to the local gang life. Matsunaga's old boss returns from prison, friction arises in the hierarchy, love causes the usual troubles... Run-of-the-mill material, lacking Kurosawa's trademark humanism, done better elsewhere. Trading in the Dostoevskian slum drama for slick jazz clubs and stiff action (no sign whatsoever that Kurosawa would direct "Seven Samurai" six years later) was a mistake.
Small surprise, then, to discover that "Drunken Angel" was originally all about Sanada, and Kurosawa decided to increase Matsunaga's part after being impressed with Mifune. Yes, Mifune was a great actor, but had Kurosawa decided to 'kill his darlings' and kept the story close to Sanada, "Drunken Angel" might have been his first great film. As is, the reputation of 'fine early Kurosawa' is deservedly modest.
Japan, 1947. The Empire has lost the War and American culture is spreading like wildfire. Jazz, whisky, and slick suits have invaded the traditional streetview. It is summer, and hot. You can almost smell the town -- hardly more than a slum, inhabited by ill and crooked people. Amidst them, the alcoholic doctor Sanada (Takashi Shimura) is trying to root out tuberculosis.
One evening, Sanada is visited by a wounded gangster named Matsunaga (Toshirô Mifune, in his first of sixteen collaborations with Kurosawa). Sanada bandages his wounds, but sees there is more at hand. He diagnosis Matsunaga with tuberculosis. If he doesn't seek treatment, he will die. The gangster is too proud to admit he is scared, and leaves. But Sanada does not give up easily. He becomes set on curing Matsunaga, hoping to convince him to change his ways.
The counterpoint between these leads is what drives "Drunken Angel". As Matsunaga, Mifune practically established the 'violent but troubled yakuza' stereotype. The range of emotions he manages to convey is remarkable, especially considering this was only his fourth ever film role. But it is Sanada who stands out most. He is the 'drunken angel', blessed with both unflinching altruism and at least a dozen bad habits. He drinks and swears, throws glass bottles when he is angry. He could have been a rich practitioner if he hadn't been so honest with his patients. 'I've killed more men than you,' he yells at Matsunaga.
The scenes establishing Sanada's routine are the most captivating part of the film. Kurosawa shows his growing artistic maturity with slight touches. Note how he keeps the same landmarks in the background of his long shots, often from different angels, to create a unity of place and stress the spirals in which his story moves.
The film begins to struggle in its second half, once focus shifts to the local gang life. Matsunaga's old boss returns from prison, friction arises in the hierarchy, love causes the usual troubles... Run-of-the-mill material, lacking Kurosawa's trademark humanism, done better elsewhere. Trading in the Dostoevskian slum drama for slick jazz clubs and stiff action (no sign whatsoever that Kurosawa would direct "Seven Samurai" six years later) was a mistake.
Small surprise, then, to discover that "Drunken Angel" was originally all about Sanada, and Kurosawa decided to increase Matsunaga's part after being impressed with Mifune. Yes, Mifune was a great actor, but had Kurosawa decided to 'kill his darlings' and kept the story close to Sanada, "Drunken Angel" might have been his first great film. As is, the reputation of 'fine early Kurosawa' is deservedly modest.