Word: akira
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Throne of Blood. A barbarically splendid Japanization of Shakespeare's Macbeth; both brutalized and energized by Director Akira (Rashomon) Kurosawa, the Elizabethan tragedy becomes a noh play of demonic majesty...
...doubt about it now: Japan's Akira Kurosawa must be numbered with Sergei Eisenstein and D. W. Griffith among the supreme creators of cinema. Rashomon (1952) introduced him to U.S. audiences as a powerful ironist. The Magnificent Seven (1956) demonstrated his mastery of movies as pure movement. Ikiru (1960), one of the screen's great spiritual documents, revealed him as a moralist both passionate and profound. Throne of Blood, a resetting of Macbeth among the clanking thanes and brutish politics of 16th century Japan, is a visual descent into the hell of greed and superstition, into the gibbering...
BRATTLE: IKIRU ("To Live."), Akira Kurosawa's masterwork, is really two movies--the same one twice. This beautifully photographed and acted story of the tribulations of a dying civil servant is excellent film-making the first time through; repetition, however, blunts the effect. Undoubtedly the best foreign movie of 1960, nonetheless. Evngs...
IKIRU. Japan's Akira Kurosawa has produced the year's most deeply moving film, the story of a pathetically ordinary man who begins to live only when he begins...
...circuits in the hope that it will soon get profitably lost in the Christmas rush. The loss will be bearable: Seven is not a great picture-not nearly as good as the Japanese Magnificent Seven (TIME, Dec. 10, 1956), the brilliant episode of chivalry, directed by Japan's Akira (Rashomon) Kurosawa, from which it is adapted. Nevertheless, it is the best western released so far in 1960, a skillful, exciting, and occasionally profound contemplation of the life of violence...