Word: nakadai
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...Gondo, Mifune's performance performance in the first half of the movie dominates the whole, even though he has three short scenes in the second half before the denouement. Tatsuya Nakadai (of Sword of Doom, as students in Heroes for Zeroes may realize) radiates competence as the police in charge of the case. He resembles Dale Cooper, of Twin Peaks fame, complete with slicked back hair and stylish, dark suits...
...audience can read the play of noble emotions in their features. In Ran, that shot scarcely exists. Kurosawa's cameras (he usually covers each scene with three) are always pulled back into godlike positions, and they provide a new perspective on the rages and the ultimate madness of Tatsuya Nakadai's Lear figure. From above and beyond, we perceive him not as a great man falling but as a fragile, all too human stumbler. Distance lends an analogous irony to the scenes in which his older sons and their advisers--among them a hypnotic Kurosawa invention, Lady Kaede (Mieko Harada...
...double (played with exemplary restraint by Tatsuya Nakadai, who also plays the man he is doubling for) grows into his leadership role, acquiring the wisdom that should accompany leadership. In due course he is undone through ironic circumstances. And after that, one must witness the undoing of Shingen's clan through the misrule of his successor. Kurosawa contemplates ruin as he contemplates glory, with an objective thought as to what can be salvaged from disaster in the way of a momentary beauty, the accidental congeries of color and composition that men create as they go about their often bloody...
...hidden beneath masks of respectibility and only when they make their plans is the full measure of their malevolence revealed. With their henchmen, however, the situation is different. They boldly flaunt their fugitive status and are terrifyingly eager to implement the merchant's plans for destruction. A henchman (Tatsuys Nakadai) of the sake merchant epitomizes the hyperbole. The only person in the town who owns a pistol, he takes complete advantage of the fact. With obvious pleasure he flourishes the tool and when he kills with it, observes the death with cruel joy. At film's end, in typical badman...
...range of Nakadai's emotions nearly breaks the rigidity of his role. One can deduce that the part only called for the characterization of a gun-happy youth, but he extends it to include the henchman's realization of the role firearms will have in Japan's future...