Word: tatsuya
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Dates: during 1980-1989
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...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...
KAGEMUSHA begins with a simple tableau: a Japanese feudal lord, Shingen (Tatsya Nakada), sits in the center of the screen: on the left is his brother (Tsutomu Yamakazi); in the lower right corner is a thief (Tatsuya Nakada), whom the brother has plucked from a crucifix because he bears a strong resemblance to Shingen. An austere composition, the lord virtually immobile, the camera immobile, the long scene played out in one shot. Later, after the lord. Shingen, has been assassinated, we learn that he was called the Moutain, that the Moutain did not move, and therein was his strength...
Kagemusha is magnificently served by Tatsuya Nakada as Shingen and his double, the thief. Nakada has white, puffed-out sideburns, and capacious sacks beneath his beautiful liquid eyes. As Shingen they convey warehouses of wisdom; as the thief they are the befuddled eyes of a clown. Eventually the two personas merge; so powerful is Shingen's spirit that merely by acting naturally the thief begins to duplicate his actions, almost to think his thoughts. When Shingen's son, Katsuyori, eager to assume his dead father's power by exposing the double, challenges the compulsorily silent double at a large meeting...
...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...