Kakushi-toride no san-akunin (1958) Reviews

• Another epic journey from the master director

  The_Void2005-07-11

  Legendary director Akira Kurosawa has made a lot of great films, many of which have gone on to inspire whole areas of cinema. While Hidden Fortress doesn't represent his best, most influential or most important work; it's definitely an important movie in film history in it's own right, and besides that, it's a damn good movie to boot. I was most surprised at the amount of comic relief present in the movie. When watching a Kurosawa film, I always expect it to be a serious affair; so the comedy in this movie made for a surprise, which was, on the whole, a good surprise as like most things in Kurosawa's films; it works. The film has become most famous recently for the many parallels that it has with the masterpiece 'Star Wars', and it has become well documented that this film was a major influence on said movie, which is shown most clearly by the fact that a lot of the story is shown through the eyes of two bumbling people that aren't all that relevant to the central plot, and the style of editing; which George Lucas adopted many times in his epic trilogy. The plot follows a princess who must be escorted across enemy lines by her general. Two greedy peasants join the escort on the promise of a reward of gold. Like Star Wars, the plot here is relatively simple; and it's the way that the story is portrayed, not the story itself, that makes this movie great. Despite it's simplicity, Kurosawa gives it the style of an epic; and it really feels like one. Kurosawa regular, Toshirô Mifune heads a great ensemble cast; all of which do well in their roles. Kurosawa had a great talent for pulling great performances out of everyone in his films, and he shows that talent excellently here. The cinematography is excellent, and the master director has managed to capture some truly stunning landscapes, which serve in adding beauty to the picture. This film is, of course, in black and white; and that is Kurosawa at his best in my opinion. While I loved 'Ran' and it's vibrant colours, black and white allows Kurosawa to blend atmosphere into his films, and they're always the better for it. On the whole, Kurosawa is a genius - and this is one of his best films.

• A different kind of Kurosawa film

  PureCinema1998-12-26

  Those who think that Kurosawa could only direct dramatic films need to see The Hidden Fortress. It is an exiting, funny, and extremely entertaining adventure film. George Lucas cites The Hidden Fortress as the prime inspiration for the Star Wars films. Two cowardly soldiers Tahei (Minoru Chiaki) and Matashichi (Kamatari Fujiwara) flee from a battle. The two then set up camp for the night, but soon they discover a bar of gold next to their camp. The two begin fighting over it, but before they can decide who gets it, a mysterious man called Rokurota (Toshiro Mifune) appears. He asks the two to help him transport a wagon full of gold and the Lady Yukihime (Misa Uehara) across enemy lines so that they can establish their kingdom again. This film is a blast and is filled with plenty of action and humor. A departure from Kurosawa's usual dramatic films, but excellent cinema nonetheless.

• The Director that could do no wrong

  unbend_54402004-04-04

  The Hidden Fortress is the Kurosawa film with the lightest tone. It's almost the most mainstream and entertaining. So for those who may have found other Kurosawa films to be too deep and poetic (if this applies to you, you're a fool) you'll be more likely to enjoy this. Even though there's a lot of comedy, mostly provided by the peasants, The Hidden Fortress still has all the power and uniqueness that all Kurosawa films have. There are some amazing locations used. The rock slide provided for some real amusement. Toshiro Mifune gives a much more toned down and subtle performance than we normally see from him. What Mifune offers in Hidden Fortress is true screen presence. Without even saying a word he has your full attention. I love how Kurosawa plays the characters as well. The Princess is not a damsel in distress. In any American or British film of the 50s, she would have been nothing more than that. In this she's quiet for most of the movie, but then she'll come out of nowhere and show more power and confidence than The General. The peasant characters of Tahei and Matakishi are more than comic relief. They are primarily used for a laugh, but I thought there characters were unique as well. The story is told from their point of view, and they are essentially heroes, yet they do nothing but complain. They're greedy and selfish. These aren't characteristics that would normally be used for heroes, but Kurosawa makes them likeable to the audience. Some people have said this movie needed more action. I think the action it has is more than enough. The chase scene that leads into The General's encounter with his nemesis remains one of the best sequences Kurosawa ever Directed. The choreography in the swordfight holds up against most of The Seven Samurai's fight scenes, and it still tops the type of fights that have become tedious and repetitive in modern day movies. That fight is a great example of how to nail the Hero vs. Villain energy. Akira Kurosawa can do no wrong.

• Hide a stone among stones and a man among men

  tieman642015-01-24

  Set during the Sengoku period (1460s-1600s), Akira Kurosawa's "The Hidden Fortress" stars Minoru Chiaki and Kamatari Fujiwara as Tahei and Matashichi, a pair of squabbling peasants. The duo roam the Japanese countryside, doing their best to avoid bands of marauding soldiers. "Hidden's" first act watches as Tahei and Matashichi are manipulated by Rokurota Makabe (Toshiro Mifune), a cunning samurai general. Promising the greedy peasants mountains of gold, he uses them as camouflage in his attempts to transport a princess (Misa Uehara) across enemy lines. "What you make of another's kindness is up to you," Kurosawa has character's say. Kindness is something the film's princess learns, as she witnesses first-hand the sacrifices of her bodyguard, General Makabe, and the suffering of the peasants who live outside her castle walls. Kindness is also something General Rokurota must grapple with. He's a rival warrior with whom General Makabe fights an extended battle. During this battle, Makabe's objective is not to kill, but to frustrate, to deflect, to guide his belligerent opponent away from a fixation upon military solutions. "The Hidden Fortress" is one of Kurosawa's more playful films. Part comedy, part adventure, part action epic, the film boasts glorious widescreen photography, a jaunty plot, some fine compositional work and the shortest short shorts ever worn by a princess. Aesthetically, the film's the bridge between Eisenstein, Ford and later imitators like Lucas and Leone. Indeed, George Lucas would lift chunks of "Hidden Fortress" for the plot of his "Star Wars", especially Kurosawa's notion of a tough, imperious princess. Though a bit long-winded, a number of Kurosawa's action sequences still pack a punch. One sequence in particular recalls Eisenstein's Odessa Steps sequence in "Battleship Potemkin". Elsewhere Kurosawa stages a sequence in which General Makabe – cool, tough and resourceful - pursues enemy scouts all the way back to their base, a scene which would influence the speeder bike chase in George Lucas' "Return of the Jedi". Lucas would help a financially-strapped Kurosawa get his 1980 film, "The Shadow Warrior", produced. Indeed, Lucas would be indirectly responsible for two of Kurosawa's greatest epics ("The Shadow Warrior" and "Ran"). Every good apprentice lends their master a helping hand. 8/10 – See "Throne of Blood" and "Twilight Samurai".

• Toho Vision

  tedg2002-06-12

  Any Kurosawa film is worth watching, but the focus of interest shifts from project to project. This time around, his concern is the new aspect ratio of 'cinemascope' copied and renamed by Toho. Kurosawa is first a visual storyteller who scripts in pictures, each one dramatically framed. All his life until here, that frame was the same, but all of a sudden it changed. It is a matter of there being three territories where there was formally one. The new territories are on the left and right, which in the original cinerama were actually two additional cameras. One really needs to study his framing in the old format to understand how significant this challenge was. He was master -- indeed largely the creator -- of a visual grammar and the rules had changed. As with all his scripts, the story reflects his own challenges. So we have a story about three territories and a journey that spans them all. The 'middle' territory is under attack, and our characters must leave their fortress and go all the way from left to right to survive. (Notice the symbols he uses for these three klans.) The two hapless peasants represent to the story what actors represent to the 'real' enterprise of film-making: relatively ignorant, gold-chasers, likely to turn on each other, and liable to go where they are not supposed to. The story is told from their perspective. The gold in the story is hidden in sticks. The gold in the film is hidden in similar harvesting of nature by the eye. (Mifune's pride and Kurosawa's control were much like that shown here between Mifune's samurai and the peasants. Mifune would eventually run away from Kurosawa's -- probably much needed -- overbearing command. Mifune would end up wealthy and celebrated in Japan. Kurosawa not so.) At the end of the story, the peasant-actors are on a grand stair that mirrors a similar stair we saw earlier which was the scene of a huge conflict (in turn mirroring the battle on Eisenstein's Odessa steps in 'Potemkin'). But this second time, we are at peace, the frame is serene. Kurosawa has wrestled this new eye and mastered it. Kurosawa did not respond to the wide format like his American peers who preferred awesome panoramas. His approach to framing had always been layered, usually three layers of activity in fore, middle and background. Here, he was able to relax the axis so that the layers did not have be so much on top of one another. And he reinvented his strategy of panning of motion: compare a running sequence here to the famous woodcutter's running in the beginning of 'Rashomon.' Look at how he panned the General's attack on horseback. He still does diagonals, but fewer, less steep and with less static import. He now has more natural horizontals in his greytone/greystone arrangements so has to create more artificial verticals. Obligatory Star Wars comment: I am sure Lucas' film school professors would have explained the relationship of story and visual challenge this way. So that is the real template Lucas took in conceiving his project. His goal was a similar marriage of the visual (space) with story (Joseph Campbell inspired myth). His hidden gold is that miraculous alchemical element in Jedi blood.