Stray Dog (野良犬 Nora inu) is a 1949 film noir directed by Akira Kurosawa. It tracks the story of Murakami (Toshiro Mifune), a rookie homicide detective who has his gun stolen on a bus in ravaged, postwar Tokyo. Soon, victims are found, slain with bullets from Murakami's gun. The man-hunt is on, while Tokyo goes through a devastating heatwave. He has no success until an older and wiser detective, Sato (Takashi Shimura) takes Murakami under his wing. This still from The Big Combo (1955) demonstrates the visual style of film noir at its most extreme. ... Akira Kurosawa Akira Kurosawa (é»æ¾¤ æ Kurosawa Akira, also é»æ²¢ æ) (March 23, 1910 â September 6, 1998) was a prominent Japanese director, producer, and screenwriter of films, many of which are considered highly influential worldwide classics. ... Toshiro Mifune in Yojimbo Toshiro Mifune (ä¸è¹ æé Mifune ToshirÅ) (April 1, 1920 - December 24, 1997) was a Japanese actor who appeared in almost 170 feature films. ... Takashi Shimura (志村 喬 Shimura Takashi, 12 March 1905 - 11 February 1982) is one of the great Japanese actors of the last century. ...
Film noir of this era is associated with a low-key fl-and-white visual style that has roots in German Expressionist cinematography, while many of the prototypical stories and much of the attitude of classic noir derive from the hardboiled school of crime fiction that emerged in the United States during the Depression.
Film noirs embrace a variety of genres, from the gangster film to the police procedural to the so-called social problem picture, and evidence a variety of visual approaches, from meat-and-potatoes Hollywood mainstream to outré.
The makers of film noir turned all this on its head, creating bleak, sophisticated dramas tinged with mistrust, cynicism, and a sense of the absurd, in settings that were frequently either real-life urban or budget-saving minimalist, with often strikingly expressionist lighting and unsettling techniques such as wildly skewed camera angles and convoluted flashbacks.
StrayDog (1949), Kurosawas ninth film, is generally considered his first masterpiece, or at least the first for which the term can be reasonably argued.
They also share one of the films loveliest moments when, from behind a delicate gauzy curtain, they watch Satos children sleeping a quiet reminder that there is as always a future, and it may be different.
Yusas mother tells the detective, I found him sitting here in the dark, crying Harumi describes his anguish at her desire for the dress, and the viewer is left to fill in the emotions Yusa must have felt between seeing her and the dress, and his purchase of it a week later with stolen money.
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