Em Drunken Angel, Akira Kurosawa constrói a estranha relação entre um yakuza doente vivido pelo lendário Toshiro Mifune e um médico alcoólatra interpretado pelo brilhante Takashi Shimura. Mas o que ameaça a vida daquele homem não é apenas a tuberculose, e sim o retorno de um antigo chefe da prisão, trazendo de volta toda a violência e destruição ligadas ao mundo que ele escolheu viver.

Kurosawa aposta fortemente no carisma e na presença dos atores para contar uma história marcada…

Em Drunken Angel, Akira Kurosawa constrói a estranha relação entre um yakuza doente vivido pelo lendário Toshiro Mifune e um médico alcoólatra interpretado pelo brilhante Takashi Shimura. Mas o que ameaça a vida daquele homem não é apenas a tuberculose, e sim o retorno de um antigo chefe da prisão, trazendo de volta toda a violência e destruição ligadas ao mundo que ele escolheu viver.

Kurosawa aposta fortemente no carisma e na presença dos atores para contar uma história marcada…

The first Kurosawa film that is more than good. Drunken Angel is very very good, perhaps even great. It is an incredibly tight film, fat trimmed and focused. Its themes are strong, but it is never suffocated by them. Its characters are beautifully written, their roles clear and journeys complex. It is grim and brutal without sinking into misery porn. Its cast is excellent with familiar faces like Takashi Shimura and Chieko Nakakita showing up and nailing it. But most exciting is the addition of Toshirō Mifune. This is the first collaboration between Kurosawa and the actor, and it really feels electric. Mifune is young, beardless, almost unrecognisable. His performance is so vicious and unhinged. His violence is explosive, his rage frightening, and yet his heart and passion somehow shines through. He is amazing, and you can feel how much Kurosawa loves him on screen. There are many great scenes here, but a fight that breaks out towards the end of the film is a real highlight

The first Kurosawa film that is more than good. Drunken Angel is very very good, perhaps even great. It is an incredibly tight film, fat trimmed and focused. Its themes are strong, but it is never suffocated by them. Its characters are beautifully written, their roles clear and journeys complex. It is grim and brutal without sinking into misery porn. Its cast is excellent with familiar faces like Takashi Shimura and Chieko Nakakita showing up and nailing it. But most exciting is the addition of Toshirō Mifune. This is the first collaboration between Kurosawa and the actor, and it really feels electric. Mifune is young, beardless, almost unrecognisable. His performance is so vicious and unhinged. His violence is explosive, his rage frightening, and yet his heart and passion somehow shines through. He is amazing, and you can feel how much Kurosawa loves him on screen. There are many great scenes here, but a fight that breaks out towards the end of the film is a real highlight

my first kurosawa, and fortunately, i enjoyed it! a tragedy about a man so deep in darkness that he can no longer climb out of the ocean of evilness. somehow reminds me of the ouroboros (in a cycle of never‑ending destruction way). kurosawa also critiques yakuza culture here—the feudalism within them. it reminds me of ryuji (1983), another yakuza film i watched three months ago. kurosawa shows the tragic side of it, and matsunaga's end is brutal and devastating.

my first kurosawa, and fortunately, i enjoyed it! a tragedy about a man so deep in darkness that he can no longer climb out of the ocean of evilness. somehow reminds me of the ouroboros (in a cycle of never‑ending destruction way). kurosawa also critiques yakuza culture here—the feudalism within them. it reminds me of ryuji (1983), another yakuza film i watched three months ago. kurosawa shows the tragic side of it, and matsunaga's end is brutal and devastating.

Sad ending asf.

Sad ending asf.