Review of Ikiru (1952) by Richard Brody for New Yorker — 07 Apr 2016
Kurosawa achieves the piercing emotion and poetry of the Italian neorealists, but by opposite means: he doesn't make the camera disappear; instead... he deploys his camera so sharply and unerringly that it seems to take X-rays of the spirit.
You can read the full review where it was originally posted online.
This review of Ikiru (1952) was written by Richard Brody and published by New Yorker on 07 Apr 2016.
Ikiru has generally received very positive reviews.
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