Review of Red Beard (1965) by Harpreet S — 03 Feb 2013

Is there a more inspiring film than "Red Beard"? Akira Kurosawa's last masterpiece with his greatest actor Toshiro Mifune is set during 19th century Japan. Mifune plays Red Beard, a village doctor who has a new trainee Yasumoto (Kayama); the trainee has dreams of becoming the physician of the Shogun and resents his assignment to a rural clinic whose head is Red Beard. I had only seen it once before, but gradually started declaring it my favorite film along with Martin Scorsese's "Taxi Driver". The second viewing was just as great; I actually cried more than once, and when I was finished I saw the very end again the next day and it melted me even more. The story is very simple; another director would not have drenched out its full potential, but a grandmaster like Kurosawa musters every little detail with ease. There are great directors who may show-off their ability to compose a shot; images where we can easily recognize their singularity, they pop out at you. Kurosawa never shows off. In "Red Beard," if you look closely you can see the position of his actors, where the light is, etc. The choreography of a specific frame seems natural. Not something created by an artist, yet we still know it is. Every single shot in this film is perfect! Mifune's performance as the older doctor is obviously wonderful; there is a distinct light or an aura in his eyes that isn't in his other roles. His Red Beard is a God-like figure: he controls everything; he is all-knowing, all-caring. I'm sure if God existed and knew Red Beard, he would be ashamed and baffled that such a man could exist; someone so good who finds mistakes in himself, who doesn't care for wealth or money and who can point out what's right or wrong in a human being. Even though I am singing praises of Red Beard, there are many other tremendous characters and the splendid performances of their actors. Kayama as the young doctor, Terumi Niki as Otoyo, and the little boy whose name I can't find deliver unbelievable performances! Not to mention the several other minor characters. Kurosawa is so clever that he surprises the audience with Takashi Shimura and Ozu's favorite Chishu Ryo in small roles. Shimura's character especially leaves an imprint on my mind; his chemistry with Mifune was amazing even if it was just for one scene. Very much like "Seven Samurai," it's not Mifune's film; "Red Beard" belongs to every single actor in it; there are just so many characters you can admire and relate to. I really don't understand why this particular Kurosawa was never given its due; it's always "Seven Samurai," "Rashomon," "Ikiru," or some of his other great ones. I actually think it's a much better humanist tale than "Ikiru," it's far more polished technically, there are more characters, has a world much more appealing than the cold city life; I just find it more dynamic. At the same time "Red Beard" is as patient as Mifune attempting several times to give medicine to the young girl and finally succeeding. One criticism of the film I've heard is that it's too bent on being hopeful or we know what will happen. To some extent I agree, but I could make the same case for "Ikiru" or "Seven Samurai". This film is so great because it conquers all its would-be flaws. Lastly, this masterpiece creates an urge in me to be with Red Beard himself. All I desire is to follow him, to walk with him and go wherever he needs to go, whoever he needs to treat. All I wish is to be of some assistance.

P.S. I still don't feel comfortable putting it ahead of "Seven Samurai" as Akira Kurosawa's best, but it is close enough.