Matsunaga (Mifune) is a young, low-level, yakuza boss of a small town. He is diagnosed with Tuberculosis while being treated for a gun shot wound to the hand, by Doctor Sanada (Shimura). Matsunaga’s disease and descent towards death, reveals the pitfalls and isolation of the yakuza lifestyle. Sanada has a steadfast dedication to helping his community. His community, though, is represented by the rotting, stagnant pond, at its center. The corrosive and toxic presence, only breeds death and misery. The only way that the doctor is able to cope with the barrage of toxicity, is to imbibe on any alcohol he can get his hands on.
Post War Japan
Drunken Angel sets the stage with a bleak and depressing vision of a post war Japan. The small town is poor, ruled by crime, riddled with disease, and little to no hope, aside from the diligent schoolgirl, played by Yoshiko Kuga. This backdrop is the setting for a small town yazuza boss, Matsunaga, played by Toshiro Mifune, struggling with a variety of demons and a well-intentioned doctor, Sanada, played by Takashi Shimura, who has tasked himself with being the medical hope of the entire village.
Development and filming of Drunken Angel took place during Allied occupation of Japan. A period managed by the Supreme Command of Allied Powers (SCAP), led by General Douglas MacArthur. This resulted in obvious significant social and economical impacts to Japan, on top of the overall toll of World War II. One aspect of the Allied occupation was oversight and censorship of films.
Censorship
Drunken Angel was undoubtedly censored during this time and who knows what ended up on the cutting room floor. However, some westernized elements made it through and into the film, like: westernized clothing and hairstyles of dance hall girls, “pan pan” girls in the opening, and the night club singer, to name a few.1 Overall though, finding direct negative western sentiment is hard to find.
Intrapersonal Struggle
Life in Japan, during this time, was likely challenging and that can be felt in Drunken Angel. Usually water would symbolize vitality and life. For Kurosawa, it represented pestilence. An ever present reminder that the world they live in is toxic and dangerous. This helps create a foundation of insecurity both as a society as well as on an individual level.
Most of the characters walk as if on a tight rope. Allegiances shift, power dynamics shift, motivations shift, their confidence shifts, and their health shifts. Each character finds themselves second guessing themselves as well as being tested. The powerful yakuza “boss”, Matsunaga, is respected at the start. As his health begins to fade, so too does his power and respect. He holds on tightly to the idea that he was powerful, yet only the yakuza hold that power. He, himself, has no power and is just a pawn, being used till the bitter end.
Sanada desperately wants to help people, however, he is continuously stifled by the intrapersonal struggles of those around him. A difficulty that leads him to say, “The Japanese love to sacrifice themselves for stupid things.” He too must cope with the challenges of the world around him and this manifests itself as a drinking problem. A problem that leads him to use up medical supplies, bottles of 100% alcohol, to feed his personal addiction at a time of strict rationing. His desire to help others requires him to fuel himself with the same tools he needs to help others.
All hope would seem lost if it was not for the schoolgirl that is able to cure her case of tuberculosis by listening to the doctor. Her success is a signal to those around her, and watching the film, that there is hope. You need to be patient, strong, resilient, and in time, things will get better.
Two Paths for the Future
Matsunaga and the schoolgirl represent two generations, or paths, forward for Japan. Matsunaga represents the generation ruined by the war, the presence of Allied occupation, and the path seems bleak for them. The schoolgirl represents a hopeful youth that can get to the other side through determination and resilience. It won’t be easy, it will be hard, but there is an optimistic path that one can take. Ultimately, the last two minutes of the film are filled with hope, while the previous hour and forty minutes are filled with mostly bleak stubbornness.
Kurosawa’s Style
Kurosawa is extremely purposeful in his shots and sequences. Not to say most director’s and filmmaker’s are not. However, some go to great lengths to make sure that the entirety of the shot and the film are synergized to constantly maintain certain themes and dynamics.
Kurosawa was not alone in Japan. Early Japanese film is known for long lingering shots and purposeful focus on ambient aspects of the scene that hold the most meaning. Another example is Yasujirō Ozu in films lie, Record of a Tenement Gentleman or Tokyo Story.
Camera Work
Kurosawa made great effort to use the camera as not just a piece of equipment capturing the story, but elevating the camera to a role within the film. The camera lingers through the opening sequence, taking in the surroundings. Setting the tone of discomfort with the muggy mosquito filled air, the stagnant pond, the quiet streets filled with thugs. The audience is instantly placed into the story and becomes a participant, not a viewer.
Not only was the focus of a shot meticulously put together, but Kurosawa kept each shot engaging. Scene’s will have rain or movement in the background, long shots will transition between close ups and pan to wider angle shots. The camera is constantly fluid and maintaining a steady visual stimulation. There is always something of interest to be looking at, whether it be the primary actor, someone in the background, an object in the foreground, or the setting itself.
Toshirô Mifune
Toshirô Mifune’s legendary career with Kurosawa began with Drunken Angel. His character, Matsunaga, is a stubborn and conflicted character that Mifune plays masterfully.
Matsunaga is diagnosed with tuberculosis early in the film. He is told that he can beat it out by changing his lifestyle, in other words, cutting the drinking, womanizing, and general yakuza identity. This is contrasted by the schoolgirl that is able to cure her disease by listening to the doctor’s orders.
At first, Matsunaga is too proud to listen to the doctor. He is afraid of straying from the yakuza path that he has known, is loyal too, and has resulted in respect and success. He refuses to throw that away for his health. As the sickness grows he begins to change his tune. Although, before he is able to get over the hump, he is tested by the previous boss, Okada, played by Reisaburo Yamamoto. Matsunaga is unable to successfully battle his demons and Okada ultimately defeats Matsunaga in a tragic ending.
Mifune’s facial expressions and body language add a significant amount to his performance. He is able to subtly express the internal struggle of his character in a way that makes his character and story easy to sympathize with. His deep ingrained loneliness seeps out more and more as the story goes on, simply by the way he expresses himself.
It is clear why Mifune and Kurasawa continued to work together. Their ability to collaborate and create films together is legendary and their work speaks for itself.
Directed by: Akira Kurosawa
Cinematography: Takeo Itô
Written by: Keinosuke Uekusa & Akira Kurosawa
Editing By: Akikazu Kôno
Music By: Fumio Hayasaka
Starring: Takashi Shimura, Toshirô Mifune, Reizaburô Yamamoto, Chieko Nakakita, & Michiyo Kogure.
Runtime: 1h 42m
Genre: Crime, Drama, Noir
Distributed by: Toho Studios
References
1 – From the documentary, Kurosawa: It Is Wonderful to Create, available on The Criterion Collection DVD.
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