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While the film is long, as many other reviewers have pointed out, it is not too long. It holds up, better than many contemporary American films with the same running time. This film wonderfully displays the peaceful grace and dignity Mifune plays so well. To recognize objective how respectable he actually is, peer this, then explore Seven Samurai. His range is amazing. Every one of his characters is so different, all the design down to their traipse. But, succor to Red Beard. Like all Kurosawa films, there are some very memorable shots stylistically, and the acting is qualified. There are many stories within the main place, and they are all tied together very well. It isn’t like a vignette share. Each of the characters is related in one draw or another. This is definitely an emotional record, and made me feel for the characters and cheer for the compassion one human being can point to to another. There isn’t great humor here, like some of his other films, but it really isn’t called for. If you reach across the DVD from Mei-ah, do not capture it. The subtitles are horribly translated.
You often hear “They don’t do movies like this anymore,” and in this case I contain it’s suitable. With “Red Beard,” Kurosawa has tackled a subject which in past eras was coated with schmaltz, and in the new set of cinema, is avoided altogether: the nature of individual goodness in the face of want, inequality and privilege. Modern-day film makers in the West seem shrinking of any emotions other than romantic desire, violent retribution or a “hip” self-referencing irony/ennui. Here, Mifune portrays a man who distains admiration for his fill sacrifices while adhering to his bear high standards of individual behavior. He’s not above wheedling and even a bit of suggestive blackmail to raise funds for his clinic. In typical Mifune fashion, he manages to effect a nearly saintly doctor an anti-hero who rubs almost everyone the disagreeable intention.
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The film is shot in black-and-white, and features many haunting images. Of special ticket is the scene in which Mifune attempts to fracture through the protective shell of an abandoned young girl. A young doctor has been trying to give her a spoonful of medicine; he quits after she slaps his hand away three times. Mifune takes over, and the girl continues to slap the proffered medicine away– once, twice, trice; Mifune expresses an array of emotions in the simple act of trying once again. Finally, on the seventh attempt, the girl accepts the medicine. The smooth authenticity of this moment is rare in film.
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