Drunken Angel (1948)

Drunken Angel is a film about a double loss of identity. One loss the film urges as progressive. This is Sanada's effort to cure Matsunaga of his resignation and passivity before derath and the yakuza culture. This loss implies the necessity of forging a new sense of self, of separating from social customs and institutions in which the individual is a subordinate appendage of family, clan, or nation. But the price of this necessary separation is isolation and loneliness.. .

[There is] a larger, national schizophrenia constituting a second erosion of self. This schizophrenia is the result of the Americanization of Japan. Drunken Angel describes a world out of kilter and control, suffering the devastation of bombs and cultural imports.

--Stephen Prince, The Warrior's Camera, p. 86.

The young Toshiro Mifune first acted for him in Drunken Angel, a film of which Kurosawa said, "This is me at last." . . .His screen presence was in fact so strong that it changed the character balance of Drunken Angel, in which the alcoholic doctor played by Takashi Shimura was supposed to have been the hero. Mifune's agitated arrogance as the young gangster dying of tuberculosis assumed such dominance that his angry glare became a sensational new rebel movie star image.

--Audie Bock, Japan's Dilm Directors, p. 169.

On Mifune's first screen test:

A young man was reeling around the room in a violent frenzy. It was as frightening as watching a wounded or trapped savage beast trying to break loose. I stood transfixed. But it turned out that this young man was not really in a rage, but had drawn "anger" as the emotion he had to express in his screen test. He was acting. When he finished his performance, he regained his chair with an exhausted demeanor, flopped down and began to glare menacingly at the judges. . .

Mifune had a kind of talent I had never encountered before in the Japanese film world. It was, above all, the speed with which he expressed himself that was astounding. The ordinary Japanese actor might need ten feet of film to get across an impression; Mifune needed only three. The speed of his movements was such that he said in a single action what took ordinary actors three separate movements to express. He put forth everything directly and boldly, and his sense of timing was the keenest I had ever seen in aJapanese actor. And yet with all his quickness, he also had surprisingly fine sensibilities.

--Kurosawa Akira, Something Like an Autobiography, pp. 160-161.

 

DRUNKEN ANGEL: A REVIEW
BY GARY MORRIS

For a variety of reasons, Western audiences have enshrined Kurosawa as the preferred director of Japan’s golden age. He’s considered less "Japanese" (and thus more "universal") than either Mizoguchi or Ozu, and more action-minded than either of those directors. While Mizoguchi’s legend rightly rests on his subtle plumbings of the plight of women, and Ozu’s on his quietly devastating analysis of the family, Kurosawa’s subject has mostly been men — the forces that assail them from within and without and their often violent responses. His films
offer a kind of tempered exoticism, transporting for Western audiences but also rooted in familiar, universal genre forms — for example, recasting the American western as a samurai drama in his most
celebrated film, Seven Samurai.

While much of Mizoguchi’s and Ozu’s work has never been available outside of Japan, it’s a bit surprising that Kurosawa has suffered the same fate. Fans of classic Japanese cinema have had to content themselves
with reading about, rather than seeing, films like Drunken Angel, Scandal, and I Live in Fear. Occasional film society screenings or nth-generation dupes notwithstanding, the lack of availability of such films has made it difficult to really assess Kurosawa’s career outside the textbook classics of Rashomon, Seven Samurai, Yojimbo, Ran, et al.

Home Vision’s recent release of three of his early films in reasonably good VHS transfers catches the director, so to speak, in flagrante, working in personal and topical realms far removed from his more familiar and treasured historical dramas. The results are as expected, a stewpot of personal and social concerns explored with varying degrees of success.

Drunken Angel (1948) was Kurosawa’s seventh film (he started in 1943 with Sanshiro Sugata) and by all accounts his first major work. The title refers to tubercular gangster Matsunaga (Toshiro Mifune), and the film pivots on his relationship with a disreputable doctor, Sanada (Takashi Shimura), who tries against Matsunaga’s wishes to save him. In their first encounters, the disgusted Sanada refuses to spare him any pain byanesthetizing him. "Not for your kind!" he says.

But the doctor,recognizing his own failures in the failing young man, gradually softens, trying to force Matsunaga to save himself by stopping his drinking and leaving the yakuza life. Subplots involve Sanada’s nurse, victimized by an ex-con just out of prison, and the replacement of Matsunaga by the same ex-con, whose climactic battle with his rival provides one of the film’s bravura sequences.

As always, the driving force of the film is masculinity under duress, specifically in the on-again off-again relationship between Matsunaga and Sanada. Kurosawa watchers will note some similarity between their
interplay and that of any number of "masters and pupils" in his other films. Matsunaga must learn morality from an older man — Sanada — who has only gained it from his own failings. Only by recovering his humanity can Matsunaga gain peace, even in death. His failure to follow Sanada’s commands — "no alcohol, no women" — doesn’t discourage the doctor, and their relationship has an intensity and poetry lacking in the more conventional romances that crop up in the film.

Drunken Angel was made in Occupied Japan and shows it. The collapse of the "warrior nation" after the war is painfully evident in the film’s central image, a filthy, disease-breeding cesspool outside the doctor’s office and through which the characters constantly must pass in rituals of moral pollution. Kurosawa uses this image to explicitly tie Japan’s situation to his characters’, especially Matsunaga’s. In a scene typical of the film’s almost diagrammatic approach to its theme, the doctor tells Matsunaga,"Your lungs are like this swamp"and the camera lingers on the cesspool. Indeed, Drunken Angel throughout has the squalid look of a neo-realist film, complete with slum streets and gangsters and party girls trying desperately to survive in a rank, unlivable world.

Much of the misery is tied, quite overtly, to the American takeover. Japan is a country in an identity crisis, with American-style nightclubs replacing traditional Japanese venues and Western jazz and blues obliterating native musical forms. Kurosawa again makes explicit the connection between cultural chaos and personal decline when
Matsunaga, in a sequence of operatic intensity, dances wildly in a nightclub before collapsing with a hemorrhage. (This scene also gives Mifune a chance to strut his stuff, which he does with panache.)

Still, there are glimmers of hope, particularly in the character of the cheery schoolgirl, one of Sanada’s patients who, unlike Matsunaga, is recovering from TB. She keeps the film from becoming a total exercise in gloom, and suggests at least some possibility for renewal — escape from the cesspool and all that it implies — in the younger generation. Kurosawa considered Drunken Angel his first "real" film, and some of the sequences — for example, Mifune’s wild nightclub dance — are striking indeed. But other, more experimental scenes are less successful.
In a dream sequence that might have been lifted from a kitschy horror film, Matsunaga breaks open a coffin on a beach to reveal a doppelganger that frantically pursues him. Overall, though, Drunken Angel is a dynamic examination of a postwar Japan in physical and psychic chaos, and a typically strong look at the forces that bind men, and sometimes destroy them.

http://www.brightlightsfilm.com/30/kurosawa1.html

More Comments on Drunken Angel:

Stylistically speaking, Drunken Angel is a highly self-conscious film. The film's diegetic space consists of slums and the black market, which surround a polluted, disease-breeding sump. The recurrent appearance of this contaminated sump at key moments in the narrative not only helps segment the film into distinct sections but also subtly explains the inner psychological states of the principal characters. The symbolic meanings of the sump are further refined and expanded by the use of concrete objects and human figures associated with it (e.g., an abandoned doll, a guitar player, bubbling methane gas, mosquitoes).

Mitsuhiro Yoshimoto, Kurosawa, pp. 138-39.

 

Upon its release in 1948, Drunken Angel was hailed in Japan as Akira Kurosawa's directorial breakthrough, comparable to Kubrick's Paths of Glory in the way it catapulted Kurosawa into a higher level of artistic achievement. Kurosawa himself noted, "In this picture I was finally myself. It was my picture. I was doing it and nobody else."

It is indeed an important, vital film, confidently conceived and expertly executed, illuminating themes that would dominate the finest films in Kurosawa's exceptional career. The setting is a rancid, jerry-built section of a postwar city, where a filthy, disease-ridden pond functions as a physical threat and also as the film's central symbol of decay. It's in this hardscrabble environment that a brash young gangster (Toshiro Mifune, in the role that made him a star) visits an alcoholic doctor (Takashi Shimura) to have a bullet removed from his hand. The doctor discovers that the hot-tempered thug is also doomed by tuberculosis, seen here as the physical manifestation of the gangster's moral decay. The doctor is himself diseased by his drinking, and as these clashing men struggle to make some kind of difference in their pathetic lives (spurned by the return from prison of a ruthless yakuza boss), Kurosawa makes unlikelyheroes of them both--men who undergo a personal transformation in a vile and violent world.

Drunken Angel is a transitional film for Japanese cinema and especially for Kurosawa; it offers a vivid glimpse of postwar life (both rotten and restoring), and signals the full blossoming of Kurosawa's talent. And while the title role belongs to Shimura (so memorably poignant in Kurosawa's later masterpiece, Ikiru), the film belongs to the forceful presence of Mifune, whose vitality touches nearly every scene of this timeless and powerful drama. --Jeff Shannon (from the Amazon.com website)