The Bad Sleep Well 1960
$14.74
NOTICE: Polish Release, cover may contain Polish text/markings. The disk has English subtitles.
Aspect Ratio : 2.35:1
Product Dimensions : 7.48 x 5.31 x 0.55 inches; 2.82 ounces
Item model number : 5035673006375
Media Format : PAL
Run time : 2 hours and 10 minutes
Release date : July 25, 2005
Subtitles: : English
Language : Japanese (Dolby Digital 2.0)
Studio : Bfi
ASIN : B0009S9LS0
Number of discs : 1
NOTICE: Polish Release, cover may contain Polish text/markings. The disk has English subtitles.
Aspect Ratio : 2.35:1
Product Dimensions : 7.48 x 5.31 x 0.55 inches; 2.82 ounces
Item model number : 5035673006375
Media Format : PAL
Run time : 2 hours and 10 minutes
Release date : July 25, 2005
Subtitles: : English
Language : Japanese (Dolby Digital 2.0)
Studio : Bfi
ASIN : B0009S9LS0
Number of discs : 1
by Dine Fuss
Terrific Kurosawa Film Noir of Corporate Exploitation and Corruption in Rebuilding Japan…
The Japanese artist, director, and writer Akira Kurosawa is undoubtedly one of the most influential filmmakers of all time. Tour de forces such as Ikiru (1952), Seven Samurai (1954), and Red Beard (1965) on his repertoire have allowed him to gain a great number of dedicated viewers that still are mesmerized by his visual artistry. His work often finds itself being a source for other filmmakers from almost all the continents of the world. What Kurosawa has in common with these contemporary filmmakers is that he also frequently incorporated masterpieces into his work. On several occasions, he employed the works of William Shakespeare, but he also drew much from his own creative spirit. One of these, The Bad Sleep Well (1960), driven by his own inspiration to criticize the Japanese post-war corruption and hierarchical abuse shows his strong influence of Hamlet. Fortunately, Kurosawa could direct his own story, free of outside influences, as his own production company paid for the party.The Japanese opening credits with white symbols on black background together with the opening score set a dark and frustrating tone to the film. At first, the hostile and angry mood in the opening score is a little perplexing. However, as the film unfolds, it makes much more sense. The introduction of the story takes place at the wedding party for two of the main characters Koichi Nishi (Toshirô Mifune) and Keiko Iwabushi (Kyôko Kagawa). It turns out that the press has sniffed a story within the wedding, but these press members are far more respectful than what La Dolce Vita (1960) portrayed through its celebrity chasing paparazzi. Instead, this situation requires diplomacy, if these reporters want to have a chance to understand why this wedding has turned into the murky waters where the biggest sharks rest.The lengthy opening that stretches for about 20 minutes develops the story line, which allows for intrigue and suspense to take form. There are several captivating facts that surface during this opening such as a suicide five years ago. The viewers also learn that Koichi’s brother Tatsuo (Tatsuya Mihashi) promises to kill Nishi if he hurts his sister. There are also rumors of how Nishi marries the handicapped Keiko in order to gain status and wealth. The police arrest one of the guests without any resistance while a number of significant characters provides congratulatory speeches to the newlyweds. Amidst all of this, slowly the story begins to take form, as the weeding party becomes a reunion place for a large number of businessmen and characters that hold public office in high-ranking places. The reporters that cover the wedding keep the audience informed about who and what these suspicious characters have done. It is a remarkably clever set up by Kurosawa, which gets its crescendo when an enormous cake appears resembling the ministry building. The cake even marks the window from which the man committed suicide five years ago. To which one of the reporters consequently states, “Best one-act I’ve ever seen.”, as another reporter responds, “This is just the prelude.”The duration of the other two hours of the film switches direction to the plotting and scheming Nishi who seeks vengeance for his dead father. In order to achieve his revenge Nishi wants to reveal the corruption within his father-in-laws business, but to do so he must apply the tactics of his enemies. The film also portrays the unwritten rules under which the companies exploit their obedient employees. Besides the revenge, the film seeks to see the issue of the murder on Nishi’s father from different viewpoints such as from within the family, from the victim’s near and dear, and from a third and independent perspective. The Bad Sleep Well also plays strongly with the notion of guilt, as the title so eloquently and ironically points out. Meanwhile, love shows that it also does not take any prisoners, as Nishi truly falls in love with Keiko.The Bad Sleep Well is not Kurosawa’s most memorable film, yet it augments many scenes with artistic brilliance. Kurosawa shows his skilled ability to frame a scene into perfection in the film. He also sends forth socially important messages of the time when the film was shot, and he leaves the audience with much to ponder after the film has reached its end. However, it does not reach the same heights as his Rashômon (1950), Ikiru (1952), or Kagemusha (1980). This is not to say that this is not an excellent film, because Kurosawa once again proves to the audience why he is one of the most influential filmmakers of all time. The Bad Sleep Well presents a film noir with hints of Hitchcock and clear influences of Shakespeare in it, but it also leaves the audience with an original touch of Kurosawa that lets the viewer submerged into a very good film about the corrupt and dark world of corporate sharks.
by mini4dogs
Excellent Movie!
I like Toshiro Mifune and Akira Kurosawa movies. This one didnât disappoint. Itâs a contemporary film from post war Japan. Mifune plays man of principles.
by Matthew Dillon
Blu Ray Release?
Excellent and enrapturing film throughout with many twists and turns. This film really took ahold of me and didn’t let go to the finish. Criterion does the film an injustice by not giving us a Blu Ray version. This being an older edition there are not many special features to speak of but the ones that are there are worth checking out. If your a fan of Kurosawa at all this a must have.
by Stephen J. Teller
Good Kurasawa
This is one of the best of Kurasawa’s second level films. Not up to Hign and Low, but above Dursu Usala.
by Toragaiko
Pre-Scruffy Mifune
Kurosawa’s early movies offer a fascinating look into post-WWII Japan. Watch for remaining hints of the US occupation. Marvel at how far Japan has come in just over 50 years. Talk amongst yourselves about whether Toshiro Mifune would be mentioned more often in the same breath with the likes of Cary Grant and Gregory Peck if (1) he hadn’t done so many anti-hero roles in period pieces and (2) he’d been caucasian.Much slower pacing than we see in movies today, but well worth the time to savor it.
by N.A.
For lovers of true noir thrillers!
Gripping classic excellent introduction to Criterion catalog. Snap it up before it goes out of print.
by Katharine H.
wothless subtitles
good movie ruined by bad subtitles. At least half the lines weren’t subtitled at all, & when there was a subtitle it was only the first half of a sentence–the second half missing entirely!
by Penny N. Vilela
Not so sweet revenge!
It amazes me how contempory Kurosawa’s movies are. The plot and characters in this film are as believable today as they were forty years ago. Boy, does this film run hot and cold! One moment is chillingly serious and the next is incredibly funny. The best scene in the movie is when Mifune takes the “dead” official to his own funeral. Mifune’s whistle is wonderfully diabolical! Mori cooking dinner is a riot! There is a very funny moment when Mifune plants the five million yen in the unsuspecting officials briefcase. As with most Kurosawa films this one hasn’t a wasted moment. The acting is superb and the script is so well written that what could have been a very confusing story is clear as a bell. The moral of this movie…..Be careful what you ask for you might get it!
by operatic
This is Kurosawa’s remake of Hamlet. The shabbiness and dereliction of post-war Japan make a perfect setting.
by Traveller
Völlig unspektakulär, aber mit sehr viel Tiefe und sehr guten Schauspielern verfilmtes- passt der Ausdruck hier? – “White Collar Crime” (WeiÃe Kragen-Kriminalität, im Sinne von korruptem Wirtschaftsmanagement und politischen Seilschaften). Ich habe zufällig von diesem Film erfahren. Von Akiro Kurosawa kenne ich fast alle seine Samurai-Epen. Diesen (anderen) politischen, sehr scharfsinnigen Film Kurosawas kannte ich bislang nicht.Was mich besonders beeindruckt, ist, dass der Film ohne vordergründige, plakative Effekthascherei auskommt. Alle dargestellten Rollen wirken “echt” und die Musik wird als dramaturgisches Mittel sehr sparsam eingesetzt. Schade, schade, dass es solche Filme heute kaum noch gibt. Vom Zuschauer wird die intensive, aufmerksame Betrachtung jeder einzelnen Szene abverlangt. Nix da mit Husch-Husch abartig schnell geschnittenen und verschnittenen Videoclips, die leere und flackernde Augen hinterlassen. Wie war das noch:”In der Ruhe liegt die Kraft”. In diesem Sinne ist Kurosawa, seinem Filmteam und seinem Darstellerteam ein sehr kräftiger, ausdrucksstarker Film gelungen. Domo arigato!
by magee
XCLNT
by Händelfan
Hammerharter gesellschaftskritischer Noire-Krimi des Meister mit logischem finsteren überraschenden Ende. Das sollte sich die heutige Regisseursriege mal wieder ansehen und lernen
by discmythnut
The plot of this movie was convoluted but conveyed a powerful message: corporations always have the last word. The beginning is brilliant, the middle is a bit flabby, and the ending is incredible. Kamatari Fujiwara is the most valuable player here, as a mild-mannered businessman betrayed by his own co-conspirators. The movement in the camerawork is amazing. It’s not the best Kurosawa film but highly recommended.