NR | 2h 23m | Crime, Drama, Mystery | 1963
The 1960s marked a period of remarkable technological progress, with innovations like programming languages and the introduction of the computer mouse. However, amid these advancements, the decade was also characterized by widespread unrest, including riots, assassinations, and a culture of hedonism that swept the globe.
In Japan, these tumultuous times were particularly pronounced, coming on the heels of the country’s defeat in World War II. Despite the devastation of war, Japan experienced a resurgence, embracing Western influences that had begun during the Meiji era (1868–1912). This blend of tradition and modernization allowed Japan to embrace technological advancements while preserving its rich cultural heritage.
The 1964 Tokyo Olympics served as a pivotal moment for Japan, solidifying its reputation as a revitalized, technologically advanced nation committed to peace. This global event showcased Japan’s ability to move forward while honoring its past, earning admiration and respect on the world stage.
During Japan’s postwar revival, its cinema flourished like the country’s famous cherry blossoms. “Jidaigeki” films—depicting feudal life complete with peasants, samurai, and farmers—were all the rage. Renowned director Akira Kurosawa played a pivotal role in this cinematic renaissance, earning international acclaim not only for classics like “Seven Samurai” (1954) and “Throne of Blood” (1957) but also with modern dramas, such as “The Idiot” (1951) and “Ikiru” (1952).
Of the many films that Kurosawa directed in his long career, 1963’s “High and Low” stands out as one of his most fascinating works. Featuring Toshiro Mifune and Tatsuya Nakadai, two of his favorite actors, the film delves into the moral quandary of a businessman torn between using wealth for executive control and aiding an employee grappling with a child’s kidnapping crisis.
Despite being one of his lesser-known films, “High and Low” holds special significance for the director. During the 1960s, Japan experienced a surge in kidnappings, prompting Kurosawa to use the film as a platform to raise awareness about the issue and advocate for harsher penalties for kidnappers.
Mifune plays Kingo Gondo, a seasoned business executive employed at National Shoes, a company renowned for its women’s footwear. Residing in a splendid home overlooking Yokohama’s bustling port, Gondo has dedicated his career to the company since he was a teenager.
However, amid a recent decline in sales, Gondo finds himself confronted by a trio of senior executives at his home. During their visit, they reveal a contentious proposal: to produce low-cost women’s shoes to target impulsive buyers, with hopes of revitalizing sales. Additionally, they conspire to oust the company’s president, the “old man” at the top, deeming him antiquated in his management approach.
Gondo vigorously rejects their proposal, refusing to compromise the renowned quality of National Shoes. Promptly ushering out the three executives with the assistance of his aide Kawanishi (Tatsuya Mihashi), Gondo confides his secret plan to his wife and aide: to leverage all of his assets (including their house) for a buyout of the entire company. Although initially shocked, Gondo’s wife, Reiko (Kyoko Kagawa), and Kawanishi seem to support this audacious maneuver.
Trouble arrives in the form of a sudden phone call by a mysterious man, who claims to have kidnapped Gondo’s son, Jun (Toshio Egi). The stranger tells Gondo that if he doesn’t come up with a large sum of money or if he contacts the police, Jun will be killed. Gondo agrees to pay, even if it means ruining him financially; he knows he can always make the money back.
One of Kurosawa’s Best
Mifune delivers a powerhouse performance as Gondo, a successful businessman grappling with an impossible situation. His portrayal captures the intensity and desperation of a man torn between moral duty and personal ambition. Ms. Kagawa’s portrayal of his wife, Reiko, adds depth to the moral dilemma, providing a compelling counterpoint to Gondo’s internal struggle.While the entire cast delivers strong performances, Mihashi’s portrayal of Gondo’s assistant Kawanichi is particularly noteworthy. Initially appearing as a docile yes-man, Mihashi’s subtle performance gradually reveals layers of complexity, leaving viewers questioning his true motives. His nuanced portrayal adds a layer of intrigue to the film’s narrative.
“High and Low” is on point in nearly every aspect. From the fluid cinematography and minimalist score to the excellent performances by its stellar cast, this is one of Japan’s lesser-known gems that deserves watching, especially for Kurosawa fans.
