Warui yatsu hodo yoku nemuru (1960)

Note des utilisateurs:

8.1/10   

Réalisateur:

Akira Kurosawa

Writers:

Shinobu Hashimoto (writer)
Eijirô Hisaita (writer)

Release Date:

22 janvier 1963 (USA)

Genre:

Crime | Drame | Thriller

Plot:

A vengeful young man marries the daughter of a corrupt industrialist in order to seek justice for his father's suicide.

Plot Keywords:

Suicide | Scandal | Nervous Breakdown | Illegitimate Son | Wedding

Awards:

3 wins & 1 nomination

Avis des utilisateurs:

"Now all Japan has been hoodwinked"

Ensemble

Toshirô Mifune	...	Koichi Nishi
Masayuki Mori	...	Public Corporation Vice President Iwabuchi
Kyôko Kagawa	...	Keiko Nishi
Tatsuya Mihashi	...	Tatsuo Iwabuchi
Takashi Shimura	...	Administrative Officer Moriyama
Kô Nishimura	...	Contract Officer Shirai
Takeshi Katô	...	Itakura
Kamatari Fujiwara	...	Assistant-to-the-Chief Wada
Chishu Ryu	...	Public Prosecutor Nonaka
Seiji Miyaguchi	...	Prosecutor Okakura
Koji Mitsui	...	Reporter A
Ken Mitsuda	...	Public Corporation President Arimura
Nobuo Nakamura	...	Legal Adviser
Susumu Fujita	...	Detective
Koji Nambara	...	Prosecutor Horiuchi

Autre(s) titre(s):

The Bad Sleep Well (International: English title)
The Rose in the Mud
The Worse You Are, the Better You Sleep (Japan) (informal literal English title)
Les salauds dorment en paix (France) [fr]
Les salauds se portent bien (France) [fr]

Durée:

151 min | USA:135 min | UK:132 min

Pays:

Japan

Langue:

Japonais

Couleur:

Noir et Blanc

Aspect Ratio:

2.35 : 1

Son:

Perspecta Stereo (Westrex Recording System)

Classification:

Finland:K-7 (2005) | Netherlands:6 | Australia:PG | Singapore:PG | UK:PG (video rating) (1992) | UK:A (original rating)

Emplacements De Pelliculage:

Toho Studios, Tokyo, Japan

Company:

Kurosawa Production Co.

Anecdotes:

The smashed car at the film's dramatic climax is a Studebaker.

Guillemet:

Contract Officer Shirai: I met the young lady twice while plannung the wedding. She's a genuinely sweet person. When I think of her agony, I wish a peaceful resolution were possible.
Itakura: Unfortunately there just isn't any way. That man's evil! If we hesitate, we're finished.

Movie Connections:

Referenced in Kurosawa: The Last Emperor (1999) (TV)

Soundtrack:

Roses from the South (Rosen aus dem Süden, Op. 388)

"Now all Japan has been hoodwinked"

For his first film made by his own independent production company, Kurosawa decided to take advantage of his new creative freedom to make his most politically daring picture to date. He takes on the corruption rife in corporate Japan in a film noir of almost epic proportions.

This was Kurosawa's most stylised film so far. He takes a nasty, tragic film noir plot-line (and yes, there are elements of Hamlet, but not enough to call it an adaptation) but plays it at some times as if it was a farcical comedy, and at others like it was a horror. The villainous characters appear slightly ridiculous and even cartoonish. Only the most senior amongst them, Iwabuchi, is allowed to keep his dignity. While the others are just puffed-up minions, easily toppled, Iwabuchi seems truly immovable.

The establishing scenes are the film's strongest. It opens, like The Godfather, with a lengthy wedding scene which serves to introduce all the principle characters and set the tone. Everything about the way this scene is put together tells us this is not the happy occasion it should be – the hall where the ceremony takes place echoes off-puttingly, a company official about to make a speech cringes as champagne corks go off behind him like gun shots. Add to this an interruption from the police, a gang of journalists and photographers waiting in the wings, and a best man's speech that turns from jokes to threats, and you can practically taste the corruption and decadence that is the focus for this story.

The wedding scene is followed by a montage of newspaper headlines and newsreel footage, reminiscent of similar devices used by Frank Capra and Raoul Walsh. Kurosawa brilliantly choreographs this sequence to music, a rather eerie little dirge more typical of a Japanese period piece than a modern thriller. It's the only example of this kind of montage I know of in Kurosawa's work (it was rare for him to expand the narrative to the bigger picture), but it's a highly effective one-off.

The central plot, of Nishi (Toshiro Mifune) orchestrating spectacular revenge against the men who killed his father, is full of amazing set-pieces. There are echoes of Hitchcock in the way Kurosawa shoves significant objects right up to the camera. The use of music is dazzling, combining upbeat music with unnerving moments to give a great sense of irony. Nishi is the last person the villains suspect, and he often appears innocently in the background with little more significance than an extra, although of course the audience knows better. It's a nice touch that Kurosawa has the character wear glasses, making Mifune almost unrecognisable to us as well.

Sadly, the film's pace slows down after the first hour, and rarely gets back to the same dizzying heights for the rest of its 145 minutes. The lengthy runtime does however allow Kurosawa to add a depth that is absent from your average 100-minute Hollywood Film Noir. Kurosawa could be bleak, but he never forgot the humanity in his films, and this is really the focus in the second half of the film. He takes time to put the spotlight on the innocent victims of revenge (Nishi's wife, Wada's family), and even show the arch-villain in moments of warmth and tenderness with his family. And this is perhaps where the story's biggest similarity with Hamlet is – Nishi's revenge falls apart because he is unable to be totally ruthless and unfeeling.

As for the acting, Masayuki Mori is particularly good as Iwabuchi. Just look at his reaction when the second wedding cake pulls up behind him – remaining calm, but clearly suppressing concern and annoyance. Kamatari Fujiwara and Akira Nishimura give great over the top performances as Wada and Shirai respectively. Unfortunately this is not one of Toshiro Mifune's great performances. Mifune had an incredible range, but somehow he doesn't quite work as Nishi. In particular, for me he doesn't quite get the emoting right when he begins to realise his feelings for his wife.

Kurosawa always liked to be making some kind of point with all his films, something which sometimes got in the way of decent storytelling. The Bad Sleep Well is a political soapbox picture if ever there was one, but luckily in this case that doesn't water it down quality-wise. True, it is perhaps a little too long, and there are a few dull stretches, but Kurosawa's direction was still at its peak and this stands as one of his best contemporary-set pictures.