| Photos (See all 12 | slideshow) |
| Toshirô Mifune | ... | Kiichi Nakajima | |
| Takashi Shimura | ... | Domestic Court Counselor Dr. Harada | |
| Minoru Chiaki | ... | Jiro Nakajima | |
| Eiko Miyoshi | ... | Toyo Nakajima | |
| Kyôko Aoyama | ... | Sue Nakajima | |
| Haruko Tôgô | ... | Yoki Nakajima | |
| Noriko Sengoku | ... | Kimie Nakajima | |
| Akemi Negishi | ... | Asako Kuribayashi | |
| Hiroshi Tachikawa | ... | Ryoichi Sayama | |
| Kichijirô Ueda | ... | Mr. Kuribayashi father | |
| Eijirô Tôno | ... | Old man from Brazil | |
| Yutaka Sada | ... | Ichiro Nakajima | |
| Kamatari Fujiwara | ... | Okamoto | |
| Ken Mitsuda | ... | Judge Araki | |
| Masao Shimizu | ... | Yamazaki, Yoshi's husband (as Gen Shimizu) | |
| Atsushi Watanabe | ... | Factory Worker Ishida | |
| Kiyomi Mizunoya | ... | Satoko | |
| Toranosuke Ogawa | ... | Hori, the lawyer | |
| Nobuo Nakamura | ... | Psychologist | |
| Bokuzen Hidari | ... | Landowner | |
| Saoko Yonemura | ... | Taeko | |
| Yoshio Tsuchiya | ... | Factory Worker After Fire | |
| Akira Tani | ... | Chunky Jailbird | |
| Kokuten Kôdô | ... | Workers' Older Family Member | |
| Kazuo Katô | ... | Susumu | |
| Senkichi Ômura | ... | Skinny Jailbird | |
| rest of cast listed alphabetically: | |||
| Noriko Honma | ... | Family member of workers (uncredited) | |
| Kyorô Sakurai | ... | Worker at factory (uncredited) | |
Directed by | |||
| Akira Kurosawa | |||
Writing credits(in alphabetical order) | ||
| Shinobu Hashimoto | ||
| Fumio Hayasaka | story | |
| Akira Kurosawa | story | |
| Hideo Oguni | ||
Produced by | |||
| Sôjirô Motoki | .... | producer | |
Original Music by | |||
| Masaru Satô | (uncredited) | ||
Cinematography by | |||
| Asakazu Nakai | |||
Production Design by | |||
| Yoshirô Muraki | |||
Costume Design by | |||
| Miyuki Suzuki | |||
Makeup Department | |||
| Sadako Okada | .... | hair stylist | |
| Junjiro Yamada | .... | hair designer | |
Production Management | |||
| Hiroshi Nezu | .... | in charge of production | |
Second Unit Director or Assistant Director | |||
| Hisanobu Marubayashi | .... | chief assistant director | |
| Takeo Nakamura | .... | assistant director | |
| Samaji Nonagase | .... | assistant director | |
| Ken Sano | .... | assistant director | |
| Yasuyoshi Tajitsu | .... | assistant director | |
Art Department | |||
| Oyako Kato | .... | assistant art director | |
| Kiyoshi Toda | .... | property master | |
Sound Department | |||
| Ichirô Minawa | .... | sound effects editor | |
| Fumio Yanoguchi | .... | sound recordist | |
Camera and Electrical Department | |||
| Masao Fukuda | .... | still photographer | |
| Shozo Hada | .... | assistant lighting technician | |
| Kuichirô Kishida | .... | lighting technician | |
| Takao Saitô | .... | assistant camera | |
Editorial Department | |||
| Chozo Kobata | .... | negative cutter | |
Music Department | |||
| Hachiro Matsui | .... | composer: song "Cherry Pink Mambo" | |
| Masaru Satô | .... | conductor (uncredited) | |
| Masaru Satô | .... | orchestrator (uncredited) | |
Other crew | |||
| Teruyo Nogami | .... | script supervisor | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb Japan section |
Based on reviews I had read, I was expecting either a facile ban-the-bomb message film, or a story about greedy relatives trying to have an old man committed so they can get his money.
I should have known better. Part of Kurosawa's genius in his great middle period (1950-1965) is that he refuses to insist on anything. He fairly presents a series of events and invites us to decide what, if anything, they mean.
Everyone in this film has a point. No one here is really a villain. Even those who are jerks (notably the second son, Jiro) are really trying to do the right thing. And the film reminds me a little of THE CAINE MUTINY in that it very artfully moves our sympathies in one direction for most of the film before presenting us with events that make us wonder if we were wrong.
Toshiro Mifune gives a fine performance as Nakajima, but to tell the truth, I wish Kurosawa had given the role to Takashi Shimura, not only because I think Shimura would have played the role even better, but because it would have given him one more tour-de-force leading role in a Kurosawa film, coming directly after IKIRU and SEVEN SAMURAI. Granted, though, that such a move probably would have caused problems with both Toho and Mifune.