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    Dersu Uzala (1975) [Re-UP]

    Posted By: Someonelse
    Dersu Uzala (1975) [Re-UP]

    Dersu Uzala (1975)
    2xDVD9 | VIDEO_TS | PAL 16:9 | 02:15:53 | 5,33 Gb + 6,47 Gb
    Audio: #1 English, #2 French, #3 Russian - AC3 5.1 @ 448 Kbps (each track) | Covers (5 JPG)
    Subtitles: English, Russian, French, Spanish, Dutch, Japanese, Swedish, Arabic, German, Italian, Portuguese, Hebrew, Chinese
    Genre: Adventure, Drama

    Director: Akira Kurosawa
    Stars: Maksim Munzuk, Yuriy Solomin, Mikhail Bychkov

    A few months after his notorious suicide attempt, Japanese filmmaker Akira Kurosawa was regenerated by the notion of helming the first Russian/Japanese co-production. Co-scripted and directed by Kurosawa, Dersu Uzala is the story of an elderly guide and Goldi hunter (Maxim Munzuk), who, at the turn of the century, agrees to shepherd a Russian explorer (Yuri Solomin) and a troop of soldiers through the most treacherous passages of the Far East. The guide has been "one" with the land almost from birth, and is thus able to save his party from perishing. Four years in the making, Dersu Uzala won the 1976 Best Foreign Film Oscar and restored the flagging Akira Kurosawa to the top ranks of the Japanese film industry.


    DVD Distributor: Ruscico
    Dersu Uzala (1975) [Re-UP]

    Director Akira Kurosawa is known for his epics, and this Russian-Japanese co-production was one of the most sweeping of his long and brilliant career. Metaphorically, the story of the crafty, stodgy hunter who teaches a Russian about the land and its animals evokes the bankruptcy of colonialism. Physically, it is one of the most impressive filmed testaments to the majesty of nature. Breathtaking cinematography makes the Siberia-Mongolian frontier the real star of this slow-moving, proud, and unconventional buddy film. Kurosawa has made more accessible films in plot and structure, but the rugged beauty of this work is unsurpassed in his canon.
    Michael Betzold, Rovi
    Dersu Uzala (1975) [Re-UP]

    A wonderful film. It showcases the natural beauty of the Taiga and presents a contrast between the technological and the pastoral. Dersu is one with the forest. He knows its ways and its moods. The Russians scoff at his ways and his 'primitive' belief system, but eventually come to rely on him, and even love him. It is a beautiful story that takes place in an world that very few of us in the West have had a chance to see. I thought the fact that the film was set in the pre-revolutionary period gave it a peculiar sort of charm - Russia before the Great War and the Russian Revolution was innocent and even naive, the same way the Russian soldiers were innocent of the wonders and the dangers of the Taiga.

    Dersu Uzala (1975) [Re-UP]

    One of the things I loved most about this film was the cinematography - there are long, lingering shots of the landscape, the endless steppe, the forest, the rivers, the mountains. We believe ourselves to be powerful because we have been moderately successful in our attempts to harness nature for our own uses, but the film shows us that we are deluding ourselves, that nature cannot be controlled or resisted, and the truly powerful are those, like Dersu, who co-exist in harmony with nature and learn what the wilderness teaches.
    47 of 51 people found this review helpful.

    Dersu Uzala (1975) [Re-UP]

    After the box office failure of Dodes'ka-Den, Kurosawa was extremely depressed and attempted to commit suicide. After his recovery, he got over his depressive state and directed the Japanese/Russian co-production, Dersu Uzala.

    Set in the forests of Siberia in the 19th century, Dersu Uzala is one of the most important films about friendship ever made. It tells the story of Captain Vladimir Arseniev (Yuri Solomine) as he leads an expedition through the woods. While his group is camping one night, a small mountain man named Dersu Uzala (Maxim Munzuk) comes across the men and agrees to act as their guide. The friendship between Dersu and Vladimir grows over the years and Vladimir urges Dersu to return to the city with him but the latter always refuses. Finally Dersu agrees to go, but finds that it is a very difficult adjustment to make.

    Dersu Uzala (1975) [Re-UP]

    This was the first Kurosawa film that I ever saw and it amazed me in so many ways. The beautiful landscapes, the well-developed characters, and most importantly, the great friendship between Dersu and Vladimir make this one of my favorite films.
    72 of 80 people found this review helpful.
    IMDB Reviewers
    Dersu Uzala (1975) [Re-UP]

    There is a distinct divide between the films that make up the early part of the career of Akira Kurosawa and those of his latter period. The turning point is easy to identify as being around the time of the making of Dersu Uzala, but the reasons for the change in the director’s themes and the nature of it must necessarily be somewhat speculative. Two significant factors however undoubtedly come into play. The first was Kurosawa’s attempted suicide in 1971, the other was the necessity for the director to look overseas for funding of his films. His only film made outside Japan, Dersu Uzala was made in Russia and largely financed by Mosfilm, and it marks a radical change in Kurosawa’s approach to filmmaking, an approach that would simultaneously mar and elevate his subsequent films.

    Dersu Uzala (1975) [Re-UP]

    In many respects, Dersu Uzala is however still recognisably a film by the master of Japanese cinema. Visually it is splendid and full of characteristics that are recognisably those of Akira Kurosawa, using the power of natural elements to express and develop personality and underline significant moments in the development of the narrative. What is different in this film however, is both the scale to which they are used and how they are employed. In Dersu Uzala, nature takes precedence over the human element to the extent that it practically subsumes the individual, telling us that “Man is too small faced with the vastness of nature”. This element is evident not only in Dersu Uzala, but also in all Kurosawa’s late films, which all have some designs towards an epic quality. It’s almost as if, having failed in his suicide attempt, Kurosawa no longer has any sense of self in the latter part of his career, wishing to annihilate any sense of ego through the forces of nature, through war and through nuclear self-destruction.

    Dersu Uzala (1975) [Re-UP]

    While one or other of these elements strongly characterise the tone of Kurosawa’s later films, it in no way hampers films like Kagemusha or Ran - rather, it enhances the intensity of their dark, overstated moods, making them two of Kurosawa’s bleakest, most pessimistic films. When applied to real people seeking to adjust themselves to these powers greater than oneself and treating them with due respect and reverence, all the finesse of previous Kurosawa characterisation disappears to be replaced by over-sentimentality and kitsch, as in Dreams and Rhapsody In August, reaching its peak Kurosawa’s final film, the overbearing and almost excruciating Madadayo. It’s also there in Dersu Uzala. Based on his own notebooks and stories of his explorations, the film chronicles the adventures of Vladimir Arseniev (Yuri Solomin), a captain in the Russian army. While working on a topographical analysis of the Ussuri region in 1902, Arseniev meets a native hunter Dersu Uzala (Maksim Munzuk), a wise old man who not only guides him through the inhospitable and treacherous terrain, but he also teaches him and his troops basic humanitarian values, a respect for nature, its majesty and power and man’s place in this world.

    Dersu Uzala (1975) [Re-UP]

    Filmed on 70mm film stock in inhospitable Siberian conditions over two years, the temperature often dropping to -40º C, Kurosawa, ever the master of controlling and depicting extreme weather conditions, certainly convinces with the sheer majesty of the photography and one or two adventures encountered by the explorers in this wild region. The scene at frozen Lake Khanka, where Dersu and the Captain have to build a shelter of marsh-grass is magnificently filmed by Kurosawa, who fully captures the sense of urgency, danger and makes the scene the lynchpin of the film that it needs to be, one that legitimises the subsequent bond that develops between the two men. In both these men we have the typical Kurosawa characters, expressing the dichotomy that exists between civilised man and his relationship with nature. But while there is certainly more sympathy for the closer bond with nature enjoyed by the hunter, Kurosawa doesn’t necessarily present Dersu’s way of living in any idealised way and the conclusions are consequently as pessimistic as any of Kurosawa’s late films – whether it’s from the dangers of civilised man’s own devising, or the awesome power of nature itself, man is always subject to forces greater than himself.
    Dersu Uzala (1975) [Re-UP]

    Edition features:
    - New digitally remastered print. Beautifully authored DVD's, professionally dubbed in English and French, multi-subtitles (13 languages).
    - Interview with actor Yuri Solomin (20 min.)
    - Making the film (5 min.)
    - Short video about Vladimir Arseniev, writer and researcher of the Far East (1 min.)
    - Photo album
    - Filmographies

    All Credits goes to Original uploader.

    No More Mirrors, Please.


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