Akira Kurosawa-Donzoko ('The Lower Depths') (1957)

Akira Kurosawa's The Lower Depths, an adaptation of Maxim Gorky's classic proletarian play. Instead of his usual broad canvas, Kurosawa instead explores the possibilites of the stage in this film, finding intimacy in his examination of a group of destitutes, set during one of Japan's most prosperous ages. Starring an ensemble cast led by frequent collaborator Toshiro Mifune, the film is a Buddhist meditation on the human condition, yet also a poignant and comic investigation of the conflict between illusion and reality. Criterion




Kurosawa, firmly situated in the postwar world, found little reason for hope. He remained faithful to the original with its focus on the conflict between illusion and reality—a theme he would return to over and over again. Working with his most celebrated actor Mifune, the film offers a unique look at cinematic adaptation—where social conditions and filmmaking styles converge to create unique masterpieces. Criterion




In a slum flophouse, a collection of beggars and thieves bewail their lot in life, and Osugi, the landlady, fights with her sister, Okayo, over the man they both desire, the thief Sutekichi. (http://imdb.com/title/tt0050330/plotsummary)




The story takes place in a poorhouse that lays in the bottom of the large hole, which is confused by people of high social status as a garbage dump. In the poorhouse there are a number of different characters such as Sutekichi the thief (Toshirô Mifune), Osugi the landlady, Okayo Osugi's sister, Rokubei Osugi's older husband, a former samurai, a prostitute, a craftsman, an actor, a priest, and a gambler among others. They complain about their struggles, get drunk, sing, gamble, and share their hopes as they share a roof together. Through their daily activities the character's different persona's emerge as they tell stories of their past, or dreams that they have to be above the pit in which they now live. Kurosawa's Lower Depths never leaves the pit in which the poorhouse exists as it instills an enhanced feeling of hopelessness, which lends support to the empathy that the audience builds for the desperation that the characters must feel. This desperate atmosphere is well-balanced by the priest that arrives to the poorhouse as he offers hope for those in need of it. The function of desperation and hope becomes a double edge sword that could inflict harm to those who use the two without care. Through Kurosawa's cinematic brilliance, desperation and hope are visualized and leave the audience with an excellent cinematic experience, which stimulates reflection in regards to the theme. (amazon.com)