Akira Kurosawa, 1963
film of two halves, various acts
first as long takes, square space, one room, man's conscience
generally low contrast
use of tableaus on the very, very, very wide scene are wonderful
film really picks up in the second half, faster takes and higher contrast
typical Kurosawa attention to how all are good, but guilty
interconnections, a real humour and a mingling of horror
Kurosawa as the great humanist, the great moralist in some ways
no one escpaes either pity or condemnation
not his very best, but especially the second half, with some rythmic editing there and in the train sequence, are very good
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