In the final days of World War II, Akira Kurosawa wrestled with the demons and the atomic age in his movie “ I Live In Fear”, released in 1955 which presented his protégé Toshiro Mifune, who portrayed as an elderly and an obstinate businessman. Fearing the atomic nuclear attack, he came up with a decisive move to evacuate his family to South America. This was a very touching film by Kurosawa, which will definitely make you cry with the remnants and unforgettable memories of the devastating nuclear bombshell, which made history never the same again.
Visually, this movie was tremendously striking. The heat and effects were present in every scene. This was so clear from the sweaty backs of the attorneys in the courtroom, to the blazing sun, which hinted the film,’s closing moments. Throughout the film, you will see the people fanning themselves to be refreshed. However, I began to wonder as the movie progressed, who was really the one described as “mentally deranged.” This particular motion picture was a reflection of a debilitating social problem, which had been alluded by some as Kurosawa’s least commercial successful creation. The reason? The characterization and the script did not have a perfect blending. Mifune, in my own opinion, became uncomfortable because the age of the character he was portraying was twice his age. Also, the incoherence of the script became a liability on the part of Mifune that affected his performance vey seriously. In other words, this was a problematic film and should I say, the least interesting flick among the masterpieces of Kurosawa. It wore many uncertainties on its sleeve even if you will see the picture a thousand times over.
The film opened itself with a citizenry that assimilated individuality which heightened primarily the visuals of mass limbs and torsos. On the other hand, the best scene for me in this movie was the deliberation sequence, which featured the Nakajimas sent from the courtroom. As a result, the mediators and bar association members debated on the circumstances of the case. Technically, the film delivered the goods in this aspect, showing Kurosawa’s exceptional skill and high regard for cinematic standards. The flick’s photography was simple; yet, revealing. The scenes had lit in stark contrast, by its minimum of dull grays, surrounded by piercing black and white.
Overall, this was magnificent. Therefore, HIGHLY RECOMMENDED.
