Not long ago I ordered three Kurosawa films from Amazon.com, and recently I saw The Lower Depths 2 Disk Criterion Collection Edition. It contains Jean Renoir’s 1936 version as well as Akira Kurosawa’s 1957 version of the Maxim Gorky play of the same name. Perhaps it is interesting and easiest to compare and contrast the two films. Kurosawa was well-steeped in western culture and was a fan of Gorky and Renoir often gets inspiration from western sources and then adapts them for his purposes to make a statement about Japanese society in particular, while keeping the universal themes in tact. First off Renoir's film takes place at a flophouse in the wake of the solidarity of the leftist Popular Front, which created a new sense of solidarity with the Soviet Union. In Kurosawa’s version the film takes place in a tenement during the Edo period (which was known for prosperity). The Renoir version is more of a showcase for the two main stars, the baron (Louis Jovet) and the thief Pepel (Jean Gabin). In contrast, Kurosawa’s version is much more of an ensemble piece. However some performances do stand out, particularly Toshiro Mifune as Sutekichi the thief and Bokuzen Hidari as Kahei the pilgrim. Furthermore, Renoir makes more use of cinematic possibilities by presenting several setting changes throughout the film. In contrast, Kurosawa’s film almost takes place entirely in the tenement house or near the landlord’s house. In addition, Kurosawa had the actors rehearse extensively for the scenes, which were often extremely long takes. Renoir’s version shows the baron’s easy descent into poverty and friendship with Pepel, which may have signified the similarities between the classes, but apparently it was something missing from the original play. Even though I haven’t read the play, but I plan to in the future, both directors had to adapt the play for their times and respective cultures. For Kurosawa this meant incorporating aspects of Shintoism and Buddhism, not to mention allusions to kabuki through out the film. For example his use of the bakabayashi, a sort of comic chorus taken from Shinto shrine festival that ends the film. It is interesting to note that Renoir’s film ends on a more hopeful note than Kurosawa’s, which is more faithful to the original impression of the play according to the liner notes. I found it interesting and entertaining to compare and contrast the two different approaches-now it’s time to read the original play. Once again the good people at Criterion have put together a first rate package full of extras: an introduction tot the French film by Renoir, essays on both films, a commentary by Donald Richie, as well as a 33 minute documentary on the film.
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