"If you compare the production unit to an army, the script is the battlefield, and the director is the commander of the front line."

-- Akira Kurosawa

Although Kurosawa is often remembered for his epic battle sequences, he was a film general who strove for artistic perfection and to educate others about Japanese history and culture, communicating the righteous samurai code of honor. Upon completing Rashomon a Buddhist monk presented Kurosawa with a fan on which he had written three Chinese characters meaning: Benefit All Mankind. It's an edict that Kurosawa did fulfill, as his filmmaking has introduced more westerners to Japanese culture than any other individual.

With Janus films re-mastering and re-releasing many of Kurosawa's films to theaters in the coming months, more interest in Japan's supreme cinematic artist can be expected. So Adam Low's labor of love documentary Kurosawa is a welcome addition for Kurosawa fans, who have contented themselves with books and Criterion Collection DVDs for background material. As a pure documentary, Low’s film will come across rather clunky--a scrapbook of treasures taped together with some obviously cheaply constructed modern digital camera work.

At one point a voiceover speaking for Kurosawa asks, "Why do we keep repeating ourselves?"--a question that could be asked Low for his continued re-use of a pan of a modern Tokyo street corner with Throne of Blood showing on the Jumbo-tron. A few other clips are repeated unnecessarily, and only serve to emphasize the bare bones nature of the documentary.

Notable talent is employed, however, as Sam Shepherd serves as the main narrator and Paul Scofield to voice Kurosawa's thoughts from his writings and journals. At times it's difficult to differentiate Scofield's voice from other narrators, so this is only determined from the context. Unfortunately, subtitles are only available to translate the Japanese portions into English.

To appeal to a wider audience, the film seriously needs editing. Although Kurosawa fans will find his journalistic early recollections interesting, neophytes will find references to frog skin, a white dog being hit by a train, and Kurosawa’s early aversion to red sushi irrelevant. On the other hand, the revelations about his samurai ancestors are both interesting and important--more would be appreciated. The filmmaker includes a brief archive interview with Kurosawa, but could have pursued more with his children.

It takes nearly 30 minutes in the largely chronological narrative before we dive into Kurosawa's film career, beginning with some interesting observations about his first films in the early 1940s when all Japanese films had to pass the war-time censors. Even these obscure propaganda films contain Kurosawa’s cinematic touches with his characteristic long shots, close-ups, and sky views.

The information about U.S. occupation of Japan could use some trimming, but it's interesting to note how the occupation army served as a liberation army to free Kurosawa for his most famous films. The clips and critical comments on Rashomon, Ikuru, Seven Samurai, and Throne of Blood are highlights. Returning to original shooting locations and interviews with actors and associates who worked with Kurosawa are interesting, even when spliced abruptly into the narrative. Many of these sequences would work far better as DVD supplements to the individual films, but are welcome gems from the documentary.

Other inclusions are blatantly obvious, but pleasant--James Coburn to demonstrate the parallel between Seven Samurai and The Magnificent Seven, Clint Eastwood for comparing Yojimbo and Fistful of Dollars. Missing is George Lucas discussing Kurosawa’s influence on him, so you’ll need to refer to the Criterion Hidden Fortress DVD for that information. Eastwood seems awkward and unprepared for his segment as he watches a Kurosawa clip on the filmmaker’s laptop--he's more prepared with his own scene. With a greater budget, more time, and more experience Low might have incorporated these scenes more smoothly, but they are worthwhile.

Most of Kurosawa's notable films are touched upon--High and Low and The Hidden Fortress are prominently missing--and the film does a good job covering his post-Red Beard period when Kurosawa's attempted collaboration with Hollywood and his attempt at independently forming a film company ended in failure. His son Hisao reveals the problems Kurosawa had during Tora, Tora, Tora:

"The contract was too detailed. There was too much to report on each day's filming. It even specified how much alcohol he could drink."

Adam Low’s documentary isn't the smooth flowing professional film you’d expect about such a consummate artist, but anyone who appreciates Kurosawa will find plenty to enjoy since some of the archive footage is rare and re-visiting the directors, associates, and actors who all worked with him are like finding treasures in the attic.