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Something Like An Autobiography Paperback – May 12, 1983
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"A first rate book and a joy to read.... It's doubtful that a complete understanding of the director's artistry can be obtained without reading this book.... Also indispensable for budding directors are the addenda, in which Kurosawa lays out his beliefs on the primacy of a good script, on scriptwriting as an essential tool for directors, on directing actors, on camera placement, and on the value of steeping oneself in literature, from great novels to detective fiction."
--Variety
"For the lover of Kurosawa's movies...this is nothing short of must reading...a fitting companion piece to his many dynamic and absorbing screen entertainments."
--Washington Post Book World
- Print length205 pages
- LanguageEnglish
- PublisherVintage
- Publication dateMay 12, 1983
- Dimensions5.2 x 0.63 x 7.97 inches
- ISBN-109780394714394
- ISBN-13978-0394714394
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From the Inside Flap
"A first rate book and a joy to read.... It's doubtful that a complete understanding of the director's artistry can be obtained without reading this book.... Also indispensable for budding directors are the addenda, in which Kurosawa lays out his beliefs on the primacy of a good script, on scriptwriting as an essential tool for directors, on directing actors, on camera placement, and on the value of steeping oneself in literature, from great novels to detective fiction."
--Variety
"For the lover of Kurosawa's movies...this is nothing short of must reading...a fitting companion piece to his many dynamic and absorbing screen entertainments."
--Washington Post Book World
From the Back Cover
"A first rate book and a joy to read.... It's doubtful that a complete understanding of the director's artistry can be obtained without reading this book.... Also indispensable for budding directors are the addenda, in which Kurosawa lays out his beliefs on the primacy of a good script, on scriptwriting as an essential tool for directors, on directing actors, on camera placement, and on the value of steeping oneself in literature, from great novels to detective fiction."
--"Variety
"For the lover of Kurosawa's movies...this is nothing short of must reading...a fitting companion piece to his many dynamic and absorbing screen entertainments."
--"Washington Post Book World
About the Author
Product details
- ASIN : 0394714393
- Publisher : Vintage; First Edition Thus (May 12, 1983)
- Language : English
- Paperback : 205 pages
- ISBN-10 : 9780394714394
- ISBN-13 : 978-0394714394
- Item Weight : 9 ounces
- Dimensions : 5.2 x 0.63 x 7.97 inches
- Best Sellers Rank: #90,995 in Books (See Top 100 in Books)
- #45 in Video Direction & Production (Books)
- #74 in Movie Direction & Production
- #1,036 in Actor & Entertainer Biographies
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The book is an autobiography of sorts written in 1982, in the waning years of Kurosawa's life and career. It seems it was dictated to another person since it follows a train of thought progression. Either that or Kurosawa penned it this way. Either way, there is a purity to the storytelling that feels as if the reader is sitting across from the director, conversing over tea.
A lot of the book focuses on his early life, and the reader empathizes greatly with the young Kurosawa. There was much tragedy in his young life, both within his family, but also with the nation of Japan during the years leading up to and including the war. Much of his early career was spent trying to work on and create good films while appeasing the Japanese censors. Then post war, the American military was censoring the films. The guy couldn't win!
A lot of the book also praises a lot of the directors, actors, and staff that Kurosawa worked for or worked with. He gives somber praise to his predecessors, especially his mentor, Kajiro Yamamoto. Kurosawa is very self deprecating at times, looking back and considering his actions at the time or decisions he made in his youth. But with those he admired, he gives credit where credit is due.
Which is not to say this is a look back in regret. Instead Kurosawa touches on times, events, and emotions from the past. His laments are brief and heartfelt. In a few chapters he admits that he had a fiery temper, so he often writes about regret at letting his anger get the better of him.
This isn't truly a look at Kurosawa's films, but instead a look at his life and the events surrounding his career. I would say this is not the same style of biography as Bergmann's "A Life in Film" which focuses on the films themselves. Much of this book also touches on the events surrounding life in Japan during Kurosawa's life. We feel the horror he felt after the great Kanto earthquake or the helplessness of the life of an artist leading up to World War 2. We sense that his films had depth and impact because Kurosawa worked so hard to get results during such trying times. It is a testament to his stubbornness, ambition, and dedication that he was able to craft the best films of his career during these times (pre-war, during war, and post-war).
If you are a fan of Kurosawa and want to know more about the life and mind of this genius director, then this is a wonderful book to read. If you are expecting a point by point synopsis of his films, there are better texts out there (often much more expensive), such as 'The Films of Kurosawa' by Donald Richie (which is excellent by the way!).
This book only covers from his youth till after WW2 when he ascended from the Japanese film industries.
This book details his upbringing, his education, his early love in watching movies, his determination, his drive and stamina that befitting the demands from filmmaking.
A slim book but filled with informative and interesting details about the historical background upon which he ultimately became a master filmmaker.
Highly recommended.
Rating = ***
Author: Akira Kurosawa
Translator: Audie Bock
1983
ISBN: 0-394-71439-3
This is a de facto first volume of Japanese film director Akira Kurosawa's life. Apparently, it was so traumatic and embarrassing (since many folks who could/should be written about were still living at the time) for the author to compose (hence the original title "Toad Oil" [explained in his Preface]), that no further volumes were forth coming. It is also a highly readable book--suspiciously so! It has likely been subject to multiple levels of filtration (including the "lost-in-translation" phenomenon) prior to publication. Read with the proverbial grain of salt.
All autobiographies, of course, are filtered by their authors who only describe events they can remember and consider to be the most flattering as well as add embellishments to same. (The most accurate and compressive view of a subject's life and motion-picture career are usually to be found in biographies not written by their relatives!) Translators of Japanese into English also take abundant liberties and/or make extrapolated guesses (which are plain to see in many translated Japanese film titles and dialogue subtitles) to: "prettify" their English version; turn nuanced or negative statements into decisive or positive ones (the latter, by the way, is often done in movies for comic effect); and otherwise put words deemed "appropriate" into the originator's mouth (sometimes, though, direct English equivalents simply do not exist for Japanese words or phrases). The actions of the translator's book editor/publisher can add yet a third layer of filtration.
Kurosawa seems to have had a remarkable (perhaps photographic?) memory and/or substantial written records and/or drew from his vivid imagination (after all, he had had a hand in creating many, many photoplays including the scenarios for all his films) judging from the level of details described from his childhood. These events are interesting from a psychological perspective, but not necessarily so for the director's film enthusiasts. Except, perhaps, for developed and retained character traits, it's hard to see much in the way of direct connections between the child described and the cinematic talent he would become. (One tidbit that emerges: it was Kurosawa's older brother who induced him--a struggling painter at the time--to start a new career in the motion picture business.) Bock in her Translator's Preface appears to think the major value in relating so many detailed childhood memories is in helping to describe Japan's migration from a predominantly rural society to a more urban one during the late 18th and early 19th centuries. Perhaps.
Judging from her Translator's Preface, Bock seems to have been enraptured/enthralled with Kurosawa at the time she translated his work. This very likely impacted the objectiveness of her translation. Now and then Kurosawa's rougher language apparently manages to slip through which makes for added reading interest.
While Kurosawa writes mostly about his childhood, all but one of the numerous individuals he names as assisting him in writing his book seem to be connected to him only via his cinematic activities. This casts further suspicion on the veracity of his childhood stories.
This small book may lack historical accuracy and not add much (or anything) to what is now known about its author's film endeavors. But it does make for a pleasant, casual read (especially if you have a bout of insomnia). WILLIAM FLANIGAN, PhD.
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This book ends with the success of Rashomon, so what we have here is an account of Kurosawa's childhood, youth and his early years in the Japanese film industry. As Kurosawa says, the rest of his life can be found in his films. Most of his better known and internationally-famous films were made after 1950, so this is a great way to make sense of the origins and nature of the Japanese film industry, and Kurosawa's place in it. It is also a brilliant starting point from which to go and watch those fabulous later films. I found it utterly wonderful. Kurosawa's life is reflected in his film-making to a fascinating degree and he is unusually perceptive about his own creative processes. His writing is poetic, literary and often strikingly vivid. This befits a man who started as a visual artist and trained himself to be a writer. He also has a self-deprecating, dry wit that is very engaging. This is not common. There are several great film-makers (I will name no names!) who are profoundly inarticulate when it comes to talking about their own films. Kurosawa is also blessed with a superb translation by the Fulbright Scholar, Audie Bock, who spent many hours with the director and watched him filming the stunning Kagemusha in the late 1970s. It's clear that this was a great labour of love for the translator and it shows in the care she has taken to make the director's meaning crystal clear at every turn.
I would describe this as the best book that I know about the craft of film-making, as well as the best insight into the life and work of one particular genius. (...and I do not use that word lightly).









