Dersu
Uzala is from Japanese director Akira Kurosawa`s later period,
and is a special and unique film, on par with any other of
his acknowledged classics. He was famous primarily for his
samurai epics (The Seven Samurai, Yojimbo, Ran), but also
found time to create some great dramas. The ones I`ve seen
include Ikiru, one of the great films, period, about a man
dying from cancer who attempts one last blaze of glory. And
this one is a sweeping emotional and scenic epic, which manages
to be both subtle and visually appealing. This fact is impressive
when you considered the state Kurosawa was in at this time.
This film was produced in 1974, during a period of creative
and financial difficulty. Kurosawa was no longer in vogue
with the moviegoers of his own country, and was so despondent
he even once attempted suicide. For the rest of his career
he had to search for financial backing from foreign entities.
He had used money from, at any given point, French producers,
American financiers, and even George Lucas gave him a handout
at one time.
Dersu
was even more detached from Kurosawa`s tradition in that it
is not even Japanese. This film was made in Russia, with Russian
money, and with Russian actors speaking in Russian. The only
non-Russian character, a Mongolian, is one who, in the period
the film is set in, would have been living in a Moscow-controlled
area. Yet even with this pressure of Communist-era film making
policies over him, Kurosawa still made a fine film.
The
story involves a Russian general and his troops, and their
assignment to survey the vast regions of Siberia. One day,
during their travels, they meet a very peculiar old man named
Dersu, of Mongolian decent. The captain is taken by this interesting
fellow, who seems to be a nomad, the vast landscape his only
home. It is clear these two will become friends.
And
more than just friends, but people who end up saving each
other`s lives during very important scenes. Both events involve
the severity of nature, the most impressive cinematically
during an excursion by the captain and Dersu to a frozen lake
miles from the rest of the surveying party. Dersu is a bit
afraid of going too far away, but is assured they will be
safe. When they arrive at their spot, a windstorm suddenly
breaks. Their footprints are covered, and they are completely
lost. Dersu suddenly tells the captain to help gather up the
long grass around them to form a pile. The captain, and us,
have no idea why they are doing this, but they keep piling
this grass up. Not until later, do we realize Dersu has done
this in order to create a place to protect them for the night
from the bitter winds. The captain repays Dersu his ingenious
favor later on in a rushing river.
It
is interesting how their friendship works. The presentation
is very quiet, and modest, probably due as much to the necessary
power relationship between the captain and his inferiors as
it does to the style of the filmmaker. It is the little things
which make their friendship undeniably real. The moment they
are finally found after the night of the windstorm. Their
parting when it appears they will never see each other again,
and then the moment they reunite. The way Dersu pleas with
the captain to get him away from the forest when it seems
he has angered the gods. The numerous photos the captain takes
of trivial, everyday things while Dersu tags along with the
troop. The whole friendship is genuine in its own little,
unspectacular way.
Dersu
is a man who truly is a piece of the nature around him, so
attached he refers to all the elements of the world, from
the sun to animals, as "men". He does not feel superior to
any of nature`s creations, but instead feels a responsibility
to follow the rules of the land. He is offended at any kind
of waste, from the bullets used by the Russian soldiers for
target practise, to the shooting of animals for mere sport.
His position in nature creates a great character in itself,
but it also is a crucial part of the full story. This develops
in some great scenes, including a moment when Dersu hears
the sound of a tiger roaming through the woods. He and the
captain search frantically for it, carrying their rifles.
They both go around and around the area, always seeing new
footprints in the snow, but no tiger. Dersu yells at it as
if the animal is a deliberate prowler making Dersu`s life
difficult, or perhaps like a god or a devil. Only later do
we understand the full significance of the tiger`s role. The
Mongolians believe in a spirit of nature called Kanga, and
to kill a tiger is to anger that god, in ways unforeseen until
they occur. Dersu, in the heat of the moment, shoots another
tiger who goes near him and the captain. Dersu believes he
has killed it, and that Kanga will seek vengeance upon him
in some way.
I
will not tell you any more of what occurs. But you may discover,
as I did, a subtle irony in all the events which occur after
this, foreshadowed by the captain`s narration that tragic
things occur from that point on. It is a very subtle twist
of plot which will take a few minutes to think it over, but
I felt it was there. Sure, it`s quite easy to laugh off such
primitive superstitious beliefs as Dersu`s, but it is far
less easy to dismiss fate and circumstance.
The
film encompasses a wide range of experiences. The first half
gives way mainly to spectacle and imagery, especially in the
great windstorm sequence, while the second half concentrates
on the plot. The mood is quiet, reflective, subtle, but should
be easy to understand as a whole. The film also has a very
innocent feel to it. This is not a harsh story with villains
or heroes, or any impossible achievements or events, but simply
a story of two different kinds of people, with a gentle friendship,
who help each other out of respect and care for their fellow
people. On the surface, it is simple. But Kurosawa does wonders
with it.
David
Macdonald
David
Macdonald's Movie Reviews
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