As a cinephile with a penchant for both Eastern and Western cinema, I find “Dreams” to be a mesmerizing masterpiece that bridges the gap between cultures and storytelling techniques. Having delved into the works of Akira Kurosawa, Andrei Tarkovsky, Martin Scorsese, and many others, I can confidently say that this film is a testament to the power of cinema as an art form.
It’s safe to assume that many movie lovers have had the chance to watch at least one film directed by Akira Kurosawa, and perhaps more than one.
If they’ve seen it, it was likely one of the greatest samurai films ever made – “Seven Samurai” or possibly “Rashomon”, known for its intricate plot. “Star Wars” enthusiasts may have explored “The Hidden Fortress” to find the origins of their similarities, while western admirers might have watched “Yojimbo” to discover the roots of “A Fistful of Dollars”.
However, while I’ve seen all of those movies (and many other Kurosawa pictures), my all-time favorite movie of his is Dreams (often referred to as Akira Kurosawa’s Dreams). Here’s why.
Dreams Have Always Fascinated Me, And It’s A Real Treat To See Inside of Kurosawa’s Subconscious
For quite some time now, my curiosity has been piqued by the realm of dreams and the subconscious mind. Years ago, I found myself fascinated and questioning, “What if the movie Inception was scrutinized by dream specialists instead?” More recently, I penned a novel centered around dreams, hoping one day it might catch the attention of an editor (Crossing my fingers!).
Instead of saying “So, dreams have always been my jam,” you could rephrase it as “Dreams have long held a special interest for me.” This way, the sentence still conveys your enthusiasm for dreams, but in a more formal and easy-to-understand manner. The rest of the paragraph can remain unchanged, as it already uses clear and natural language.
As a devoted admirer, I can’t help but express my profound appreciation for “Dreams,” a masterpiece directed by Kurosawa near the end of his illustrious career. This film is not just abstract and personal; it transcends those descriptions, offering an experience that is uniquely its own.
Instead of listing all the parts, I’ll focus on a few standout scenes: “The Peach Orchard,” “The Blizzard,” “The Tunnel,” and “Crows.” In my opinion, these consecutive sequences are the most captivating aspects of the entire film.
As a captivated reader, I found myself immersed in “The Peach Orchard,” where I was guided outdoors by a young companion, only to stumble upon an enchanting spectacle claimed to be the spirits of the orchard that my family had felled. It’s breathtakingly beautiful! Moving on, “The Blizzard” presents me with a band of men struggling through a relentless snowstorm, and a mystical figure attempting to steer them towards their demise.
“The Tunnel” is an especially creepy one. It sees a military man go into a tunnel, only to come out again and be confronted by all the men who died under his command. And then there’s “Crows,” where we’re taken through a series of Van Gogh paintings while an art student tries to catch up to him (I’ll talk more about this one later).
Kurosawa’s dreams are frequently reoccurring, and it’s truly fascinating to peer into the mind of such a creative artist. No film quite compares to it, except perhaps Tarkovsky’s “Mirror,” which didn’t resonate with me (though I adore his movie “Stalker,” but that’s another topic). In essence, “Dreams” is unlike any other movie I’ve ever watched.
The Imagery Truly Is Dreamlike, Both Beautiful, But Also Nightmarish At Times
Indeed, each scene within this film could stand alone as a brief storyline, yet they are skillfully interwoven to create an overall narrative that feels like a prolonged, winding reverie. While “meandering” may not always have a positive connotation when discussing films, in this context, it fits perfectly as dreams often follow a similar wandering path.
In the initial part titled “Sunshine Through the Rain,” we meet a young lad who is instructed by his mom to remain indoors due to a sunshower, as it’s believed that kitsune (these are mystical foxes) get married on such days. However, disregarding his mother’s advice, he ventures into the forest, catches a glimpse of the wedding ceremony but is later spotted.
Instead of running home for shelter, he finds out from his mother that he cannot enter due to a threatening situation involving foxes and a knife. His mother instructs him to apologize to the foxes, but warns him that if they don’t forgive him, he must use the knife against himself. The scene concludes with apprehension as he journeys towards the foxes’ residence, which is nestled beneath a rainbow.
As a cinephile who has spent countless hours immersed in films from all corners of the globe, I must say that Kurosawa’s style in “Dreams” is unlike any other I have encountered. The segment I recently watched left me awestruck, simultaneously beautiful and chilling. It was as if I was floating through a dream, and Kurosawa expertly conveyed that sensation on the big screen. The seamless transition into “The Peach Orchard” was particularly captivating, and it brought to life the surrealistic quality of dreams in a way that resonated deeply with me. It’s remarkable how he managed to capture the elusive nature of dreams on film, leaving me feeling spellbound. Kurosawa’s mastery of his craft is truly unparalleled.
Each Segment Feels Like It Both Builds Upon The Last, But Could Also Be Totally Separate
In my previous statement, I pointed out that “Sunshine Through the Rain” transitions to “The Peach Orchard,” and in both tales, young boys encounter captivating situations. The overall feel of the film seems similar, as if one dream smoothly blends into another.
In some cases, the sections seem harmonious; however, others, like “Crows” and “Mount Fuji in Red,” stand out so starkly contrasting that they create a slightly disconcerting sensation due to their inconsistency.
In awe, I find myself marveling at this exceptional cinematic journey, left pondering where the visionary director’s thoughts end, and his artistic expression begins. Remarkably, Kurosawa took on the role of sole screenwriter for this film, an endeavor he hadn’t embarked upon in many years. It seems as though he was striving to portray the elusive essence of dreams, while ensuring that it remained a cohesive and engaging motion picture experience, with distinct moments to keep viewers captivated throughout.
Earlier I brought up Tarkovsky’s “Mirror,” a film that serves as an intriguing contrast due to its dreamlike qualities, although its narrative can be quite confusing (purposefully so, as far as I understand). However, “Dreams” has a clear structure, which makes it both delightful and straightforward to comprehend.
Martin Scorsese Has A Fascinating Acting Role In The Film As Van Gogh
Martin Scorsese is well-known for directing some of the greatest films ever made, but on occasion, he has taken on acting roles as well. He has acted in a few of his own movies, like “Taxi Driver” and “After Hours,” where he appeared briefly. However, he’s also acted in other directors’ films, such as Robert Redford’s “Quiz Show” and lent his voice to “Shark Tale.” In addition, Martin Scorsese has acted in the film “Dreams,” offering one of his most mysterious and intriguing performances yet.
In the “Crows” scene, he portrays Vincent Van Gogh, and his character is always in motion while a fellow art student struggles to keep pace with him.
In the film, he seems to stroll among his own paintings, offering insights into art itself – a moment that feels like Akira Kurosawa expressing himself through Vincent Van Gogh regarding his own artistic creations. This particular scene stands out in a movie filled with standout scenes, and it truly resonates deeply within me.
It’s Probably Kurosawa’s Most Personal Movie In His Lengthy Filmography
Kurosawa has directed numerous films, many of which are considered classics. Some of my favorite ones include “High and Low,” “Kagemusha,” “Throne of Blood,” and “Ran.” I haven’t watched all of his movies yet (I’m almost there!), but I believe that “Dreams” might be his most intimate piece to date.
The movie might contain nods to Kurosawa, since some characters don his distinctive bucket hat. This makes it feel like Kurosawa is meandering through his dreams, and by watching, we’re granted a peek into his thoughts and the opportunity to embark on this dreamlike journey with him.
Prior to his passing, the acclaimed director Akira Kurosawa created two additional films: “Rhapsody in August” and “Madadayo”. While these movies are intriguing, they lack the deeply personal touch that can be found in his masterpiece, “Dreams“. It’s touching to know that despite his extensive body of work, Kurosawa chose to create a film tailored specifically for himself near the end of his career.
What’s your take? Have you caught the film titled “Dreams” yet? Don’t forget to drop by regularly for updates on classic films and the latest additions to the 2024 movie lineup.
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2024-08-30 18:08