Akira Kurosawa's 20 Most-Loved Early Movies

      Long Take presents an insightful new portrait of Akira Kurosawa, the iconic Japanese filmmaker renowned for classic films such as Rashomon (1950), Seven Samurai (1954), The Hidden Fortress (1958), High and Low (1963), and Ran (1985). His influence can be seen in movies ranging from Star Wars to The Avengers to A Bug’s Life, with many clear remakes of his work including The Magnificent Seven (both the 1960 and 2016 versions) and Spike Lee’s recent Highest 2 Lowest.

      This compilation was put together a year after Kurosawa's passing in 1998 at the age of 88. Long Take frames Akira Kurosawa within the context of the literature and films that influenced him, spanning from Kabuki and Surrealism to Russian literature and Hollywood cinema. It is set to be made available to English readers for the first time via a new translation by Anne McKnight, associate professor of Japanese and comparative literature at the University of California, Riverside, published by the University of Minnesota Press.

      One key feature of the book is a section titled The List, curated by Akira Kurosawa’s daughter, Kazuko, based on discussions with him about 100 of his favorite films. Below, we present the first 20 of those films in order of release, rather than preference, along with Kurosawa’s commentary. The translation is by Anne McKnight—M.M.

      The First 20 of Akira Kurosawa’s 100 Favorite Films

      Provided by University of Minnesota Press – Credit: University of Minnesota Press

      1. Broken Blossoms; directed by D. W. Griffith, 1919, USA

      Lillian Gish portrays a very proper girl—innocent and well-dressed. Her sister, Dorothy Gish, was more sensual, while Lillian exuded naivety. It was agonizing to see her character endure suffering at the hands of her father. I spotted her again in The Whales of August, and she seemed unchanged. Even as a grandmother, she has aged beautifully.

      2. The Cabinet of Dr. Caligari; directed by Robert Wiene, 1920, Germany

      This is an essential representation of German Expressionism, and it remains impactful today. The visuals are reminiscent of Expressionist art. There’s so much to glean from works of that era.

      3. Dr. Mabuse the Gambler; directed by Fritz Lang, 1922, Germany

      I watched this as a child, during the era when Tokugawa Musei was the benshi. My brother, who was also a benshi, took me along, and it was an enjoyable experience. Mabuse, the master of disguise, had a sinister quality. I also vividly recall the flashback scene with the runaway train from Abel Gance’s La Roue (The Wheel, 1923); it left a lasting impression.

      4. The Gold Rush; directed by Charles Chaplin, 1925, USA

      Chaplin showcased remarkable talent as a comedian, and comedy is the most challenging genre. It’s easy to evoke tears, but he made people laugh. He excelled as a director and was musically gifted; he possessed so many talents that it was hard for him to channel them all. I find Beat Takeshi quite similar in that regard.

      Akira Kurosawa on the set of 1954's Seven Samurai. Toho Co. Ltd – Credit: Toho

      5. The Fall of the House of Usher; directed by Jean Epstein, 1928, France

      Even as a silent film composed solely of images, it gives off the impression of sound. Its visual language holds remarkable expressive strength. Whenever I begin a film project, I consider how it would be without sound.

      6. Un Chien Andalou; directed by Luis Buñuel, 1928, France

      It’s quite jarring—especially the early scene with the woman’s eye and the razor. Dalí’s vision translates stunningly, interconnected in a dreamlike randomness. When I was crafting Rashomon, I found insight in those Surrealist techniques.

      7. Morocco; directed by Josef Von Sternberg, 1930, USA

      A truly deserving moving picture, made on a modest budget yet remarkably executed—particularly the camera movements and the interplay of light and shadow that create atmosphere. I was deeply impressed by this film.

      8. Congress Dances; directed by Erik Charell, 1931, Germany

      This was the first film to employ playback technology, synchronizing songs to pre-recorded sound. It’s a genuine masterpiece, an operetta. The music seamlessly integrates into the storyline, enhancing character development, and the camera movement is remarkable. I revisited it and realized how much we could learn from these older films.

      Akira Kurosawa on the set of 1965's Red Beard. Toho Co