Eikoh Hosoe collaborated with Tatsumi on a 1960 film called The Center of the Original Explosion, and it's clear that the '60s and '50s were a time when Japan heartily began to rethink the effects of the root causes of its post-war trauma.
Kurosawa's Record of the Living, located in 1955 in the middle of Kurosawa's creative period, rather than following his already mature style, seems instead to retreat into a style of imagery of insight into localized social realities from the time of Ziz Sanjuro, which of course Kurosawa had been doing all along, except that the style of the rest of his work is closer to one of portraying society in a small way, through the subtle portrayal of characters, than to the earlier and this one. It's just that compared to his earlier works and this one Instead, we see a more fleshed out family (Kurosawa's family portrayals have been very bad in his previous works, but this one actually has some vividness, but it's still a "bad" family), and less fleshed out characters. All the characters in this family except the father are very soulless and have no authenticity, while the father is more like a typical King Lear-type in "Chaos" or a fire-setting and finally crazy character in Tarkovsky's "The Sacrifice".
This type of image often plays the role of Kurosawa's mouthpiece in Kurosawa's movies, and in this one, it is obviously the line "I'm not afraid of death, I'm only afraid of being killed by others". The heroism that unfolds in this way is also a style that Kurosawa has played badly. But it's interesting to see how clearly we can understand the anti-war sentiments of "I Have No Regrets About My Youth" without the subtle connotations of Kurosawa's previous works.
The visuals and audio are certainly excellent, but not as good as "Lust for Life," a film purely geared toward the atomic bomb in which the characters are downplayed.
Kurosawa's Record of the Living, located in 1955 in the middle of Kurosawa's creative period, rather than following his already mature style, seems instead to retreat into a style of imagery of insight into localized social realities from the time of Ziz Sanjuro, which of course Kurosawa had been doing all along, except that the style of the rest of his work is closer to one of portraying society in a small way, through the subtle portrayal of characters, than to the earlier and this one. It's just that compared to his earlier works and this one Instead, we see a more fleshed out family (Kurosawa's family portrayals have been very bad in his previous works, but this one actually has some vividness, but it's still a "bad" family), and less fleshed out characters. All the characters in this family except the father are very soulless and have no authenticity, while the father is more like a typical King Lear-type in "Chaos" or a fire-setting and finally crazy character in Tarkovsky's "The Sacrifice".
This type of image often plays the role of Kurosawa's mouthpiece in Kurosawa's movies, and in this one, it is obviously the line "I'm not afraid of death, I'm only afraid of being killed by others". The heroism that unfolds in this way is also a style that Kurosawa has played badly. But it's interesting to see how clearly we can understand the anti-war sentiments of "I Have No Regrets About My Youth" without the subtle connotations of Kurosawa's previous works.
The visuals and audio are certainly excellent, but not as good as "Lust for Life," a film purely geared toward the atomic bomb in which the characters are downplayed.