The Blossoming of Compassion: Kurasawa Akira's Masterful RED BEARD

Red Beard (Akahige) (1965) Directed by Kurosawa Akira

"The pain and loneliness of death frighten me. But Dr. Niide looks at it differently. He looks into their hearts as well as their bodies."  Dr. Mori.

This film is a line in the history of the works of Kurosawa Akira; it was his last black and white film, and the last time he worked with famed actor Mifune Toshiro.

This is the story of a young doctor Yasumoto Noboru (Kayama Yuzo) who is stunned to find himself, after completing his courses in Western Medicine, and expecting to be the physician to the Shogun, instead assigned to a clinic for the poor run by the irascible but brilliant Dr. Niide (Mifune Toshiro), called Red Beard for his unusual colouration and full facial hair.  Yasumoto is convinced that what is occurring is punishment for his failed engagement to a prominent family's eldest daughter.  But he has a plan; he will not cooperate.  He does not wear the uniform; he does not see patients, if an area is listed as out of bounds, that is where he chooses to lounge.

This last habit alerts him to the "private" ward, and its occupant, the beautiful daughter of a rich merchant.  She is called "the Mantis" because she seduced three of her father's clerks, then killed them with a hair pin.  This is the sort of case that has the mystery and intrigue to appeal to the young and ambitious doctor.

However, there are no recriminations forthcoming from Doctor Red Beard.  Dr. Mori (Tsuchiya Yoshio) and the nurses and kitchen staff may chide him, but Dr. Red Beard ignores his sulking.

Several things occur that slowly, despite himself, draw him into the daily world of the clinic.  The first is Sahichi (Yamazaki Tsutomu), a patient, probably suffering from Tuberculosis.  Despite his illness, when the other patients complain about the drab uniforms or lack of tatami mats, Sahichi expends his little breath explaining the white clothes show dirt, and there for are easy to keep clean; also the Tatami trap dirt and germs, and therefore are forbidden.

Sahichi also makes wheels, sells them, and buys fish and eggs for the other patients.  He does this to the great detriment of his health, and the doctors have to watch him like a hawk to prevent it.

Then there is the old man dieing of Liver cancer.  He has not spoken a word in the entire time he has been there, not even to say it hurts.  Red Beard is convinced his story is a tragedy.  Faced with death, Yasumoto finds himself lacking, horrified by the pain and lack of dignity, and the helpless feeling of not being able to do anything.  This is where practice meets theory, and kicks it's @$$.

But the most profound situations are with two women, damaged by the abuses heaped upon them.  First, the Mantis escapes, and while telling him her life story, traps him, and very nearly kills him. Just because he is a doctor, he can't cure her or make her safe.

The second is a twelve year old girl discovered in one of their mandated inspections of brothels.  Abused and beaten because she will not submit to being prostituted, she is combative, defiant, and engages in constant cleaning activities when upset.  She is also running a high fever.

Red Beard puts the child Otoyo (Niki Terumi) under Yasumoto's direct care.  And it is only with great patience and gentleness that he is able to reach the child.  Of course, he then pulls the most brilliant move possible, and falls ill himself, and Otoyo, so recently a patient is now his nurse.

But this is not a miracle cure; while he has reached her, her wounds are still raw, and when confronted with any sort of rebuke or conflict, she reverts to her contrarian ways and her obsessive scrubbing.  But progress is being made.

And progress is being made with the doctor as well; at first he viewed his appointment as a punishment with which he would not cooperate.  But he slowly came to see the similarities between himself and Otoyo, and to relinquish his sulky ways.

The Analysis.

This story is delicate and beautiful, like a peony blossom, and like the flower, unfolds as it wishes.  Kurasawa has never been afraid to allow a story to unfold at its own pace.  This one takes 185 minutes.

Set around 1825 it shows the desperate situation that existed in Japan; the division between have, and have not, and the grinding effects of poverty and tragedy upon health.  It also showed the amazing power of one person doing what they can to make a difference.  Behind each of these illnesses has been a story of tragedy and pathos, revealing the source of the misery afflicted upon the poor patients.

But the real story is the unfolding of compassion in Dr. Yasumoto; medicine is not about becoming rich and powerful, but to alleviate suffering wherever possible.  It is refreshing in this day and age of action block busters to watch a film that is about the full and complete development of character.

It is a slow deliberate film, with great insight into the human condition.  And it is handled with Kurasawa's typical attention to detail, right down to they kind of wood used in the sets; all very scrupulously period.  It is these qualities of insight, detail, and letting his story find its own path that make him a master director.

Rediscover this timeless classic.  In these times of divisive extremism, it is nice to be reminded of what is important in life.