I Live in Fear
While an educational film about the aftermath of the Hiroshima-Nagasaki bombings was distributed in the school system in 1953 - Children of the Atom Bomb by Kaneto Shindo - it did not focus on the motives behind the incident or explore the psychological impact of it. It simply showed the horrific devastation caused by a nuclear weapon without a political or social point of view. Kurosawa, however, approached the topic of nuclear annihilation in the guise of a melodrama with philosophical overtones. In his story, an elderly businessman, Nakajima (Toshiro Mifune), has become convinced that Japan will be destroyed in a nuclear attack. Fearful that this could occur very soon, he behaves rashly, at first spending a lot of money to build an elaborate underground shelter (which is never completed). He then decides to move his entire family (along with two mistresses, their children and the son of a third, now deceased mistress) to a farm in Brazil. Nakajima's family think he is behaving irrationally and try to have him declared mentally incompetent. Their main fear, though, is that he will squander all his money (and their inheritance) on his plan of fleeing Japan. Nobody in his family really wants to go to Brazil either but as long as Nakajima is controlling the money, they have no choice in the matter until they decide to involve the Tokyo Family Court in their squabble. Harada (Takashi Shimura), a volunteer worker for the court, hears the complaints on both sides but, despite empathizing with Nakajima's fears, rules in favor of his family. This decision only makes Nakajima increasingly desperate and, in a final effort to force his family to accept his original decision, commits an act which has tragic repercussions for everyone.
Kurosawa later claimed that I Live in Fear was inspired by conversations he had with his longtime film composer Fumio Hayasaka, who had become seriously ill during the making of Seven Samurai. Hayasaka had said to him, "The world has come to such a state that we don't really know what is in store for us tomorrow. I wouldn't even know how to go on living I'm that uncertain. Uncertainties, nothing but uncertainties. Every day there are fewer and fewer places that are safe. Soon there will be no place at all." These thoughts eventually led to a screenplay about the nuclear age and a man who was driven insane by it but at first, Kurosawa wanted to approach it as a satire. "But how do you make a satire on the H-bomb?" he asked. Instead his story became a tragedy and the somber tone deepened when Hayasaka succumbed to tuberculosis during the film's production.
Kurosawa was devastated by his friend's death and said, "I was completely overwhelmed. It went so far that I wondered if this loss would not incapacitate me, ruin me. Truly, at that time, I was like a person half of whom is gone. Hayasaka was indispensable to me....There are many experiments in my films which are the result of the two of us talking things over and most of them are good...Actually, I think it was our work his and mine which set a kind of precedent, at least in Japanese films. We showed that sound effects, dialogue, music when put under the image do not simply add to it they multiply it. It is as though a three-dimensional effect is created."
Compared to Kurosawa's previous film, Seven Samurai, I Live in Fear has a claustrophobic intensity with much of it shot in the manner of a documentary. The high contrast cinematography emphasizes washed-out whites and the blackest of black tones with frequent cutaways to inanimate objects typewriters, fans, machinery in the police station and in the foundry to stress the sense of dehumanization. "This film is again about a social problem," Kurosawa stated. "And one of the reasons that I like social problems is simply that by using them I can make a question better understandable to my audience. Indeed, there is something topical about films. If they don't have topicality, they are not meaningful. Films are not for museums."
Perhaps I Live in Fear was too topical at the time of its release. Tokyo had just experienced a disaster in the local tuna industry all the fish were contaminated by radioactivity and Kurosawa's film certainly didn't do anything to reassure the public's fears. "It was my biggest box office loss," he later said. "After having put so much of myself into this film, after having seriously treated a serious theme, this complete lack of interest disappointed me. When I think about it, however, I see that we made the film too soon. At that time no one was thinking seriously of atomic extinction. It was only later that people got frightened and that a number of films - On the Beach  among them were made."
It wasn't until 1961 that I Live in Fear was seen outside its own country; it was screened in a Kurosawa retrospective at the Berlin Filmfestspiele where it was acclaimed as a major rediscovery by the critics. Still, the film is rarely ranked by film scholars as one of Kurosawa's masterpieces for various reasons. Some have noted Mifune's unconvincing, old age makeup (he is playing a character more than half his age) and the film's occasional slow pacing as liabilities while others have pointed out the film's uncertain tonal shifts. Is Nakajima crazy or is it society? In the end, Nakajima becomes a King Lear-like figure of tragedy but all along he is no less troubling than those who question his rantings with responses like "H-bombs, eh? That's a foolish thing to worry about. Let the Prime Minister do the worrying. If you're so worried why don't you just move off the earth altogether?"
Even if I Live in Fear is not in the same league with Seven Samurai or Ikiru (1952), it is nonetheless a thought-provoking, still topical drama and mandatory viewing for any Kurosawa fan. TimeOut movie critic Rod McShane said it best when he wrote, "It's a problematic film, wearing its uncertainties on its sleeve; but whether shooting in long takes or cutting the footage from multiple camera shooting, Kurosawa remains the cinema's supremely humanist emotional manipulator. See it and worry."
Producer: Sojiro Motoki
Director: Akira Kurosawa
Screenplay: Shinobu Hashimoto, Hideo Oguni; Fumio Hayasaka, Akira Kurosawa (story)
Cinematography: Asakazu Nakai
Music: Masaru Sato (uncredited)
Cast: Toshiro Mifune (Kiichi Nakajima), Takashi Shimura (Domestic Court Counselor Dr. Harada), Minoru Chiaki (Jiro Nakajima), Eiko Miyoshi (Toyo Nakajima), Kyoko Aoyama (Sue Nakajima), Haruko Togo (Yoki Nakajima), Noriko Sengoku (Kimie Nakajima), Akemi Negishi (Asako Kuribayashi), Hiroshi Tachikawa (Ryoichi Sayama), Kichijiro Ueda (Mr. Kuribayashi father), Eijiro Tono (Old man from Brazil), Yutaka Sada (Ichiro Nakajima), Kamatari Fujiwara (Okamoto).
BW-104m. Closed Captioning.
by Jeff Stafford
The Films of Akira Kurosawa by Donald Ritchie (University of California Press)
The Waves at Genji's Door: Japan Through its Cinema by Joan Mellen (Pantheon)