Kurosawa’s Samurai Cinema

Akira Kurosawa is well-known for his Samurai jidaigeki (costume drama) films like Seven Samurai, The Hidden Fortress and Yojimbo. Most of these films are revered for their fantastic action choreography and cinematography that showcases the state of the environment and the weather as much as the narrative.

They are also noted for being heavily influenced by Western films, with John Ford’s films being a huge reference point. Particularly, for their focus on individuals standing up against a huge threat. But they also used the important figure of the samurai to comment on issues facing both Japanese and worldwide audiences. Whether it be the inability to tell the full truth is what holds humanity back (Rashomon), the failure of those in power to help others (Seven Samurai), the corrupting nature of power (Throne of Blood), the ferocity of violence etc. Kurosawa’s samurai films were about using figures from the past to highlight problems with the present. 

Samurai and Jedi

Kurosawa’s influence on Star Wars is immediately obvious. Famously the plot of The Hidden Fortress deals with two peasants helping a princess during a war against a much bigger army with an older warrior’s help. Which is strikingly similar to A New Hope’s plot. The two peasants resemble both R2-D2 and C-3P0, in terms of plot function and their constant bickering, and Han Solo and Chewbacca, with their motivation revolving around greed and self-preservation. Additionally, Star Wars, like Hidden Fortress, features a dynamic between two rival warriors fighting to settle an old score. The masterless samurai of Seven Samurai and Yojimbo impacting small villages resemble Obi-Wan’s waltz through Mos Eisley. Additionally, Seven Samurai’s recruitment of a team of archetypes to fight the enemy is also something Star Wars uses. Lucas even reportedly approached actor Toshiro Mifune, Kurosawa’s most well-known collaborator to play Obi-Wan and later Darth Vader.

Stylistically Star Wars also incorporates wipe transitions. There are also landscape shots that demonstrate the character’s apparent insignificance next to the immensity of the environment. These were frequently featured in Kurosawa’s samurai stories. Some writers have also noted how the editing and cinematography during the fight between Obi-Wan and Darth Vader bears similarities to a duel in Hidden Fortress.

Then of course there is a lot of thematic overlap too. Both Kurosawa’s early samurai work and Star Wars use figures of cultural and mythological significance and settings outside of the present to comment on current issues. Star Wars comments on imperialism with the technologically superior Empire fighting against the rag-tag rebel forces. Lucas expressly linked to American interference in Vietnam but also commented on how this repeats throughout history. And they also focus on individuals making a difference by fighting oppressive forces for the oppressed and for future generations.

George Lucas’ Star Wars

It’s easy to see why George Lucas was so attracted to Kurosawa’s samurai tales for inspiration. Lucas’s films frequently dealt with figures of the past commenting on the issues affecting the present and future. Whether it be the hopeful Buck Rodgers serial sharply contrasting the stifling authoritarianism of THX-1138 or American Graffiti, the coming-of-age lament for the generation who by the time of the film’s release were being sent to die for American imperialism in Vietnam. So when looking for inspiration for his sci-fi fantasy that used many mythological and cultural touchstones to comment on imperialism it’s easy to see why Lucas drew inspiration from Akira Kurosawa. He was seen by many as the key samurai filmmaker and he dealt with similar thematic elements that critiqued power. But Lucas turned Kurosawa’s at times pessimistic outlook into one of refreshing optimism.

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In this article, we will look at both men’s career highlights and contributions to the industry, before looking at the impact their collaborations have had.

George Lucas

George Lucas has had a renowned film career. He directed and wrote films like THX-1138, and American Graffiti, which made $140 million on a $777,000 budget and led to him establishing Lucasfilm to produce the film. Lucasfilm is still active today producing other notable franchises that Lucas produced and wrote. Namely the Indiana Jones and Willow franchises. Lucas also produced acclaimed works like Kagemusha, Body Heat and Mishima: A Life In Four Chapters.

That said, Lucas’ most lasting contribution to the industry is the Star Wars franchise. The original film is still among the highest-grossing films of all time accounting for inflation. Lucas wrote and directed the film and helped found two influential, highly regarded companies to realise the Star Wars universe. Skywalker Sound (originally Sprocket Systems) which worked to create sound effects and soundscapes. And Industrial Light and Magic which worked on creating the visual effects. Both pushed the boundaries of what films could achieve and continue to do so now. Lucas produced the rest of the original Star Wars trilogy and wrote and directed all the prequel films.

Finally, George Lucas, along with Tomlinson Holman, is responsible for THX. A system was founded to ensure good quality uniform sound in cinemas. Which was first implemented for Return of the Jedi‘s release. Lucas produced several other projects but has now mostly retired from film work.

Jim Henson

Jim Henson worked with puppets for his entire professional career. He began performing with puppets for local television before being given his own short show Sam and Friends and producing several successful advertising campaigns. In 1958 Jim and his wife Jane founded Muppets Inc. (later the Jim Henson Company) to act as a production company for their projects and puppets. In 1966 Jim was asked to help with the creation of Sesame Street. Along with creating and performing some of the characters Jim also created animation and short films for the show. The show is still airing today and has amassed hundreds of awards in the process. Then in 1975, Henson found backing for his most iconic franchise, The Muppets. Which gave rise to a successful TV and film series.

But like Lucas Henson also contributed to industry-wide developments. In 1979 he set up the Jim Henson Creature Shop to realise the creature designs for the Dark Crystal. The company is now considered one of the best practical creature effects houses in the industry. And in 1982 he set up the Jim Henson Foundation to help with the development of puppetry in the US through providing grants to help artists realise their projects. 

Henson continued creating other notable cult TV series such as Fraggle Rock and The Storyteller among others up until his death in 1990.

Collaborations

With both Henson and Lucas having greatly impacted the industry it’s interesting to look at the times their paths crossed. Before they worked together in an official capacity Lucas sought out Henson to play Yoda for Empire Strikes Back. Henson declined but provided consultation and recommended Frank Oz, a regular Henson collaborator, and several other workers from his company to help bring Yoda to life.

Eventually, they worked together to create the fantasy film Labyrinth. Which saw Henson directing, Lucas producing (with both also contributing to the script) and both the Jim Henson Company and Lucasfilm collaborating to realise the film. Considered a box office flop Labyrinth is now a cult favourite. It also contributed to effects history by featuring the first photo-realistic CGI film animal in the opening. Helping to push industry effects forward again. 

It’s impressive to consider that both men brought us fantastic work that showcased imagination and what was possible with visual craftsmanship. And together their work laid the foundation for the effects of blockbusters of today.

Also Read: George Lucas: Beyond Star Wars

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With such a huge success on his hands, it’s not much of a suprise to find that Star Wars dominated Lucas’ life and career. When Disney bought Lucasfilm for $4 Billion in 2012, Lucas effectivly retired from filmmaking. Although it may be his most well know and influential work, Lucas was involved in several other projects and has actively changed filmmaking as we know it.

THX 1138

Lucas’ first feature film, based on his award-winning short film, was a dystopian sci-fi about a world where the population takes emotion suppressing drugs. On its initial release in 1971, it received mixed reviews and a poor box office reception. However, since the success of Star Wars and the director’s cut (with CGI additions of course) the film has gained a cult following. There are several references to the film throughout other projects Lucas was involved in, such as the cell block Princess Leia is in.

American Graffiti

Lucas’ second feature had much better reception and is held in high standards today. It currently features in the list of “1001 Movies to Watch Before you Die“. Lucas and his friend, Francis Ford Coppola, had to fight the studios to get a theatrical release after they demanded cuts and planned it to be a TV movie. It is notable for its heavy use of licensed music, and including a full list of cast and crew in its end credits, which are both common practice now. It also featured a young Ron Howard and a breakout role for Harrison Ford. Although it was nominated for several Oscars, including Best Picture, it did not win any.

Indiana Jones

Arguably his second most popular work, and again featuring Harrison Ford, Lucas is a writer on the first three entries in the series, and an Executive Producer on the fourth. Famously pitching the script to Spielberg while on holiday to escape the madness of Star Wars. Lucas wrote a detailed timeline of Jones’ adventures. Some of which were used for The Adventures Of Young Indiana Jones, a tv series which he wrote and produced.

Lucasfilm

Although the company is mostly associated with Star Wars, they have produced or been involved with films outside of the franchise. Most notably Indiana Jones. However, they have also produced several independent films, such as Jim Henson’s Labyrinth, Willow (Lucas has a “story by” credit) and another children’s animated classic The Land Before Time. While these were relatively successful, or have gone on to be, they also produced some flops, such Radioland Murders (another “story by” credit) and the infamous Howard the Duck. The last film the company released before being acquired by Disney was Red Tails, which Lucas served as an Executive Producer on, and even directed some footage, as it was a passion project for him.

Industrial Light & Magic

Outside of actually making films, one of the biggest contributions to cinema Lucas has made was the foundation of Industrial Light & Magic. Initially, just a small team that worked on the original Star Wars, it quickly expanded and has now worked on over 300 films, including Terminator 2, Jurassic Park, Transformers and the Avengers films. The company has won 16 Best Visual Effects Oscars and 40 additional nominations. ILM are also responsible for creating the Photoshop software before it was sold to Adobe. The studio has created groundbreaking special effects and continues to do so

As his friend Francis Ford Coppola lamented, Star Wars took over Lucas’ career, for better or worse. Although it may have prevented him from directing more films, he still had a very active and interesting career as a producer and ideas man and helped lead the way for visual effects.

Also Read: The Mandalorian: A New Hope For Star Wars

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The Mandalorian

The show stars Pedro Pascal as the titular character, an exceptionally good bounty hunter always hidden behind his near priceless Mandalorian armour. The character’s bounty hunter code is challenged when sent after a morally difficult target and he chooses to do the right thing. The show is set in between Return of the Jedi and The Force Awakens and is heavily focused on the chaos that follows the death of the Emperor.

The Golden Age Of Television

There was a time when film was the perceived cultural superior to television but in the last twenty years things have changed – this is the Golden Age of television. Film and television can tell stories in different ways – in my opinion, Goodfellas and The Sopranos are the high-points of the portrayal of gangsters in their respective mediums but have different strengths and weaknesses. The Mandalorian has a main story arc but within that are numerous smaller stories, characters who get to shine in a particular episode. It often felt with the Star Wars films you are getting a glimpse of a huge universe, whilst and TV shows can go into depth.

One benefit to doing a TV show over another film trilogy would be that a film trilogy would inevitably feel it had to be about saving the galaxy and with some even bigger ultimate weapon. The Mandalorian is about saving one child and a smaller story can actually be more engaging.

The Trouble With Trilogies

I don’t think I’ve ever been as excited about a film as I was about The Phantom Menace and like many, I convinced myself it wasn’t that bad, but that couldn’t last. The prequels were a disaster with a few redeeming features – there are many, many problems with them ranging from casting to too much CGI to just being boring. The text crawl at the start of The Phantom Menace talks about tax disputes and while I do think a movie could be made about war sparking from something that dull The Phantom Menace failed.

It’s hard to even discuss the sequel trilogy without being overwhelmed complaints of the fans – they’re too much like the original trilogy, they’re too different to the original trilogy, Rey is a Mary-Sue, they ruined Luke, and then there’s the torrent of sexism that was also present in much of the criticism. For what it’s worth I think the sequels have problems but are much better than the prequels. The Last Jedi is an uneven film yet it has amazing parts to it – Luke and Kylo Ren’s confrontation is incredibly well done and a brilliant way to deal with their history. The biggest problem might have been it felt that the different directors had different ideas of what they wanted to do.

The Star Wars Universe

There is a wealth of material for more television shows. Aside from the films, there are a variety of TV shows, dozens of books, graphic novels, computer games and more:

The Old Republic – The Empire overthrew the Galactic Republic but there would be wars, conflict and interesting stories throughout this period. It could explore the time when the Jedi were at the height of their power.

It’s not all about the war – There’s a lot more going than just the civil war between the Empire and Rebel Alliance – there are bounty hunter guilds, crime syndicates, strange religions and more.

So Many Characters – There are a wealth of interesting existing characters. What about Chewbacca’s life before Han? Or ace rebel pilot Wedge Antilles – the only pilot to have fought in both Death Star battles? I was genuinely thrilled when Nien Nunb (pictured above) turned up in the sequels – for those who don’t know Nunb is the small alien who co-piloted the Millennium Falcon with Lando Calrissian in Return of the Jedi and would love to see more of him. If they’re willing to embrace the Dark Side, Disney could explore Darth Vader’s war against the Jedi.

Whatever happens next we all know Disney aren’t going to stop making Star Wars films and tv shows – let’s just hope they’re worthy additions.

Also Read: Was It Really That Bad?: Star Wars Episode 9: The Rise of Skywalker

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In the late 1970s, Lucas gave us Star Wars, which turned out to be a very special space fantasy. Star Wars – A New Hope was released at around the same time that George Lucas’ company (Lucasfilm) was beginning to focus on computer technology. Lucas gave us the Indiana Jones franchise in the early 1980s, and during that time, Lucasfilm also developed the first computer-animated sequence in a feature film. This was for the movie Star Trek II.

Star Command

In 1986, Steve Jobs (the founder of Apple Computers) bought the Computer Division, a subsidiary of Lucasfilm, and re-established it as Pixar. This is when the collaboration with Disney began, resulting in the revolutionary Computer Animation Production System (CAPS) technology. 1988 saw the usage of Pixar’s rendering software (RenderMan). The 3 short films they released utilising their cutting-edge animation technology had been critically acclaimed. Tin Toy went on to win the Academy Award for Best Short Film (Animated). Lucasfilm movies dominated my childhood in the late 1980s. This George Lucas influence was set to sail into the 1990s, but with a new captain and with a whole new way of telling stories.

Reach for the Sky

Toy Story is the world’s first computer-animated feature film. This ground-breaking film became the highest-grossing movie of the year (1995), making $362m. With numbers like that, it’s needless to say the movie was a resounding success. It gathered several Oscar nominations and took home the prize for Special Achievement. Several Pixar movies followed Toy Story’s formula and everything Pixar touched turned to gold.

Everything about Toy Story was special. The main characters were played by A-List actors (Tom Hanks and Tim Allen). It was the directional debut of John Lasseter (also Director of A Bugs Life and Cars), who was a Senior Creative at Disney, that went on to become one of the most successful filmmakers of all time.

Lasseter was involved in writing the story for the movie that captured the hearts of children and adults alike. It was innovative, funny and endearing. A true landmark in cinema, which became the blueprint for how to make animated movies. Another notable thing about this movie is that one of the greatest minds of the time, Steve Jobs, was one of the Executive Producers.

In the year 2000, Pixar moved to a new building in Emeryville, California. By 2006, Disney decided to buy out Pixar Animation Studios. In 2018, The Incredibles 2 marked their 20^th Computer Animated Feature Film, which has grossed over $1.2bn worldwide. With Toy Story 4 due to be released in 2019, Disney/Pixar looks set to have another big year on the horizon.

You are a child’s plaything

So now that we’ve got an appreciation for what Pixar has accomplished, let’s take a brief look at how they did it. These are the Computer Generated Imagery (CGI) basics that go into in every Pixar movie:

Storytelling, Illustration, editing, colouring, modelling, rigging, set building, animation, simulation, texturing, surfaces, lighting and rendering. It’s not easy being an animator. Watch this short video for a cool explanation on how these movies get made.

A big help to the animators is Pixar’s Render Man. This rendering software has been at the forefront of CGI in movies since its inception in 1988. Key features include 3D modelling, animation, lighting and of course rendering. The latest incarnation is version 22, which boasts a redesigned architecture, improved workflow and various tech that allows for creating more photorealistic graphics, amongst other things.

In 2D animation, you must draw every frame. So if you draw a character and you want it to move, you then have to draw every single movement. Like drawing a flipbook.

The difference with 3D animation is that you would draw your character, rig it and record it moving. Rigging a character is like creating a skeleton with joints in CGI software. This is a tedious process that needs an understanding of geometry, physics and anatomy to pull it off. But when a character is properly rigged, it enables an animator to move a character like a puppet, which gives it an amazing sense of realism.

Although rigging may seem like you get one up on 2D animation because you don’t have to draw every frame, one of the challenges in 3D animation is controlling what happens when a character isn’t in motion. This is known as a moving hold; when a 3D character looks completely dead if it isn’t moving. There’s definitely a lot of skill involved in 3D animation, and an animator will need some good tools to achieve a polished end product.

Let’s go home and play

Thankfully, there are a number of 3D animation software packages out there, and animators may use something like 3DS Max or Blender to do their character rigging. All3DP have a pretty cool list, which shows some of the many options available.

Pixar’s own RenderMan software is now available for non-commercial use. This is exciting news because so many of those incredible-looking movies that we all know and love are made using this software, and we can now get our hands on it for free! If anyone ever wanted to get into Visual Effects, the Khan Academy has partnered with Pixar and is offering a free online training course, too. George Lucas and his team of pioneers didn’t have it this good! It’s amazing to see how far the animation industry has come over the years. Maybe you’ll be the one to take it further? How much further can it go? To infinity and beyond.

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Big Picture Film Club took a trip to one of the most talked about art exhibitions this summer: Daydreaming With Stanley Kubrick, held at London’s Somerset House. The exhibition featured a variety of paintings, installations, videos, and sculptures inspired by the late cinematic genius Stanley Kubrick. Much like Quentin Tarantino, George Lucas & Ridley Scott after him, Stanley Kubrick’s impressive body of work has given him a cult-like following, particularly after his death in 1999.

Curator, James Lavelle, has done an excellent job in putting together this mix-media exhibition. The 45 works on display flow effortlessly together and make for a seamless and captivating experience. While there were many great pieces of work on display, in no particular order here are some of our favourites from the exhibition:

1) Life, by Dexter Navy

This piece was distinct, in that it references current social commentary of civil unrest, as opposed to directly taking from Kubrick’s films. However, the intricate use of colour in this piece was inspired by the work of Kubrick.

2) Various Works, by Philip Castle

Airbrush artist, Castle, who designed the original poster’s for Kubrick’s A Clockwork Orange & Full Metal Jacket, gave the iconic posters a contemporary redesign, and showcasing a never used alternative design for Full Metal Jacket.

3) Camera A, Scene 136, Take 1, by Thomas Bangalter

Bangalter, one half of electronic duo Daft Punk, exemplifies what Kubric’s work is about with his simple, yet powerful video piece. The slow-mo clip features a person walking calmly through a pitch darkness engulfed in flames – the fire providing the only source of light, illuminating the ground below.

4) In Consolus – Full of Hope and Full of Fear, by James Lavelle & John Isaacs ft Azzi Glasser

Immediately the senses are treated to an overload of sight, sound and smell. The clearly recognisable, Lolita inspired giant teddy bears gives a sense of fun and playfulness whilst the darkness of the room and the juxtaposed neon love sign hints at sinister undertones. Empty pantry boxes reference The Shining, 2001: A Space Odyssey inspired scent from perfume designer Glasser fills the room, whilst the soundtrack comes courtesy of: Detroit techno pioneer Carl Craig, Italian dance ensemble Planet Funk – Domenico “GG” Canu and Marco Barani, spoken word artist and designer Michele Lamy, and UNKLE collaborator Elliott Power.

6) Das Problem der Befahrung des Weltraums, by Norbet Shoerner

Norbet created a 360° virtual reality recreation of the Discovery One space. Breath taking in its redesign, fans of 2001: A Space Odyssey will feel as if they have been dropped right into the movie. Definitely one of the key highlights of the exhibition!

7) History Painting, by Marc Quinn

Quinn draws from media reportage of social unrest, amplifying the sense of violence and unease with the contrasting use of colour.

8) The Shining Carpet, by Adam Broomberg and Oliver Chanarin

Immediately recognisable, no Kubrick exhibition would be complete without the iconic print carpet from the Overlook Hotel. The print continues to inspire artists of all mediums.

9) Clockwork Britain, by Paul Insect

Famous for his street art, Insect alludes to violence and the alienated youth in A Clockwork Orange by fusing 60s pop art and contemporary street art with the use of bold colours and the Union Jack motif.

10) Metanoia, by Polly Morgan

Morgan explicitly exhibits the implicit sexual imagery we see from Alex and his Droogs in A Clockwork Orange. The downward pointing triangle is traditionally referred to as the chalice, symbolising the flow of water, the grace of heaven, and the womb – an ancient symbol of female divinity. Seeing this stuffed uncomfortably with a serpent, provokes very real feelings of disturbance just as when we watched those awful scenes in the film itself.

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