Murukami, a young homicide detective, has his pocket picked on a bus and loses his pistol. Frantic and ashamed, he dashes about trying to recover the weapon without success until taken under the wing of an older and wiser detective, Sato. Together they track the culprit.Written by
Jim Beaver <firstname.lastname@example.org>
Despite being noted as one of Akira Kurosawa's most critically renowned post-war films, Stray Dog (1949) was not held in such high regard by he director himself. Kurosawa has been quoted as saying that he thinks little of the film, calling it "too technical" while also remarking that it contains "all that technique and not one real thought in it." See more »
At one point, there is a man playing a tune on a harmonica that needs two people with harmonicas to play. See more »
Now, the hard part.
I'll get him.
Don't you see anything but Honda? We can't put this crowd at risk. We have to assume he's armed. And a bullet's nothing like a foul ball. Got to get him away from the crowd.
We mull it over. We've got five innings to go.
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Akira Kurosawa's film noir entry is a terrific, seedy blast!
In ravished, Post-War Tokyo, rookie Detective Murakami's (Young Toshiro Mifune) gun is stolen. Being the crippling times, guns are tough to come by. Soon, victims are found, slain with bullets from Mifune's gun. The man-hunt is on, while Tokyo goes through a devastating heatwave, and Mifune goes through an equally devastating change ("A Stray Dog sees only what it chases" a detective warns him.) Made well before Akira Kurosawa became famous for "Rashomon", "Stray Dog" is a roaring classic! Every character's movement reflects either the horrid heatwave, or the living conditions. It is ironic that a downpour (Kurosawa's favorite on-screen weather condition) breaks the heat just as the tensions in the film mount. How "Bicycle Thief" reflected the times of post war Italy, this classic does the same for post war Japan.
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