Stray Dog, Akira
Kurosawa’s 1949 film noir, transposes the bleak outlook that dominates so many
American entries in the genre to postwar Tokyo. Like in many Kurosawa films, the
characters often complain about the unbearable heat that permeates their
environment as if it were actively trying to oppress them. The dust in the dirt
streets kicks up like it was sand in a desert and when rain finally falls after
what seems like an eternity of dryness, it absolutely pours down on this world,
but offers only a temporary reprieve from the intensity of the city’s air. The
film follows Murakami (Toshiro Mifune), a rookie homicide detective who has to
get down and dirty with the lowlifes of the city after a pickpocket steals his
gun on a crowded bus. Stray Dog is a
police procedural that expands itself to make sweeping statements about the
social meltdowns that redefined its country after World War II. Clearly,
there’s the suggestion that the newly urbanized nation’s industrialization
has taken it farther away from nature, but even more evident is the implication
that the vice is a side effect of his disconnection from old values. This
treatment might sound a bit didactic, but Kurosawa makes this world come alive
without sacrificing excitement or his stylization of the setting. When Murakami
goes at the end of a long day’s work to his partner’s simple house in the
country, the mood and cutting style are noticeably changed, making the viewer
realize just how overly busy the city life is here. The only thing one could
complain about in this dichotomy between new and old lifestyles is that the
youngster Murakami seems to have come from the old school of thought. He’s
bound by a sense of honor that is outmoded in the world he inhabits. He’s
clearly a heroic figure, but his lack of complexity in somewhat stultifying,
especially in comparison with the gray morality that other noir heroes have.
Still, despite any thematic simplicity here, the technical
proficiency that Kurosawa exhibits in Stray
Dog makes it well worth watching. The policemen’s desperate race to
capture the “stray dog” who has Murakami’s gun before he turns rabid plays
out as a series of invigorating set pieces. The most impressive one is an
extended, wordless sequence that occurs near the start of the film where
Murakami silently and persistently tracks an accomplice of the pickpocket as she
goes about her day. Her attempts to slip away from him are played for laughs,
but they’re also grippingly exciting. The subsequent bit where Murakami
attempts to look desperate enough so that he might attract an arms dealer is
almost as well done. The close-up of Mifune’s darting eyes that’s
superimposed over the scenes of tawdry city life remind us that he’s always
alert, even as the actor undergoes a physical transformation that convinces us
that he’s becoming one of the masses. His immersion in the grimy subculture
(and simultaneous loss of innocence) is credible enough that it changes the tone
of the film as it goes along. Mifune’s performance is far more natural here
than usual, and his expressions subtly chart his character’s gradual
comprehension of the harshness of the world that surrounds him. Even if he still
feels responsible for the crimes that the man with his gun is committing, his
idealistic perception of the world changes because the aggressive sleaze that
fills it is so undeniable.