Get Something Like An Autobiography Composed By Akira Kurosawa Presented As Mobi

distinguished filmmaker chronicles his life from his birth into the worldwide success inof his film Rashomon and provides a provocative account of the Japanese film industry, “Films are my true medium, I think that to learn what became of me after Rashomon the most reasonable procedure would be to look for me in the characters in the films I made after Rashomon.
Although human beings are incapable of talking about themselves with total honesty, it is much harder to avoid the truth while pretending to be other people, They often reveal much about themselves in a very straightforward way, I am certain that I did, There is nothing that says more about its creator than the work itself, ” pp.This is not a book you can review, this is a book you sit down and discuss with people, So pretty much like everyone else I went, "Aw, man!" out loud when the intro stated that this book only went up to Rashomon and didn't deal with any of Kurosawa's life after.
But the good news is that you get an intimate glimpse into Kurosawa's Taisho and Showaera upbringing and education, The passages on the Great Kanto Quake are horrifying and amazing and the years he spent living in a quirkyyetincrdeiblyseedy bohemianish housing complex are also eyeopening, I also didn't know that one of the main things that fostered his interest in cinema in the first place was an elder brother whose shortlived career as a benshi gave the young, impressionable Kurosawa access to amazing films from around the world.
And, ultimately, his matriculation through the studio system is a sad reminder that that world is truly dead and gone through years of apprenticeship he was able to broaden his knowledge of nearly every aspect of quality film making in ways that are simply no longer an option.
Course it didn't hurt that he was also, you know, a total artistic genius, Either way, this reminded me that I need to finally get around to watching his earlier movies too instead of merely rewatching Sanjuro five times a yearwhich is its own reward, I imagine.
في سنوات الحب عندما كانت الشوارع اليابانية مليئة بالباعة المتجولين كانوا يبيعون مرهم العلاج الجروح والحروق يسمونه مرهم الضفدع السحري وكانوا يحضرونه كالأتي فبعد أن يصطادوا الضفدع يضعونه في صندوق صغير تغطى جدرانه بالمرايا وعندما يرى الضفدع المسكين المرعوب صورته المنعكسة على كل هذه المرايا يبدأ بافراز مادة دهنية شبيهة بالعرق فيجمعون هذا العرق الاجباري عن جلده ويستخرجون المرهم منه بغليه لبضعة أيام.

كل ما أتذكره الان هو طفلان صغيران يجريان في الاتجاه المعاكس للضوء فيصبحا بقعا سوداء سيلويت ولا اعرف لماذا كنا نغرق في الضباب ربما لأن طفولتنا أصبحت بعيدة أو لأنني لم أعد أستطيع الرؤية بوضوح. على الزجاج كانت تنزلق ببطء حبيبات المطر الاماكن من حولنا تغيرت ولكنني لم أتغير أحسست أني سأبكي.

في وسط الحرب تردد في عقلي تساؤل مريع لم أعرف إجابته: أي مخلوق هو هذا الإنسان. . وماهي ماهيته!

عندما يغمض الإنسان عينيه أمام الأشياء المرعبة فإن الخوف يتملكه من الداخل وإذا ما رأى كل شيء بعينين مفتوحتين فلن يخاف أبدا.

التقيت قتلة وسفلة وقذرين من قبل والغريب ان وجوههم كانت عادية جدا وهيئاتهم مريحة للنظر وكلماتهم مقنعة ومزوقة. . كيف يمكن ذلك. . هذه أحجية لا حل لها أبدا.

فالإنسان مغلق أمام نفسه حتى عندما يتحدث عن نفسه.

من الصعب على الإنسان أن يقول الحقيقة عن نفسه فهو لا يستطيع ولا يريد أن يعيش دون كذب هكذا الطبيعة الانسانية. ولا شيء في العالم يمكن أن يكشف المبدع مثل أبداعاته نفسها. . لا شيء اطلاقا
يقع الكتاب فيصفحة من القطع العادي وهو أحدي منشورات وزارة الثقافة السورية التي أحب تجميعها وقرأتها أما عن الترجمه فهي ممكن وصفها أنها جافة إذا جاز لنا هذا التعبير.
يبداء المخرج أكيرا كوروساوا مذكراته من الطفولة فيطلعنا علي حياته الصارمة التي تتسم بالإجتهاد المتواصل ثم ينتقل إلي الحديث عن أسرته فيتحدث بمرارة عن موت أخته وأنتحار أخيه والزلزال الذي كان له التأثير الأكبر في حياته عاموينتقل في الحديث عن عمله كمساعد مخرج مع كاجيرو ياماموتو والأسم الذي ذكره المترجم هو ياماسان فينسب الفضل إليه في كل ما تعلمه في عالم الأخراج ويعطيه حقه وهذا نادرا في ثقافتنا العربية ثم يخبرنا أنه لا يحب الحديث عن أفلامه خلال حديثه عن فيلمه راشومون ومن الغريب أنه يعترف بعدم معرفته بلغة أجنبية واحده وهذا ما لحظته في لقاء له والمذكات في مجملها أشبه بفيلم وثائقي.
من الممكن أن أضع رأي في هذا الكتاب في جملة واحده هي حياة إنسان مجتهد متفاني في عمله مفتخرا ببلده لا يوجد بقاموسه تعريف اللامبالاة This is not a footnoted, wellplanned, looktoposterity kind of memoir, Its more of a quaint series of monologues from a man we think we know intimately, a conceit borne out of a familiarity of watching some films over and over again.
But we still retain a sense of awe for an unrivaled genius, despite the contrived coziness, He tells us what he wants us to know, and thats alright, Some of it might be significant, some not so much, In fact, I think most

Kurosawa groupies like me rather enjoy this approach, The only downside is that it ends with the beginning of his worldwide fame: the reception of Rashomon, He could have gone on to more films and experiences, I would have liked to hear more, But Ill take what I can get and enjoy the stories behind both the man and his early films, I have a nagging feeling sitelinkNeil Young was inspired by the style of this book,

My favorite films as I think of them now:

, Ikiru
. Derzu Uzala
. The Bad Sleep Well
, Seven Samurai
. The Hidden Fortress
. Red Beard
. Rashomon
. High and Low
. Yojimbo
. Kagemusha
. Sanjuro
. Ran
. Stray Dog
. Throne of Blood Although written in, Akira Kurosawa chose to end with what many consider the first of his masterworks, Rashomon in, In eloquent self effacing prose beautifully translated, he lays out his family life in what he calls a "samurai household," as opposed to those of classmates with more modern upbringings.
So it is thanks to his father's insistence on a strict regime of training and visits to shrines, all before breakfast, and excellence in productivity, that Kurosawa attained a deeper understanding of samurai culture.
His films are without parallel, and this book gives the reader insight into why such excellence came to be, Непрентенциозен разказ от самобитен ум, който, също като във филмите си, не разчита на интроспекция, теоретизиране и демагогия, а на любопитна случка, съдържателна сцена и интересен монтаж. Водеща е не толкова мисълта на доста места Куросава съвсем естествено заявява, че не знае защо, колкото погледът, образът и интуицията. Скача от спомен на спомен, приключва неочаквано, асоциира необяснимо, фокусира рязко, прескача безцеремонно, рядко си позволява оценка, но пък винаги вкарва нещо странно, страшно или смешно, което минава и заминава, без да му се отделя особено внимание, оставяйки читателя/зрителя просто да поема сцена след сцена, да ги трупа в ума си и да ги усеща както той си знае. Скромен, самоироничен, спокоен, но и с изненадващи изблици на ярост срещу несправедливостта.

Българското издание е чудесно, преводът на Ружица Угринова е постигнал трудния баланс между естественост на български и характерност на японски, бележките под линия са много информиращи, справочният материал е страхотно изпълнен за времена без IMDb, правописът и печатът са оргазмено безупречни е, като изключим, че някои от японските надписи бяха обърнати огледално или надолу с главата, случва се :. Само послесловът на Вера Найденова ми досади с безсъдържателната си претенциозност и витиеватост. .