THE BAD SLEEP WELL
Japan, 1960, 135 minutes, Black and white.
Toshiro Mifune.
Directed by Akira Kurosawa.
The Bad Sleep Well is a contemporary story of 1960, directed by Akira Kurosawa. By this time, Kurosawa had established his reputation in Japan and throughout the world with his Samurai films (the Seven Samurai, Throne of Blood) as well as such interesting portraits of Japanese society and history of Rashomon. He had also indicated his interest in Shakespearean themes, Throne of Blood being a variation on Macbeth. This was to continue through the succeeding decades with a number of successful Samurai films including Yojimbo and Sanjuro, his picture of the Japanese doctor, Redbeard as well as adaptations of Ed Mc Bain with High and Low. In the 70s he made fewer films but won the Oscar with the Russian Japanese co-production Dersu Uzala. In the 80s he made the epic colour samurai films Kagemusha and Ran. In the late 80s and 90s he was still making such films such as Akira Kurosawa's Dreams and Rhapsody in August.
This is a strong film about Japanese business corruption, in succeeding decades still a relevant theme. It shows the westernisation of the Japanese and the complexities with their own traditions of honour and business dealings. The film is loosely based on Shakespeare's Hamlet: a young man wants to avenge his father's suicide, the father being driven to suicide by deals with an industrialist. He pretends to love the industrialist's daughter and marries her, only to find that he does fall in love with her. He saves an associate from suicide - and who is thus able to appear as a ghost to men who consciences were disturbed. However, there is the Shakespearean tragic ending, Japanese style. The good die, the bad sleep well.
1. The work of Akira Kurosawa? His reputation in Japan, around the world? His portraits of Japanese victory? Of Samurai codes? His adaptation of western classics?
2. The derivation of this film from Hamlet, the parallels, the applications? The irony of the title? The tragedy of its ending - the vanquishing of the good, the triumph of evil?
3. Black and white photography, contemporary Japan of 1960? The cities, offices, courts? Homes? Buildings and building sites? The surrounding countryside, volcanic mountains? The musical score?
4. The length of the film, its scope? The long opening with the ceremonial marriage sequence? The transition to the business offices? The mysterious sequences on the mountainside? The ghostly sequences? The confrontations? The use of evocative symbols - the building site as the wedding cake, the flag from the window where the suicide took place?
5. The focus on the company? Industrialists, their deals, negotiations with the government? Bribes? The industrialist and his driving people to death, cover-ups? His hold over his associates? The celebration of the marriage, his relationship, with his son, with his daughter, with his new son-in-law? The irony of the cake coming in and the reminder of the suicide? His concern, the suicides? His conveying messages to his associates suggesting that they kill themselves? His deals, the hearings? The role of the media and the headlines? The further investigations? The stories of Wahda as a ghost? His being disturbed? The taunts of his son? The devotion of his daughter? The mysteries about his son-in-law? The build-up to the final confrontation? His learning the truth? The death of his son-in-law and his survival? The bad sleep well?
6. Nichi, his marrying the boss's daughter? His relationship with the boss's son, friendship? The ceremony? His being involved in the work of the company? His appearing on the mountainside and stopping Wahda committing suicide? His hiding him, interrogating him? Persuading him to come out into the open, to confront the other associates in their fear? Their consciences? His gaining control? His relationship with his wife, using her, falling in love with her, compassion for her? The build-up to the plan, his not killing people - but threatening them? The confrontation with his father-in-law? His defeat and death?
7. The executives of the firm, their standing together, bribery, deals, the government? Driving associates to suicide? Cover-ups? The banquets? The media, the enquiries? Suicides? The Survivors, their fears? The associate who sorted out the information on Nichi and identified him? Their ultimately succeeding? The presentation of government officials and their involvement in corruption?
8. The industrialist son, a drifter, on the periphery, introducing Nichi to his sister? Celebrating at .the wedding? His work in the firm? The betrayal, his coming to believe in Nichi?
9. The daughter, Lame? Her love for her husband? The ceremonial? Her concern, finding out the truth, trying to persuade her father? Her failure? The death of her husband?
10. Wahda, persuaded to commit suicide, wondering on the mountain, the confrontation with Nichi? His not killing himself, giving information, the interrogations in the car? His appearing - and seen as a ghost by the others? The gradual build-up of information, getting the truth?
11. Japanese politics, ways of business, deals and cover-ups? Exposure, fraud, jail sentences? Suicide as a way out?
12. The presentation of the media, their eagerness to expose a story, following up indications and clues? Exposure in the media?
13. The film and its relevance through late decades? Big business, gambling with finances, bribes and corruption? The consequences for individual integrity, the effect on families?
