MUHOMATSU, THE RICKSHAW MAN / THE RICKSHAW MAN / UNTAMED MATSU'S LIFE (LIT.) (MUHOU MATSU NO ISSHOO). Viewed on Streaming. Restoration/preservation = nine (9) stars; set design = nine (9) stars; cinematography/lighting = eight (8) stars; sound = eight (8) stars; subtitles = eight (8) stars; music = seven (7) stars; choreography = five (5) stars; script = two (2) stars. Director Hiroshi Inagaki (also credited as co-writer) delivers an apparent shot-for-shot remake of a Jidai-Geki (historical) tale (his first version was filmed/released in 1943) dealing with life-long unrequited love between members of vastly different socioeconomic classes: an illiterate rickshaw puller (played by Toshiro Mifune) and the highly-refined widow of a military officer (played by Hideko Takamine). The puller becomes a surrogate father to the widow's child, but nothing more (despite nascent inclinations for self improvement from the puller and a boat load of romantic hints from the widow!). This pedestrian (but big-budget) photo-play unsuccessfully relies on star power to save the day for wimpy direction based on an outdated and impoverished script. (It looks like Toho Studios was also counting on big-name stars when committing to such a lavish production.) The film starts off as a light comedy (there are a few great one-liners), but rapidly descends into melodramatic mediocrity. (What might have appealed to war-year audiences is simply too old fashioned for modern times.) Flash backs are marked with what looks like Vasculine smeared around the edge of the camera lens. Flash forwards are marked by spinning rickshaw wheels Ad Nauseam. Mifune is seriously miscast (although he played the same role in the 1943 version). He does not look or act the part, but here-and-there delivers lines that are not muttered/growled (and can be understood without resorting to subtitles!). (Given the screenplay and direction, it is likely that any actor would appear to be miscast in this role!) Takamine is given very little to work with and her considerable talent is wasted except in the closing scenes. (But she does look particularly stunning--and never seems to age-- in color!). Distinguished actor Chishuu Ryuu's character is used to bookend the story. He gets to deliver perhaps the best dialog in the script early on; not so much at the end. Cinematography (2.35 : 1, color), lighting, sound, subtitles, and restoration are very good. Opening boom shot is impressive. There are a few video artifacts with some scene changes (when switching between reels?). Sound is strikingly clear. Set design is especially well done and looks spectacular in the wide-screen format. Music is fine. Choreography needs some work--stunt actors fall down when swung at but not hit during fight scenes; drumming can be heard on the sound tract when a drum is clearly not being struck; etc. With a far better script and energetic direction, this could have been a film well worth watching. WILLIAM FLANIGAN, PhD.
Review of The Rickshaw Man
