Scandal (Shubun) Reviews
sanjurosamurai
Super Reviewer
May 25, 2008
a solid film with great acting and diologue, even if the plot was a little silly. there is a sense where the plot is very good as it points out the abuses and hypocracy of the media, but at the same time the film didnt really carry any significance in the bigger picture of humanity which is rare for a kurosawa film. still, this story had some profound elements, especially the internal moral struggle of shimura's character and the impact that his dying daughter had on him. written and shot well and entertaining to watch.
garyX
Super Reviewer
April 26, 2008
Another of Kurosawa's early films, it features his usual morality message this time aimed at the media. A free-spirited artist and a famous singer are photographed together by the paparazzi who fabricate a scandalous affair to sell their paper. It's basically an attack on the gutter press and it's insistence on invading the privacy of the famous to pander to the public's base fascination with celebrity gossip. Being an early example of his work, he hasn't quite honed his skills and a little too often the story veers into sentimentality and melodrama, particularly towards the end. It does have a nice light touch early on in the film though, tempering the more saccharine soaked moments with gentle humour and Toshiro Mifune and Yoshiko Yamaguchi make a couple to rival the glamour of their Hollywood counterparts. Not a major work, but still eminently watchable with a theme that's clearly as relevant today as it was then.
Harlequin68
Super Reviewer
March 2, 2009
[font=Century Gothic]"Scandal" is a solid movie that has lost none of its punch over the decades, even if a couple of the scenes are overplayed and go on too long. Regrettably, celebrity journalism is still with us to rob celebrities of any kind of privacy. In this movie, Miyako and Ichiro are the protaganists whose creation of art is respected which Hori does not. He is just trying to sell magazines by whatever means necessary, even if lives are wrecked in the bargain. Somewhere in the middle is Hiruta who is badly in need of redemption.[/font]
[font=Century Gothic]In "Scandal," Miyako Saijo(Yoshiko Yamaguchi), a famous singer, blissfully sings while climbing a hill until she realizes she is not alone. Ichiro Aoye(Toshiro Mifune) is painting nearby Mount Kumitori while being surrounded by a group of admirers. Since she missed her bus, he gentlemanly offers her a ride on his motorcycle to a nearby resort where there are paparazzi waiting in ambush. Being a very private person, she does not wish her picture taken. However, they still get a shot of her and Ichiro which is plastered all over Tokyo in a tabloid, intimating that the two are having an affair. Ichiro confronts the publisher Hori(Eitaro Ozawa), threatens a lawsuit and even slugs him.(Even though I'm a pacifist, I think he had it coming.) Hiruta(Takashi Shimura), a lawyer, drops by Ichiro's studio to offer his services.[/font]
[font=Century Gothic]"Scandal" is a solid movie that has lost none of its punch over the decades, even if a couple of the scenes are overplayed and go on too long. Regrettably, celebrity journalism is still with us to rob celebrities of any kind of privacy. In this movie, Miyako and Ichiro are the protaganists whose creation of art is respected which Hori does not. He is just trying to sell magazines by whatever means necessary, even if lives are wrecked in the bargain. Somewhere in the middle is Hiruta who is badly in need of redemption.[/font]
Chris B
Super Reviewer
June 9, 2011
While this isn't top-tier Kurosawa, even his lesser works are solid films full of his talent and the actors that he would make famous! The film features solid performances from both Toshiro Mifune and Takashi Shimura and both fill out their characters nicely. "Scandal" tends to get near and in many cases reaches melodramatic at times but the film has a lot of heart to match it's offbeat comedy and solidly acted screenplay. Any Kurosawa is fine by me and this is no exception!
Gevvy Sidhu
Super Reviewer
November 10, 2011
The funniest of Kurosawa's films. Takashi Shimura gives some great comic moments which bring a lot of laughter for his character and a lot of compassion as well because it reveals that he is indeed a good person who has succumbed to temptation. Toshiro Mifune gives a fierce performance as a honest and determined artist who tries to bring the corrupt executive and prying eyes of his newspaper company to justice. Well made film about the responsibility of the media that pits the two issues of privacy of individuals versus freedom of the press. An evermore relevant question in today's society where there is an even bigger craze for celebrity gossip. It's flaw is that it is too sentimental, at times predictable, and in the end perhaps formulaic; however it will always be worth the watch for Shimura's very funny performance.
August 11, 2010
Worth a look, maybe you'll get more out of it than I did.
While I can appreciate the exploration of the flexible morals here, I was never fully engaged by this one, for whatever reason. Not saying that it was a bad film (far from it), I just never found myself truly sympathetic to the characters involved, particularly the weak, whiny lawyer representing the slandered parties.
Worth a look, maybe you'll get more out of it than I did.
July 21, 2008
Pretty good, Mifune is really handsome! Touches up on an issue that still applies today, the tabloids and media!
March 12, 2008
Scandal is a really relatable film. I mean, sure, I'm no celebrity (outside of the internet. That's right, ladies. Swoon!) But look at society today and tell me this movie isn't applicable. I mean, I'm no Britney fan, but the long-and-short of the situation is that our obsession with Britney Spears has driven a girl totally ape-sh*t crazy. It's because we want to see people fall. I personally don't follow too much celebrity gossip. (Although I did laugh at that dudechick who begged us to "Leave Britney Alone!") Scandal, at its very core, addresses our obsession with celebrity.
This is one of Kurosawa's most straightforward films. The good guys are very good and the bad guys are very sleazy. There is one character who plays a redemptive role and that's more than enough to satisfy my interests. Kurosawa really speaks with this movie. There is little doubt to what the viewer is supposed to take home with this film, and I applaud that. As much as I love Kurosawa as a filmmaker, I cannot deny that he sometimes bogs down his stories with subplots or overly long periods of background establishment. Not so much with this film. Scandal gets right down to business...but that doesn't mean that the audience can guess what is going to happen next. I kept flipflopping between the "f*ck you" ending that tells how the world really is or the "nicely packaged redemptive ending." I'm not going to spoil it for you, but I believe that both endings have validity in their own right.
This really is an actor performance piece too. While Kurosawa brings his own aesthetics to the film, per usual, the actors carry this piece because the characters really need to be sold in this movie. I really have to commend the lawyer character. Remember I referenced one redemptive character? Well, gosh darn it, he's the one. He plays his part with such internal conflict that I was choking up at parts. Really, the part that sold me so highly on this movie was the Christmas bar sequence. It seems nothing says depressing like a bar at Christmas. Look at Capra's It's a Wonderful Life. When sh*t goes bad, James Stewart looks to the bar to find out that Pottersville is a hole of a town. Same kind of idea, only without the supernatural element.
This isn't Kurosawa's best, but it is one of his more unique movies. He really hasn't done anything similar that I've seen to this movie. This movie feels like the Japanese Twelve Angry Men only with celebrities and there is more than one set. I really loved this movie and I hope you do too. (Because I know you are totally going to take my recommendation to heart and buy the Postwar Kurosawa Eclipse Set. Go ahead. I won't judge you. Much.)
All right, back to reviews. I don't know how I fall so far behind, considering I take a new oath to keep up with writing once I finish a few. But now to talk about the actual movie!
Scandal is a really relatable film. I mean, sure, I'm no celebrity (outside of the internet. That's right, ladies. Swoon!) But look at society today and tell me this movie isn't applicable. I mean, I'm no Britney fan, but the long-and-short of the situation is that our obsession with Britney Spears has driven a girl totally ape-sh*t crazy. It's because we want to see people fall. I personally don't follow too much celebrity gossip. (Although I did laugh at that dudechick who begged us to "Leave Britney Alone!") Scandal, at its very core, addresses our obsession with celebrity.
This is one of Kurosawa's most straightforward films. The good guys are very good and the bad guys are very sleazy. There is one character who plays a redemptive role and that's more than enough to satisfy my interests. Kurosawa really speaks with this movie. There is little doubt to what the viewer is supposed to take home with this film, and I applaud that. As much as I love Kurosawa as a filmmaker, I cannot deny that he sometimes bogs down his stories with subplots or overly long periods of background establishment. Not so much with this film. Scandal gets right down to business...but that doesn't mean that the audience can guess what is going to happen next. I kept flipflopping between the "f*ck you" ending that tells how the world really is or the "nicely packaged redemptive ending." I'm not going to spoil it for you, but I believe that both endings have validity in their own right.
This really is an actor performance piece too. While Kurosawa brings his own aesthetics to the film, per usual, the actors carry this piece because the characters really need to be sold in this movie. I really have to commend the lawyer character. Remember I referenced one redemptive character? Well, gosh darn it, he's the one. He plays his part with such internal conflict that I was choking up at parts. Really, the part that sold me so highly on this movie was the Christmas bar sequence. It seems nothing says depressing like a bar at Christmas. Look at Capra's It's a Wonderful Life. When sh*t goes bad, James Stewart looks to the bar to find out that Pottersville is a hole of a town. Same kind of idea, only without the supernatural element.
This isn't Kurosawa's best, but it is one of his more unique movies. He really hasn't done anything similar that I've seen to this movie. This movie feels like the Japanese Twelve Angry Men only with celebrities and there is more than one set. I really loved this movie and I hope you do too. (Because I know you are totally going to take my recommendation to heart and buy the Postwar Kurosawa Eclipse Set. Go ahead. I won't judge you. Much.)
December 23, 2012
Scandal proves to be a considerable visualization of a celebrityâ(TM)s worst nightmare. Coincidentally, a well-known beautiful singer Miyako Saijo (Shirley Yamaguchi) meets an aspiring painter Ichiro Aoye (Toshiro Mifune) while heâ(TM)s working on a new painting in the countryside. Moments later, Ichiro offers Miyako a lift on his bike, since they both stay at the same inn. Unfortunately, they are tracked down by a group of paparazzi looking for an exciting story to publish in their tabloid magazine Amour. One random picture and a cover story that insinuates an ongoing romance between the two artists change the pace of the film dramatically. In just a short period of time Ichiro and Miyako become the objects of interest of almost the whole nation (a silly exaggeration, though a efficacious one). To prove them all wrong, irritated Ichiro quickly decides to sue for damages, and in order to do so he hires a clumsy, welcoming, yet secretly perfidious lawyer Hiruta (Takashi Shimura). Though Hiruta convinces Ichiro that he shares his hatred towards the press and its shameful actions, he actually goes behind his clientâ(TM)s back and decides to throw the trial, in order to get some money for his sick daughter Masako (Yoko Katsuragi). Whatâ(TM)s surprising is that even though Ichiro is aware of the position of his disloyal lawyer, he still believes that he will come to his senses and choose the right way. For the sake of sheer entertainment and for Kurosawaâ(TM)s own sense of fulfillment, Hiruta goes through an enlightening transformation and brings about the most satisfying twist in action.
Even though Mifune, with all his suave and charm, comes as the most prominent actor of the movie, itâ(TM)s really worth to mention Yoko Katsaguriâ(TM)s performance. Her character, though bound to bed through the whole movie, is the brightest star of the whole showcase. With her purity, kindness, and plausible sense of judgment she is the source of all-energy and immediately becomes, even in her fragile state, the guardian angel seeking a happy ending.
In the ever-changing media reality people are only looking out for themselves, and that is, in the subtlest sense, a cause of the gradual downfall of humanity as such. People tend to care about material things in the first place; they need to suppress their urges through the misfortune of others. And press â" with all its power and attention â" creates this deeply superficial world, as we now know it. Scandal, the title of this picture, corresponds not only to the sensations that surround the fictitious love affair, but also to the behavior (though unnecessarily biased) of all the characters connected to the newspaper industry.
Being a perfectly consistent and downright expressive man, Akira Kurosawa knew how to approach every fresh topic, no matter how controversial. He had this innate ability that allowed him to transform, with unmistakable ease, each and every one of those topics into impressive and captivating motion pictures. Scandal (Shûbun) is his darkly satirical effort to unveil the gradual deterioration of the Japanese press industry. Through a somehow unsurprising and bitterly pretentious â" yet informative and intense â" drama Kurosawa attempted to criticize all the immoral actions of reporters in post-war Japan. For the sake of sensationalism, the private lives of not only celebrities, but even some of the lesser-known citizens, were suddenly deemed invaluable. It seemed as though to catch the attention of the readers is to forget about a human moral code. Writing a story, which might not even be true, was totally all right, and even hurting other peopleâ(TM)s feelings was on the agenda. Ironically so, all those wrongdoings remain unchanged up to this day in most places in the world.
Scandal proves to be a considerable visualization of a celebrityâ(TM)s worst nightmare. Coincidentally, a well-known beautiful singer Miyako Saijo (Shirley Yamaguchi) meets an aspiring painter Ichiro Aoye (Toshiro Mifune) while heâ(TM)s working on a new painting in the countryside. Moments later, Ichiro offers Miyako a lift on his bike, since they both stay at the same inn. Unfortunately, they are tracked down by a group of paparazzi looking for an exciting story to publish in their tabloid magazine Amour. One random picture and a cover story that insinuates an ongoing romance between the two artists change the pace of the film dramatically. In just a short period of time Ichiro and Miyako become the objects of interest of almost the whole nation (a silly exaggeration, though a efficacious one). To prove them all wrong, irritated Ichiro quickly decides to sue for damages, and in order to do so he hires a clumsy, welcoming, yet secretly perfidious lawyer Hiruta (Takashi Shimura). Though Hiruta convinces Ichiro that he shares his hatred towards the press and its shameful actions, he actually goes behind his clientâ(TM)s back and decides to throw the trial, in order to get some money for his sick daughter Masako (Yoko Katsuragi). Whatâ(TM)s surprising is that even though Ichiro is aware of the position of his disloyal lawyer, he still believes that he will come to his senses and choose the right way. For the sake of sheer entertainment and for Kurosawaâ(TM)s own sense of fulfillment, Hiruta goes through an enlightening transformation and brings about the most satisfying twist in action.
Even though Mifune, with all his suave and charm, comes as the most prominent actor of the movie, itâ(TM)s really worth to mention Yoko Katsaguriâ(TM)s performance. Her character, though bound to bed through the whole movie, is the brightest star of the whole showcase. With her purity, kindness, and plausible sense of judgment she is the source of all-energy and immediately becomes, even in her fragile state, the guardian angel seeking a happy ending.
In the ever-changing media reality people are only looking out for themselves, and that is, in the subtlest sense, a cause of the gradual downfall of humanity as such. People tend to care about material things in the first place; they need to suppress their urges through the misfortune of others. And press â" with all its power and attention â" creates this deeply superficial world, as we now know it. Scandal, the title of this picture, corresponds not only to the sensations that surround the fictitious love affair, but also to the behavior (though unnecessarily biased) of all the characters connected to the newspaper industry.
Chris B
Super Reviewer
June 9, 2011
While this isn't top-tier Kurosawa, even his lesser works are solid films full of his talent and the actors that he would make famous! The film features solid performances from both Toshiro Mifune and Takashi Shimura and both fill out their characters nicely. "Scandal" tends to get near and in many cases reaches melodramatic at times but the film has a lot of heart to match it's offbeat comedy and solidly acted screenplay. Any Kurosawa is fine by me and this is no exception!
Gevvy Sidhu
Super Reviewer
November 10, 2011
The funniest of Kurosawa's films. Takashi Shimura gives some great comic moments which bring a lot of laughter for his character and a lot of compassion as well because it reveals that he is indeed a good person who has succumbed to temptation. Toshiro Mifune gives a fierce performance as a honest and determined artist who tries to bring the corrupt executive and prying eyes of his newspaper company to justice. Well made film about the responsibility of the media that pits the two issues of privacy of individuals versus freedom of the press. An evermore relevant question in today's society where there is an even bigger craze for celebrity gossip. It's flaw is that it is too sentimental, at times predictable, and in the end perhaps formulaic; however it will always be worth the watch for Shimura's very funny performance.
T.S.M.
September 24, 2010
A bit disappointing, but still quite good. Although a lot of the flourishes are inimitably Kurosawa, the story itself feels very given to American cliches and constructs. Takashi Shimura is really what makes the film work - he's great in what turns out to be the central role. I think a lack of clarity in the first act really dampens what could have been a more significant film.
Harlequin68
Super Reviewer
March 2, 2009
[font=Century Gothic]"Scandal" is a solid movie that has lost none of its punch over the decades, even if a couple of the scenes are overplayed and go on too long. Regrettably, celebrity journalism is still with us to rob celebrities of any kind of privacy. In this movie, Miyako and Ichiro are the protaganists whose creation of art is respected which Hori does not. He is just trying to sell magazines by whatever means necessary, even if lives are wrecked in the bargain. Somewhere in the middle is Hiruta who is badly in need of redemption.[/font]
[font=Century Gothic]In "Scandal," Miyako Saijo(Yoshiko Yamaguchi), a famous singer, blissfully sings while climbing a hill until she realizes she is not alone. Ichiro Aoye(Toshiro Mifune) is painting nearby Mount Kumitori while being surrounded by a group of admirers. Since she missed her bus, he gentlemanly offers her a ride on his motorcycle to a nearby resort where there are paparazzi waiting in ambush. Being a very private person, she does not wish her picture taken. However, they still get a shot of her and Ichiro which is plastered all over Tokyo in a tabloid, intimating that the two are having an affair. Ichiro confronts the publisher Hori(Eitaro Ozawa), threatens a lawsuit and even slugs him.(Even though I'm a pacifist, I think he had it coming.) Hiruta(Takashi Shimura), a lawyer, drops by Ichiro's studio to offer his services.[/font]
[font=Century Gothic]"Scandal" is a solid movie that has lost none of its punch over the decades, even if a couple of the scenes are overplayed and go on too long. Regrettably, celebrity journalism is still with us to rob celebrities of any kind of privacy. In this movie, Miyako and Ichiro are the protaganists whose creation of art is respected which Hori does not. He is just trying to sell magazines by whatever means necessary, even if lives are wrecked in the bargain. Somewhere in the middle is Hiruta who is badly in need of redemption.[/font]
blahquaker
February 5, 2008
as for the film, it's definitely not one of kurosawa's best, but it's not bad.
it starts off very simple and conventional and then, out of nowhere, shimura's portrayal of the lawyer single-handedly gives the film life and complexity. a great performance.
as for the film, it's definitely not one of kurosawa's best, but it's not bad.
Llopin
January 6, 2005
[b]Lone Star[/b] was my first John Sayles film, and what a blast. The movie features an intriguing and novelistic kind of story set in a southern american town. Chris Cooper stars as a sheriff who is about to discover a certain thruth about his father, a known and celebrated lawman, when the body of a previous sheriff is found. The plot gets more complex, the film's actually a multi character study. Sayles manages to create quite an absorving atmopshere. It's engaging indeed, yet I found that some of the subplots (such as the love story) could've been left aside in order to develop more the main story; more flashbacks (which are brilliantly introduced, by the way) would've been good. Solid acting, solid script. Recommended.
[b]Shubun [/b](or [i]Scandal[/i]) is one of the master Akira Kurosawa's lesser known efforts, made in his pre-samurai period. Far from being one of his best, but still his direction cannot be much criticized. This flick stars Kurosawa usuals Toshiro Mifune and Takashi Shimura. This film curiously focuss on one of contemporary society's most discussed aspects: the press. It's about a young man who trivially spends some time with a famous actress and the mediums automatically create a "romance" between them; he'll eventually hire a lawyer to escape the situation. Very interesting movie, which is very dramatic at times, with the usual Kurosawa acting.
[b]Une femme est une femme [/b]was quite a surprise. I had read it was one of his weakest efforts, but it is not by any means a bad movie. It's very bizarre. Not "bizarre" as other Godard movies, but atypical. The french director gives us a charming comédie musicale, a film which is much more cinematic than most of his other efforts. The movie has his ups and downs but is good spirited and features many standout and funny (the books battle, people abusing of Belmondo's cigar, etc.) sequences, but has unsuccessful gags and is boring at times; it's not as musical as I expected, either. But it's surely playful, with some subtle gags. Belmondo and Brialy are good, Karina is as lovely as always. There's also amusing references to [i]Jules and Jim[/i] (Jeanne Moreau cameo), [i]Tirez sur le Pianiste[/i] and [i]A bout de souffle[/i]. Good.
[b]Poppoya [/b]I was itching to see because it had won the japanese academy best picture award over [i]Kikujiro[/i], clearly the best 99 film (not really, but hey I'm a fanboy). Well. This is not at all better than the Kitano movie but it's not ba either. It's definitely more "epic" and "touching", perhaps, but rather clichéd at times. "Poppoya" means railroader. The protagonist is indeed a very strict aging railroader who has lost his family while performing his duty, and who now considers the idea of retiring and getting a more inteersting job: the town in which he lives is quite dead, the trains are not used anymore, but he certainly feels nostalgia for the old days. The theme of the film, a man's total dedication to his job, is quite obvious, and the movie is nicely filmed by director Furuhata. It never becomes dull, but I wasn't mesmerized either. Ken Takakura is very good as the main character; Masanobu Ando's also around. Worth watching.
Enough. Coming soon:
[i]Out of the Past[/i]
[i]Él[/i]
[i]Tristana[/i]
[i]Yi Yi[/i]
[i]The Sweet Hereafter[/i]
Brief comments. Tired.
[b]Lone Star[/b] was my first John Sayles film, and what a blast. The movie features an intriguing and novelistic kind of story set in a southern american town. Chris Cooper stars as a sheriff who is about to discover a certain thruth about his father, a known and celebrated lawman, when the body of a previous sheriff is found. The plot gets more complex, the film's actually a multi character study. Sayles manages to create quite an absorving atmopshere. It's engaging indeed, yet I found that some of the subplots (such as the love story) could've been left aside in order to develop more the main story; more flashbacks (which are brilliantly introduced, by the way) would've been good. Solid acting, solid script. Recommended.
[b]Shubun [/b](or [i]Scandal[/i]) is one of the master Akira Kurosawa's lesser known efforts, made in his pre-samurai period. Far from being one of his best, but still his direction cannot be much criticized. This flick stars Kurosawa usuals Toshiro Mifune and Takashi Shimura. This film curiously focuss on one of contemporary society's most discussed aspects: the press. It's about a young man who trivially spends some time with a famous actress and the mediums automatically create a "romance" between them; he'll eventually hire a lawyer to escape the situation. Very interesting movie, which is very dramatic at times, with the usual Kurosawa acting.
[b]Une femme est une femme [/b]was quite a surprise. I had read it was one of his weakest efforts, but it is not by any means a bad movie. It's very bizarre. Not "bizarre" as other Godard movies, but atypical. The french director gives us a charming comédie musicale, a film which is much more cinematic than most of his other efforts. The movie has his ups and downs but is good spirited and features many standout and funny (the books battle, people abusing of Belmondo's cigar, etc.) sequences, but has unsuccessful gags and is boring at times; it's not as musical as I expected, either. But it's surely playful, with some subtle gags. Belmondo and Brialy are good, Karina is as lovely as always. There's also amusing references to [i]Jules and Jim[/i] (Jeanne Moreau cameo), [i]Tirez sur le Pianiste[/i] and [i]A bout de souffle[/i]. Good.
[b]Poppoya [/b]I was itching to see because it had won the japanese academy best picture award over [i]Kikujiro[/i], clearly the best 99 film (not really, but hey I'm a fanboy). Well. This is not at all better than the Kitano movie but it's not ba either. It's definitely more "epic" and "touching", perhaps, but rather clichéd at times. "Poppoya" means railroader. The protagonist is indeed a very strict aging railroader who has lost his family while performing his duty, and who now considers the idea of retiring and getting a more inteersting job: the town in which he lives is quite dead, the trains are not used anymore, but he certainly feels nostalgia for the old days. The theme of the film, a man's total dedication to his job, is quite obvious, and the movie is nicely filmed by director Furuhata. It never becomes dull, but I wasn't mesmerized either. Ken Takakura is very good as the main character; Masanobu Ando's also around. Worth watching.
Enough. Coming soon:
[i]Out of the Past[/i]
[i]Él[/i]
[i]Tristana[/i]
[i]Yi Yi[/i]
[i]The Sweet Hereafter[/i]
