ThiefHott Too much of everything

Murphy Howard I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

Arianna Moses Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

Fleur Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

WILLIAM FLANIGAN Viewed on DVD. Restoration = nine (9) stars. What to do if you fear imminent nuclear annihilation and have no interest in sharing an underground bomb shelter with your extended family? This film offers up an alternative "solution" which is no longer an option today. An above average "modern" Kurosawa movie with a solid script (Kurosawa is but one of four credited writers which seems to have held in check his tendency to write silliness into scripts) and taught direction (and editing). Large ensemble of actors provides an across-the-board set of believable characters with which the viewer can easily bond. Toshiro Mifune delivers an outstanding performance that is so unusual and atypical that viewers might want to double check the opening credits to ensure that Mifune is, indeed, the lead actor! Dialog is crisp and clearly enunciated by all performers except Mifune who delivers his characteristic mumbling staccato barks. Intentionally or not, the film depicts dental hygiene as being essentially nonexistent at the time. Of special interest are Tokyo street scenes circa 1954 shown under the opening credits. (All the men seem to be in shirtsleeves on the streets, but not in the film.) Cinematography is fine as are the subtitles (they are most needed when Mifune is speaking). Music consists of two stunning theremin micro concerts during the opening and closing credits (and a bit beyond). Restoration is outstanding except for a few wear lines here and there. The movie comes from the past, but is especially relevant, since the fear remains ever present and continues into the future. WILLIAM FLANIGAN, PhD.

jzappa From the very very beginning during the opening credits sequence, we are given the ominous feeling of paranoia, the feeling with which it's vital to sympathize with Toshiro Mifune's character, an old foundry owner convinced that Japan is on the brink of nuclear obliteration, trying to force his reluctant and resentful family to safety in Brazil.Mifune's performance is so very masculine and real, as are nearly all of them. In this film, he displays a self-assurance that allows him to descend into pathetic helplessness. Of all the post-war Kurosawa films that I've seen so far, I Live In Fear is the most direct and informative. America may feed off of the dread showcased by the Japanese culture in this film and some may feel terribly sad for the individualistic portrayal of the debilitating fear stricken into the immovable hearts of stubborn old men like Mifune's character.Even as early as WWII, I learned, America's most powerful weapon has been fear. However, in those times, it was a much purer, less vain utility. But what about the people it destroys for the sake of its own feeling of security?

sleepdeprived "I Live in Fear" is a thought-provoking, moving film about love, greed and fear, framed as only Kurosawa could. If you're a fan it's a must see, as it explores new and old themes in a stark, interesting manner. Excellent acting through-out, and please look carefully--Mifune wears no make-up, just huge glasses and a perpetual scowl; his talent and intensity were all he needed. This film also gives us an interesting look at Japan after the bomb, and the different ways people chose to deal with the fear they all in fact felt. The film does not judge, sympathizing with the children even as it highlights their selfishness. A good movie to make you think about where we've been, and where we might be headed.

pyamada This is a surprisingly complex film that continues to build and grow right before your eyes. Some of the action and plot mechanism may need to be "accepted" to work, but once you realize that this is not merely an exercise on moral judgements, but a very sly re-working of familiar King Lear themes, the film's power and nuances become evident. For all those who see Kagemusha as a high point, and Ran as a huge failure, they may seek solace in this film, which pushes the trope of the rash old man, who has become so accustomed to getting and doing what he wants, that he cannot and will not accept his extended family's naysaying and interference. A really great film.