The Men Who Tread on the Tiger’s Tail (1945) November 3, 2010Posted by Cal in : Drama, 1940s films, Jidaigeki , trackback
Director: Akira Kurosawa Starring: Denjiro Ookouchi; Tadayoshi Nishina; Kenichi Enomoto Territory: Japan
Even if you did not know the circumstances Japan found itself in when The Men Who Tread on the Tiger’s Tail was filmed, you would probably still sense that something just wasn’t right. The country was freshly defeated in the Pacific War, and budgets were tight (and electricity frequently cutting out altogether), resulting in the film looking surprisingly cheap for a Kurosawa production.
Based on the Kabuki play Kanjincho, which itself is based on the Noh play Ataka, The Men Who Tread on the Tiger’s Tail is a fable in which a band of bodyguards escort a fugitive lord through hostile territory, including through a barrier outpost, dressed as monks.
Kurosawa fell foul of the censors yet again – this time being accused of mocking the Kabuki play with the inclusion of Kenichi Enomoto, an eminent comedy actor, as the porter. His character, while often annoying, provides an interesting protagonist for the film, offsetting the staid nature of the guards and their charge. The censors did not take kindly to the addition, failed to submit the correct paperwork, and the film was officially banned for a number of years. Some articles available online state the film was banned by the occupying American forces due to the film’s feudal themes, but this is certainly not the case – the occupational forces, by all accounts, enjoyed the movie.
Despite the fact that Kurosawa does a good job of wringing tension out of the plot, the end result is unsatisfactory. The Men Who Tread on the Tiger’s Tail feels a lot like a TV play with its short running time (around 59 minutes) and lack of location shots (a lot of the exteriors seemed to be shot on a soundstage). I couldn’t help but feel quite deflated at the end, distinctly feeling that the film was missing a final third. Nevertheless, one thing you can’t say is that this film is too westernised – it is definitely one of Kurosawa’s most profoundly Japanese films I’ve seen.