Exploring the Works of a Master Director: Long Take by Akira Kurosawa

 Long Take by Akira Kurosawa 

(translated by Anne McKnight)

Long Take book cover

Author and director Akira Kurosawa

Many thanks to University of Minnesota Press and NetGalley for allowing me to read an advanced copy of Long Take, an amazing collection of interviews and reflections by Akira Kurosawa and his daughter, with a clear and fluid translation by Anne McKnight. I actually appreciated McKnight’s description and rationale for her approach to translating words and phrases, while keeping other Japanese terms intact in these interviews. As a fan of Kurosawa’s films, I found this book to be wonderful. I loved hearing from him about his work on films, his approach to stories and direction, and especially learning more about the production and challenges he faced during some of his most iconic works. As McKnight explains in the introduction, the only real words we have from Kurosawa in English are his  autobiography, which was translated and published in America in the early 1980s. This book provides a more detailed focus on not just formative experiences and events that helped shape the career of one of the most famous and celebrated directors of all time, but also gives us further insight into his approach to work and how he sees stories that eventually become cinema. There are conversations and interviews in the beginning of the book that range from 1970 up until 1993, which covers a wide range of Kurosawa’s later work, but where he also discusses his earlier work. Some of the conversations include similar memories and events, so there are some moments of repetition in the book (especially if you read the introduction as well). However, it’s still fascinating to read Kurosawa’s words about his work with actors and extras, and how he viewed film crews as like families. I also loved learning more about how meticulous he was about color, light, and shots, frequently mentioning how challenging it was to capture certain shots at different times of day. In addition to his own work, Kurosawa frequently talks about other directors throughout the book, discussing in particular the influence of John Ford and how he was able to meet John Ford later in the American director’s life. There are some interesting stories that Kurosawa shares.

While I loved reading these discussions and interviews with Kurosawa to learn more about his artistic process and his thoughts about literature and film, some of the best moments are also from his daughter, Kazuko, who includes a farewell essay to her father exploring memories of being on film sets with him. However, the standout for me was her compilation of Kurosawa’s top one hundred films, chronologically arranged. As McKnight noted in the introduction, much of Kurosawa’s autobiography discusses early films that influenced him, particularly from the silent era. This collection includes many films that were made by Kurosawa’s contemporaries and some films from the 70s, 80s, and 90s when Kurosawa’s output had slowed. The list is great to have. He provides some details, often citing other works from these directors that he enjoys, and briefly identifying what factors from the film led to its inclusion on his list. It was really fun to read, and I’m sure that I will revisit this list to find some classics that I haven’t yet watched. Furthermore, reading about his films made me want to revisit some of my favorite Kurosawa films. This is a great book for film fans, and if you are a fan of Kurosawa, then this book is a must read. The interviews are easy and quick reads, yet offer a lot of interesting insights into Kurosawa’s art and work, and McKnight’s translation adds to a smooth and engaging read. Highly recommended!