After the Rain (1999) Ame Agaru

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After the Rain (1999) Ame Agaru

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Imagine a highly skilled samurai able to best most swordsmen, yet possessing a level of open kindness and sensitivity that only infuriates more prideful men. Such is the theme of AME AGARU, a jidai geki based on Akira Kurosawa’s last script that the master filmmaker wrote shortly before his death in 1998. The script was in turn based on a short story by Shugoro Yamamoto. Takashi Koizumi, one of Kurosawa’s assistants, went ahead with the production that includes featured performances from Kurosawa alumi such as leading man Akira Terao (AKIRA KUROSAWA’S DREAMS), Yoshiko Miyazaki (RAN), Hisashi Igawa (AKIRA KUROSAWA’S DREAMS), and Tatsuya Nakadai (KAGEMUSHA). It also stars Toshiro Mifune’s son Shiro. Additionally, this was the final bow for master composer Masaru Sato (YOJIMBO) who died in 1999.

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AME AGARU is the kind of movie that washes over the viewer like a cool breeze. The direction is relaxed as it lingers on scenes of figures watching a flooded river during a steady rainfall or a lone samurai looking for solace as he quietly practices his sword drawing in a lush forest landscape. Light and playful, yet richly textured orchestral music from Sato mixes with the relaxing sounds of nature. This picture of tranquility does not remain unbroken in the face of hungry peasants, an unloved prostitute, a short-tempered lord, or envious fencing instructors who plot violence, yet the good-natured charm of the lead protagonist and his dutiful wife as they overcome these obstacles with cheery humility is a delight to behold.

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As the story begins, a heavy rainfall floods a river and strands traveler’s at a nearby inn. Within, peasants grow increasingly irritable as their money runs out and food becomes scarce. Ihei Misawa (Akira Terao), a perpetually-smiling ronin also staying at the inn with his wife Tayo (Yoshiko Miyazaki) slips out and returns hours later with a feast for all that raises the spirits of the inn’s inhabitants. We learn as Ihei apologizes to Tayo that he was prize fighting, or sword fighting for money, a rather scurrilous pursuit by samurai standards.

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While waiting for the flooded river to become crossable again, Ihei has a chance encounter with quarreling samurai. He efficiently disarms them in order to diffuse the situation and this draws the attention of their lord Shigeaki (Shiro Mifune). Ihei soon finds himself courted as the lord’s next fencing instructor. Yet his kind manner towards his opponents during a public dueling exhibition only irritates the lord. Ihei leaves frustrated, only to run into an ambush by fencing instructors both envious of him and looking for revenge after being bested in prize fighting matches. His prize fighting is eventually made known to the lord and Ihei risks losing the position and an opportunity to provide a comfortable life for his wife. When all appears lost, an unexpected silver lining appears for Ihei, proving that true happiness comes from within.

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As a “Kurosawa” film, AME AGARU fails to match the depth or drama of the master’s best self-directed work. There is a sense that Koizumi is trying too hard to replicate the mood of Kurosawa’s films without paying enough attention to the characterizations of his own film. Specifically, there isn’t enough angst. Ihei’s only real obstacle is his own nature. This is a great concept that plays out well enough, but not as potently as it could have. Yet on its own the film is still quit enjoyable.

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Akira Terao as a smiling, benevolent samurai with great sword skill is excellent. He’s the kind of person you’d love to have as a friend, but wouldn’t want to be enemies with. He’s quick with a smile and apologizes after a practice duel. Even when faced with the real threat of men intent on killing him, he’s slow to act in kind. As a result, we get to see him perform some elaborate dodging and great disarming techniques and throws. But even his patience reaches an end and at one point we see him unsheathe his sword and simultaneously engage a mob of attackers. This fight, as with all of the fights in the film, is choreographed realistically with few exaggerated movements or tricks. Yet, the filmmakers couldn’t resist tossing in one blood geyser scene as a matter of genre tradition.

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Shiro Mifune lacks the intense screen presence of his father Toshiro, but still acts quite well as a fiery lord who readily takes on a dueling challenge himself and resorts to calling his aged attendants “antiques” and “blockheads.” Tatsuya Nakadai, the magnificent and ultimately tragic star of KAGEMUSHA has a memorable role as Ihei’s sword instructor who we see in an amusing flashback as Ihei recounts to the lord how he inadvertently became a swordsman.

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AME AGARU is at times a slow-moving film that seems lost in its attempt to set a mood rather than tell a story. The ending may seem a bit confounding in its failure to tie off loose ends. Yet, these are classic traits of Japanese cinema and the overall effect is certainly not displeasing for anyone with a little patience. The swordplay that is present is well done and the acting is solid. The film ultimately gives Kurosawa fans one more chance to get a glimpse of the master’s work, even if it is filtered through different eyes.

Kungfu Cinema

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This movie feels like a ballade on a forgotten road… Its rythm flows like magic and holds you to the storyline which enfolds peacefully. Its inner beauty is based on simplicity, on discovering what makes our humanity and on some well chosen bits of humor. There is an allmighty feeling of pleasure that emanates from experiencing this movie where nature is breathtaking or just simply here with you. And, when the movie is over, you feel grateful to have walked this path where love still exists. Such a powerful message upon entering our next millenium.

IMDB Reviewer

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