The Geometric Beauty of Akira Kurosawa and Wes Anderson’s Films

Last month, we featured Every Frame a Painting, Tony Zhou’s series of video essays examining the filmmaking techniques of directors like Martin Scorsese, Edgar Wright, Steven Spielberg, and David Fincher. His newest piece looks at just one element of just one scene, but one directed by one of the highest figures, if not the highest figure, in the cinematic pantheon: Akira Kurosawa. Zhou, as any cinephile might expect, has a full-length examination of “the Emperor” of Japanese film in the works, but for now he’s put out a short video essay on the geometry of a couple minutes from The Bad Sleep Well (1960).

That 1960 release, a non-period piece not quite as well known as Kurosawa films like Seven SamuraiRashomon, and Kagemusha, tells a Hamlet-like tale against the cultural backdrop of postwar Japanese corporate corruption.

Despite its non-epic nature, it has drawn my own attention again and again over the years, just as it seems to have drawn Zhou’s. Here, he uses it to illustrate Kurosawa’s penchant for constructing scenes not out of, as Hitchcock once put it, “photographs of people talking” — a dull practice that more than persists on screens today — but out of geometrical shapes.

You might like to compare this brief study of Kurosawa’s geometry with video essayist Kogonada‘s look at the geometry of Wes Anderson’s movies. Just as you can’t watch the Every Frame a Painting mini-episode on The Bad Sleep Well without looking for shapes in the next Kurosawa pictures you watch, you can’t watch “Centered” without drawing a mental line down the center of your next screening of Bottle RocketRushmoreThe Royal Tenenbaums, or their Andersonian successors. Zhou says he feels bored when subjected to the undisciplined visual composition in most major films, but here we have two filmmakers one can always rely on for the antidote.

Related Content:

Every Frame a Painting Explains the Filmmaking Techniques of Martin Scorsese, Jackie Chan, and Even Michael Bay

Signature Shots from the Films of Stanley Kubrick: One-Point Perspective

Watch 7 New Video Essays on Wes Anderson’s Films: Rushmore, The Royal Tenenbaums & More

The Perfect Symmetry of Wes Anderson’s Movies

Colin Marshall hosts and produces Notebook on Cities and Culture as well as the video series The City in Cinema and writes essays on cities, language, Asia, and men’s style. He’s at work on a book about Los Angeles, A Los Angeles Primer. Follow him on Twitter at @colinmarshall or on Facebook.

by | Permalink | Comments (2) |

Support Open Culture

We’re hoping to rely on our loyal readers rather than erratic ads. To support Open Culture’s educational mission, please consider making a donation. We accept PayPal, Venmo (@openculture), Patreon and Crypto! Please find all options here. We thank you!

Comments (2)
You can skip to the end and leave a response. Pinging is currently not allowed.
  • Sven Lutz says:

    If Andersons movies aren’t the best example of static “photographs of people talking”, i don’t know what is. He sure has a unique and maybe compelling composition style, but the sense of movement and shifting relations in space Zhou refers to can’t really be found in Andersons films.

  • Paul Tatara says:

    Yeah. Don’t go putting Anderson and Kurosawa in the same sentence, please. I’ve never wanted to strangle Kurosawa.

Leave a Reply

Open Culture was founded by Dan Colman.