Wonderful character development!

Absolutely the worst movie.

A film with more than the usual spoiler issues. Talking about it in any detail feels akin to handing you a gift-wrapped present and saying, "I hope you like it -- It's a thriller about a diabolical secret experiment."

It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties.

Friendship blossoms between a Russian army captain and a local hunter he recruits to guide his soldiers through the wilderness in this Akira Kurosawa epic filmed on location in the Soviet Union. The film benefits from Kurosawa's eye for natural beauty when it comes to vast landscapes untouched by civilisation, however, what really drives the film is the bond that develops between the main characters - and in spite of other soldiers ridiculing the local hunter behind his back. This very real bond leads to an especially engaging final quarter in which the captain tries to give the hunter a better life by inviting him to live with him, only to discover that despite their deep friendship, they each want something different out of life ("how do you live inside a box?"). The first three quarters of the film are not quite as compelling as this final section, but they are still engaging enough as the two main characters survive through harsh conditions, coming to appreciate each other just a little more in the process. The movie may have benefited from less focus on the other soldiers who are rather dull and ultimately interchangeable, and yet, they serve as an acute counterpoint to their captain who is able to see past stereotypes and racial prejudice and recognise right away the skills, talent and humanity of the hunter who, in some ways, is more civilised than the soldiers who mock him.

This film was made when a member of the Russian embassy contacted Akira Kurosawa, asking him to make a Russian film for Russians. The result? A beautiful film, both inside and out. What I mean is that it stands out as an art piece, the mise-en- scène, the cinematography. But also as a beautiful portrait of the great friendship shared by two men with two distinct ways of living, two seemingly contradicting mindsets, and two disparate socioeconomic strata. So much if the film is dependent on acting performances and emotion rather than dialogue. As always, Kurosawa relied heavily on the symbolic nature of natural phenomena (rain, snow, a rainbow) to aid in his storytelling. (Pun intended.) Kurosawa's first film not in Japanese, as well as his only work in 70mm. Production took three years, being shot entirely outdoors in nature on location in Russia, of course making for some magnificent cinematography. As a side note, the fascinating fact that this achievement by Japanese director Akira Kurosawa won the Academy Award for Best Foreign Language Film for Russia finally motivated me to figure out what, exactly, the Academy considers a "Foreign Language Film". This is something I have wondered about for sometime but was unable to discern, until now. What I had to do was the obvious. Go to the source. (http://www.anica.it/allegati/OSCAR/90_FLFA_RU LE_THIRTEEN.pdf) I also found an article that elucidates the small details for interested readers. (https://www.thoughtco.com/qualifying-best- foreign-language-film-oscar-2421430)

I term it as a 'masterpiece' ! Being a Nature adorant, the blissful AND intimidating aspects of the Nature were a treat for me. Sadly, there aren't many(any?) movies that focus on the mankind's ambitious projects like surveying but this movie has an adequate depiction of the perils faced by the surveyors. Dersu's skills alarmed the timid person inside me who has been afraid for years regarding the lack of survival skills if sent out away from the civilization ! The movie impeccably underlines the timeless truth - the one staying close and integrated with Nature, knows how the Life on the planet should be respected !!! The plot is strong, the actors have done their parts flawlessly and the cinematography is majestic. Dersu's instincts, the naive but warm-hearted and cheerful soldiers, the sober and emotional captain Arsenyev, the Chinese hermit all touch the Heart. At the beginning of the first expedition, the soldiers sing a song, then Dersu arrives and at the end of the expedition, they sing the same song and that is when the viewer realizes that it, in a way, depicts the hunter Dersu. When the captain is merry on meeting Dersu during the second expedition, the fellow soldiers sing a song about a grey(aging!) eagle which is a pleasant humor. Maxim Munzuk has portrayed all the simple, yet, deep emotions of a benevolent man living in the wilderness - the pangs of his family loss, the respect for Nature and other living beings, the shock and grief of loss of strength due to aging, a man from the wild feeling smothered in the civilization and the brave decision to go back to the wild even if it means death.Yes, one cannot ignore the perpetual dark mood of the film, I speculate it as a result of Kurosawa's melancholic and unstable mental state just before he begun directing the film. To summarize, the movie will go as a pearl in (my brain's memory)box ...

Dersu Uzala is not just the quintessence of pristine cinema or a landmark in art cinema, but is also a living proof that brilliance can be achieved with absolute simplicity. Storytelling is undoubtedly one of the most potent tools known to man: from the Illiad and Odyssey of Homer to the tales of Jataka, to the 1001 nights of Arabia, to the tales of Panchatantra, to the plays of Shakespeare, man has always found ways to amuse himself by spinning the yarn of his imagination. These tales, though picturesque, fantastic and resplendent, mostly overlooked the potency of austerity vis-à-vis grandeur as an element of revelation powerful enough to transcend the effects of all other affects know to man. Only a handful of storytellers like Akira Kurosawa and Satyajit Ray have shown the grit and perspicacity to use simplicity as the weapon to incite and hence portray the deepest of the human emotions on the celluloid. Kurosawa demonstrated the might of simplicity as an element that can pack a punch for the first time in Ikiru and followed it up with an unending list of pristine cinematic masterpieces including Seven Samurai. But, even Kurosawa's greatest critic would not find it hard to concede that cinema does not get any purer than Dersu Uzala. Dersu Uzala is a poignant tale of human bonding of trust, friendship and adoration between two contrasting individuals: a nomadic hunter and an army explorer. Captain Arseniev and his troops are on a topographic expedition and while camping during a night, they come across Dersu, who happens to be an aboriginal (Goldi) tribesman. Being fully aware of the handicap of being in a remote and tricky territory and of the indispensability of having an indigene in the ranks, Arseniev asks Dersu to be their guide. Dersu being humbled by Arseniev's courtesy obliges his offer almost immediately. We soon witness a great sense of camaraderie developing between the two of them as Dersu rises in status from being a comrade to a stalwart and a friend in the eyes of the captain. The long years of experience had equipped Dersu with a great sense of intuition and psychic-like abilities to anticipate change and danger. Dersu uses his skills to good effect as he maneuvers captain and his troops through the harsh Siberian terrain, sheltering and guarding them from the cruelties and wilderness of the Tundra. Behind the façade of a rugged hunter, we see a man of profound intellect and deep compassion in Dersu which is most conspicuous in his respect for the old Chinese and his selflessness in rescuing Captain Arseniev and one of his men. After the expedition is over, Arseniev embraces Dersu and bids him farewell as Dersu returns to the wilderness. Few years later, when Arseniev returns to Siberia on another expedition, he once again encounters Dersu, who again proves to be handy, only this time round he appears to be aging really fast as time, which can be a great healer as well as a great leveler, had begun to take a toll on the Goldi. His eyesight deteriorates under the superstitious effect of a self-imposed curse after having killed a Siberian tiger, which the Goldis worship, in an act of self-defence. Arseniev, in his pitied adoration for Dersu, takes him to the city to live with his family. Arseniev's son gets greatly attached to Dersu and his story-telling abilities, but Dersu finds it difficult to adapt to the relatively restricted and significantly tamed urban life and soon realizes that his life has been reduced to that of a captive. He implores the captain to let him return to the wilderness of the woods. With great reluctance, Arseniev grants him the permission to leave, but not before presenting his savior with a brand new rifle as a parting gift and a souvenir. Few months later, Arseniev receives a letter informing him that a dead body of a Goldi has been found with no identification on it barring Arseniev's visiting card. As Arseniev pays a visit to the place of burial, he identifies the dead Goldi to be none other than Dersu Uzala. The investigating officer speculates the Goldi's brand new rifle might have lured someone into killing him.Dersu Uzala is not just a movie, but is an experience of a lifetime. Dersu Uzala is the only movie that Akira Kurosawa shot in a language other than Japanese and he proved it once and for all that cinema at its most pristine, knows no bounds or barriers. Kurosawa uses his auteurist mastery to bring the memoirs of Russian explorer, Vladimir Arsenyev to life as he inexplicably metamorphoses cinema to new levels of poignancy and pristineness. The cinematography is breathtakingly picturesque and it evokes a sense of melancholy that makes the majestic Siberian wilderness appear hypnotic and at times, surreal. The panoramic shot of Dersu and Arseniev looking at the horizon caparisoned with the juxtaposition of the setting sun and the rising moon is also indicative of their respective lives: Dersu is long past his prime and there is no hope for revival, but Arsieniev's is still in his prime and has a promising career ahead. Dersu Uzala is strongly suggestive of the sole consistency in human life: change. It also demonstrates the might of nature as an unforgiving force, strong enough to humble even the most savage of the creatures. Dersu Uzala can also be termed as an allegorical account of the environmental imbalance that unrestrained human intervention is causing. Dersu Uzala, besides being one of Kurosawa's greatest masterpieces is one of those rare cinematic gems which can be relished again and again, each time with a completely different perspective. It's a must watch for everyone who loves and understands cinema. 10/10For more on cinema visit: http://www.apotpourriofvestiges.com/