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Madadayo (1993)
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Reviews Counted:15
Fresh:13
Rotten:2
Average Rating:7.2/10
Synopsis: MADADAYO, Akira Kurosawa's 30th and final film, follows the life of an aging Japanese professor whose retirement coincides with the final years of World War II. Beloved by his former students, the... MADADAYO, Akira Kurosawa's 30th and final film, follows the life of an aging Japanese professor whose retirement coincides with the final years of World War II. Beloved by his former students, the professor often received them as guests in his home. That is, until his home is destroyed by an air raid. The students pool their resources and buy the professor and his wife a new house. In their new home, the couple gains a third member of the family, a stray cat named Nora, which the professor dotes on like a child. At one point, when Nora gets lost, a group of students dutifully search the city for the pet on behalf of their despondent professor. As the years go by, the students continue to hold annual birthday parties for their mentor. During these celebrations, they toast him with the question "Mahda-kai?" (meaning "Are you ready?" to go on to the next world), to which he humorously responds, "Madadayo," meaning "No, not yet." Based on the life of author and professor Hyakken Uchida, Kurosawa's last film is also somewhat autobiographical, echoing the final years of the revered filmmaker's own life. Tatsuo Matsumura plays the feisty yet sensitive professor with great gusto, while Kyôko Kagawa appears as his soft-spoken wife; other Kurosawa acting alumni play his enthusiastic and adoring students. A thoroughly sentimental film, MADADAYO is a touching meditation on life and its inevitable end. [More]
Starring: Tatsuo Matsumura, Kyôko Kagawa, Hisashi Igawa, George Tokoro
Starring: Tatsuo Matsumura, Kyôko Kagawa, Hisashi Igawa, George Tokoro, Masayuki Yui, Akira Terao, Asei Kobayashi, Takeshi Kusaka
Director: Akira Kurosawa
Director: Akira Kurosawa
Producer: Hisao Kurosawa
Reviews for Madadayo
A lifetime of moviemaking -- Kurosawa was 83 when he made it -- seems to have pared down his technique to its essentials.
Kurosawa's swan song is a personal and overly sentimental story of a real-life retired university professor and literary figure.
The giant who walked among us is no more. We are fortunate to have the cinematic legacy he left.
A sweetly overlong portrayal of an interconnected community whose center is a beloved professor.
Sad and agonizing, it nonetheless allows Kurosawa to demonstrate his uniquely optimistic view of the world.
It's not one of Kurosawa's great films; the compass of feeling is, in the end, too narrow, the scope of human reference too restricted. But it is, within its own proportions, nearly perfect.
This warm, celebratory and very public film is punctuated by sudden and luminous private visualizations.
A masterly work, with Kurosawa, then 83, still capable of surprising an audience and creating indelible images.
This is the kind of film we would all like to make, if we were very old and very serene. There were times when I felt uncannily as if Kurosawa were filming his own graceful decline into the night.
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