HIGH AND LOW (Akira Kurosawa, 1963)

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(Directed by Akira Kurosawa from a script by Ryūzō Kikushima, Hideo Oguni, Elijiro Hisaita, and Akira Kurosawa; starring Toshiro Mifune, Tatsuya Nakadai, Kyōko Kagawa, Tatsuya Mihashi, Tsutomo Yamazaki, and Yutaka Sada. Released 01 March 1963; watched 2023w51 via Criterion Channel)

Had to restart because I was too exhausted to appreciate it on first viewing, but once I did, it handily became my favorite Kurosawa film: tight, taut, and at the same time, free-flowing – especially in the second half (similar structure to IKIRU) –, unafraid to take lengthy divergencies into the intricacies and frustrations of police work (reminded me of Jules Dassin's THE NAKED CITY in its procedural aspects – the briefing / report sequence was riveting – and its eye for locational verisimilitude). Mifune is, unsurprisingly, electrifying – never have I been as inspired to consider shoes so passionately – as is Tsutomo Yamazaki as the desperate, deadly, and ultimately broken kidnapper (how inspired, I wonder, was Frank Miller by the shot pictured above when he designed Kevin in the first SIN CITY yarn?). One of the essential crime films - and perhaps one of my favorite films: if it's not on the list, it's certainly nearing it. Will be adding to the collection post haste.

THE BLACK CAT (Edward G. Ulmer, 1934)

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(Directed by Edward G. Ulmer from a script by Peter Ruric "suggested by"* the story by Edgar Allan Poe; starring Boris Karloff, Bela Lugosi, David Manners, and Jaqueline Wells. Released 07 May 1934; watched 2023w41 via Criterion Channel)

"Suggested by" = not at all similar but the name is a nice touch.

While mostly forgettable until the last third, wanted to mention Lugosi's performance here: a rare turn as one of the good guys (ok, a vengeance-driven, cat-killing (via throwing knife, I believe), Karloff-flaying good guy but hey) that makes his Dracula typecasting all the more tragic. Sure, the accent could be limiting (something of a Schwarzenegger-before-Schwarzenegger situation), but he brought genuine presence and nuance to the role – unlike the good guy-good guy, David Manners, who, as in all of his appearances, made total lack of charisma a calling card.

Maybe this one was done a disservice by how closely I watched it to THE OLD DARK HOUSE, which - minus the Satanist cult angle that popped up in the rather excellent last third - delivered a similar narrative with far more panache and better performances all around.