The Japanese opening credits with white symbols on black background together with the opening score set a dark and frustrating tone to the film.  At first, the hostile and angry mood in the opening score is a little perplexing.  However, as the film unfolds, it makes much more sense.  The introduction of the story takes place at the wedding party for two of the main characters Koichi Nishi (Toshirô Mifune) and Keiko Iwabushi (Kyôko Kagawa).  It turns out that the press has sniffed a story within the wedding, but these press members are far more respectful than what La Dolce Vita (1960) portrayed through its celebrity chasing paparazzi.  Instead, this situation requires diplomacy, if these reporters want to have a chance to understand why this wedding has turned into the murky waters where the biggest sharks rest.

The lengthy opening that stretches for about 20 minutes develops the story line, which allows for intrigue and suspense to take form.  There are several captivating facts that surface during this opening such as a suicide five years ago.  The viewers also learn that Koichi’s brother Tatsuo (Tatsuya Mihashi) promises to kill Nishi if he hurts his sister.  There are also rumors of how Nishi marries the handicapped Keiko in order to gain status and wealth.  The police arrest one of the guests without any resistance while a number of significant characters provides congratulatory speeches to the newlyweds.  Amidst all of this, slowly the story begins to take form, as the weeding party becomes a reunion place for a large number of businessmen and characters that hold public office in high-ranking places.  The reporters that cover the wedding keep the audience informed about who and what these suspicious characters have done. It is a remarkably clever set up by Kurosawa, which gets its crescendo when an enormous cake appears resembling the ministry building.  The cake even marks the window from which the man committed suicide five years ago.  To which one of the reporters consequently states, “Best one-act I’ve ever seen.”, as another reporter responds, “This is just the prelude.”

The duration of the other two hours of the film switches direction to the plotting and scheming Nishi who seeks vengeance for his dead father.  In order to achieve his revenge Nishi wants to reveal the corruption within his father-in-laws business, but to do so he must apply the tactics of his enemies.  The film also portrays the unwritten rules under which the companies exploit their obedient employees.  Besides the revenge, the film seeks to see the issue of the murder on Nishi’s father from different viewpoints such as from within the family, from the victim’s near and dear, and from a third and independent perspective.  The Bad Sleep Well also plays strongly with the notion of guilt, as the title so eloquently and ironically points out. Meanwhile, love shows that it also does not take any prisoners, as Nishi truly falls in love with Keiko.

The Bad Sleep Well is not Kurosawa’s most memorable film, yet it augments many scenes with artistic brilliance.  Kurosawa shows his skilled ability to frame a scene into perfection in the film.  He also sends forth socially important messages of the time when the film was shot, and he leaves the audience with much to ponder after the film has reached its end.  However, it does not reach the same heights as his Rashômon (1950), Ikiru (1952), or Kagemusha (1980).  This is not to say that this is not an excellent film, because Kurosawa once again proves to the audience why he is one of the most influential filmmakers of all time.  The Bad Sleep Well presents a film noir with hints of Hitchcock and clear influences of Shakespeare in it, but it also leaves the audience with an original touch of Kurosawa that lets the viewer submerged into a very good film about the corrupt and dark world of corporate sharks.

DIRECTED BY

COUNTRY

France

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