Movie

Dodeskaden

Akira KUROSAWAJapan – 1970

The film focuses on the lives of a variety of characters who happen to live in a rubbish dump. The first to be introduced is a mentally challenged boy who lives in a world of fantasy in which he is a tram conductor. He is both the tram and the tram driver and follows a set route and schedule through the dump; his dedication to the fantasy is fanatical. The film title refers to a Japanese onomatopoeia for the sound made by a tram or train while in motion ( "Do-desu-ka-den do-desu-ka-den do-desu-ka-den"). The sound is made by the boy as he makes his daily faux-tram route through the dump.

Original Title Dodeskaden
German Title Dodeskaden - Menschen im Abseits
French Title Dodeskaden
Other Titles Dodeskaden
Directed by Akira KUROSAWA
Country Japan
Available Formats Blu-ray, DCP
Screenplay Akira Kurosawa, Hideo Oguni, Shinobu Hashimoto
Film Editing Reiko Kaneko
Soundtrack Tôru Takemitsu
Cinematography Yasumichi Fukuzawa, Takao Saitô
Sound Hiromitsu Mori
Décors Shinobu Muraki, Yoshirô Muraki
Costumes Miyuki Suzuki
Production Akira Kurosawa, Yôichi Matsue
Runtime 140 Min.
Language Japanisch/d
Actors
Yoshitaka Zushi Roku-chan
Kin Sugai Okuni
Toshiyuki Tonomura Taro Sawagami
Shinsuke Minami Ryotaro Sawagami
Yûko Kusunoki Misao Sawagami

«Zum dritten Mal taucht der Regisseur von Engel der Verlorenen und Nachtasyl hinab in die Niederungen und Slums ausufernder Gigantenstädte. Sein Leitstern: Auch Dostojewski habe die Augen vor dem Leid nicht verschlossen. Was Kurosawa zwischen Wellblechhütten, Autowracks und Schutthalden entdeckt und besingt, sind Erniedrigte und Chancenlose: die weggeworfenen, vergessenen, in den Wahnsinn oder ins Groteske getriebenen Existenzen des japanischen Wirtschaftswunders. Dodes’ka-den, ein Film, den Nippons Kritik der 1960er Jahre nicht wahrhaben und wahrnehmen will, eine verrückte, zwischen Expressionismus, Melo und Kabarett taumelnde ‹Collage›: Trümmerhaufen aus Episoden und Handlungssplittern, absurden Einaktern, Kyogen-Einlagen, sentimentalen Kapitelfetzen, Vaudeville-Schnipseln und traurigen, tragischen Abfallsdramen des Lebens, in denen auch die Farben ausser Rand und Band geraten sind. Die Elendsviertel schillern wie Chemieabwässer, der Boden oszilliert, die Schatten im Gesicht des sterbenden Jungen leuchten grün.» (Harry Tomicek, Programmheft Österreich. Filmmuseum)

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