It consists of a series of vignettes showcasing various aspects of horse culture in Japan: from thoroughbreds racing at the Tokyo Racecourse, to wild horses grazing in Hokkaido, to traditional samurai horseback archery. Shot by cinematographer Takao Saito, the footage is accompanied by a wistful score composed by Toshiro Mayuzumi, a frequent collaborator of Kurosawa’s. The documentary is interspersed with poetic quotes about horses, including verses by Kenji Miyazawa and lines from the Man’yoshu, an eighth-century anthology of Japanese poetry.
Despite its humble origins as a television special, Song of the Horse is a lyrical and visually stunning piece of filmmaking. Kurosawa’s trademark attention to detail is evident in every frame, capturing the grace and power of these majestic animals. The documentary serves as a meditation on the enduring bond between humans and horses, a relationship that has been integral to Japanese culture for centuries. Through its simple yet profound imagery, Song of the Horse reveals the beauty and poetry of everyday life, a theme that resonates throughout Kurosawa’s oeuvre.
While Song of the Horse may not be as well-known as Kurosawa’s samurai epics or crime thrillers, it is a testament to his versatility as a filmmaker. In a career marked by both triumphs and setbacks, this quiet documentary stands as a reminder of Kurosawa’s enduring passion for cinema and his ability to find beauty in unexpected places. As the poet Kenji Miyazawa once wrote, “When I see horses running as fast as they can, tears well up in my eyes.” Perhaps Kurosawa felt the same way when he embarked on this unconventional project, finding inspiration in the simple yet profound beauty of the horse.
Regardless of the reasons behind it, Song of the Horse remains a unique and somewhat challenging entry in Kurosawa’s filmography. While it may not have the same narrative depth or visual flair as some of his other works, it still offers a glimpse into the world of horses in Japan and the cultural significance they hold. And with its soothing score by Masaru Sato, it manages to capture a sense of reverence for these magnificent animals.
In the end, Song of the Horse may not be a standout film in Kurosawa’s career, but it still holds value as a reflection of his artistic vision and a testament to the beauty of the natural world. And in the context of his life and struggles during that time, it serves as a reminder of the challenges and triumphs that come with being a filmmaker. En una entrevista con la Criterion Collection, la supervisora de guion Teruyo Nogami recordó: “[W] cuando viajamos a la URSS [para Dersu Uzala], los reporteros extranjeros no dudaron en preguntarle directamente a Kurosawa por qué había querido suicidarse. Siempre respondía lo mismo: ‘En ese momento, no podía soportar seguir viviendo, ni un minuto más o un segundo’. Lo que hizo su vida tan insoportable nunca lo dijo.”
Notas y citas:
Solo estoy contando las películas en las que Kurosawa fue el único director y que consideraba parte de su filmografía oficial. No se tienen en cuenta las películas basadas en sus guiones pero dirigidas por otros; tampoco las imágenes de las que solo manejó segmentos, como la película de Kajiro Yamamoto Horse (1941) o la película del sindicato de Toho Those Who Make Tomorrow (1946).
Galbraith, Stuart, IV. The Emperor and the Wolf: The Lives and Films of Akira Kurosawa and Toshiro Mifune. Nueva York: Faber & Faber, 2002, p. 441
Ibid
Ibid, pp. 444-48
Ibid, pp. 449-58
En 1953, el televisor más barato en Japón costaba aproximadamente ¥175,000. Sin embargo, para 1958, el precio había bajado a ¥60,000 y el número de televisores en Japón había crecido de 866 a más de 1.5 millones. Fuente: Chun, Jayson Makoto. A Nation of a Hundred Million Idiots?: A Social History of Japanese Television, 1953 – 1973. Nueva York: Routledge, 2006
Galbraith, Stuart, IV. The Japanese Filmography: A Complete Reference Work to 209 Filmmakers and the More Than 1250 Films Released in the United States, 1900-1994. Jefferson: McFarland & Company, Inc., 1996, p. 471
Bock, Audie. Japanese Film Directors. Nueva York: Kodansha International, Ltd., 1978, p. 205
Ibid, p. 247
Galbraith, The Emperor and the Wolf, p. 487
Ibid, p. 474
Ibid, p. 486
Crist, Judith. “Uneasy Rider.” New York vol. 4, no. 11, 11 de octubre de 1971, p. 67
En los créditos se menciona a la compañía de Kurosawa, Kurosawa Production, como coproductora.
Galbraith, The Emperor and the Wolf, p. 559
Ibid, p. 487
“Una conversación con Teruyo Nogami.” Traducido por Juliet Winters Carpenter. Dodes’ka-den, el folleto del DVD de The Criterion Collection, 2009, p. 18