Undescribable Perfection

It's complicated... I really like the directing, acting and writing but, there are issues with the way it's shot that I just can't deny. As much as I love the storytelling and the fantastic performance but, there are also certain scenes that didn't need to exist.

This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

It is extraordinarily beautiful film. Maksim Munzik stars as Dersu, a lonely hunter with lots of 'nature's street smarts'. He befriends with the Russian army captain who leads the team of explorers in Siberia. 'Dersu Uzala' is a tale about survival and man's ancient quest to conquer nature. It's also a tale about finding your own soul. While Dersu leads army captain and his men through rough terrains (doing it without any interest getting personal gains) he tells them about forest, and amazes them with his positive and seemingly naive (very wise, actually) outlook on life. Respect towards man and animals, living or nonliving - Dersu calls everything men or people (ljudi).Very beautiful film, but not only because of magnificent cinematography or Akira Kurosawa's masterful direction, but more because of the beautiful soul of Dersu.

I too loved this movie when I saw in cinema, I have just bought a copy from Amazon and hope with my wide screen TV that it will give a satisfactory viewing. I was so impressed with the relationship between the two main characters and considering that this movie was made during the height of the Cold War in an area of Russia that was very restricted to visit, it is a wonder that it was ever made. I wonder if Russian censors ever got to see this film as it shows an official wavering between duty and his personal sense of right and wrong.It has subtitles but do not let that put you off watching this marvelous film that has spectacular scenery and dynamic interplay between the protagonists plus a political comment (between the lines) about Russia of the time and the world in general when first world meets third world... {:~)

Akira Kurosawa's "Dersu Uzala," winner of the 1975 Oscar for Best Foreign Language Film, is as heartwarming as a cartoon from Disney's golden era, but only the title character can understand the talking trees and animals.Filmed in Russian in the Soviet Union, "Dersu Uzala" has the distinction of being the only film Kurosawa made outside Japan. Released in 1975, it was made at a time when the Japanese film industry was beginning to discover that children's movies were cheaper and easier to produce, thanks to the low-cost of animation and a less discerning audience ensuring a reasonable return on the studios' investment. The studios, concerned only with profit and not the artistic merit of films, could no longer justify the bloated costs of Kurosawa's epics. This signaled the beginning of the end for the Tokyo film industry, which once rivaled Hollywood and Paris in terms of innovation and quality, and eventually changed the Japanese aesthetic to kawaii (cutesy). Kurosawa would later depend upon foreign patrons to finance his films, such as George Lucas, Francis Ford Coppola and Steven Spielberg. And in the case of "Dersu Uzala," the Soviet Union.The film is based on the 1923 travelogue, "Dersu the Trapper" by V.K. Arseniev, which explains why it doesn't follow a conventional story line. The story is basically broken into three parts. The first part is an account of Arseniev's exploration of the Ussuri basin in the Russian Far East. He and his men encounter a Nanai trapper named Dersu Uzala, and commission him to be their guide. At first Dersu is like a magical woodland spirit. Speaking awkward Russian, his world-view is considered quaint to the Soviets, but engenders him with a brand of common sense he needs to survive in the wilderness. Dersu saves Arseniev's life several times.The second part of the story picks up a few years later when Arseniev is making another survey of the Ussuri basin. He runs into Dersu again by chance, and again hires him to be his guide. Dersu is growing older now, and is becoming too senile to survive on his own in the wilderness. Here he relies on Arseniev to save him. Where Dersu came off as the stereotypical "noble savage" in the first part, he now seems more fallible and human.The third and final part is a fish-out-of-water story, as Dersu, believing the wilderness has grown hostile to him, moves to the city to live with Arseniev's family.While something of an oddball in Kurosawa's catalog, the film still has the director's distinctive style. Kurosawa uses his characteristic long takes, in which he leaves the camera stationary and allows the acting to dictate where the viewers' eyes should look."Dersu Uzala" is not just beautiful for its cinematography, but also for its touching human relationships. Arseniev and Dersu come from two different worlds, and they will never be able to fully understand each other. However, they find friendship in each other despite their differences.Unfortunately the U.S.S.R. allowed 20 minutes to be cut out of this 141- minute epic for the Italian release without consulting Kurosawa, which turned off the director from ever making a film outside Japan again.While certainly not Kurosawa's best film, this sweet, but unusual tale is worthy of the director's better-known classics.

Dersu Uzala is not just the quintessence of pristine cinema or a landmark in art cinema, but is also a living proof that brilliance can be achieved with absolute simplicity. Storytelling is undoubtedly one of the most potent tools known to man: from the Illiad and Odyssey of Homer to the tales of Jataka, to the 1001 nights of Arabia, to the tales of Panchatantra, to the plays of Shakespeare, man has always found ways to amuse himself by spinning the yarn of his imagination. These tales, though picturesque, fantastic and resplendent, mostly overlooked the potency of austerity vis-à-vis grandeur as an element of revelation powerful enough to transcend the effects of all other affects know to man. Only a handful of storytellers like Akira Kurosawa and Satyajit Ray have shown the grit and perspicacity to use simplicity as the weapon to incite and hence portray the deepest of the human emotions on the celluloid. Kurosawa demonstrated the might of simplicity as an element that can pack a punch for the first time in Ikiru and followed it up with an unending list of pristine cinematic masterpieces including Seven Samurai. But, even Kurosawa's greatest critic would not find it hard to concede that cinema does not get any purer than Dersu Uzala. Dersu Uzala is a poignant tale of human bonding of trust, friendship and adoration between two contrasting individuals: a nomadic hunter and an army explorer. Captain Arseniev and his troops are on a topographic expedition and while camping during a night, they come across Dersu, who happens to be an aboriginal (Goldi) tribesman. Being fully aware of the handicap of being in a remote and tricky territory and of the indispensability of having an indigene in the ranks, Arseniev asks Dersu to be their guide. Dersu being humbled by Arseniev's courtesy obliges his offer almost immediately. We soon witness a great sense of camaraderie developing between the two of them as Dersu rises in status from being a comrade to a stalwart and a friend in the eyes of the captain. The long years of experience had equipped Dersu with a great sense of intuition and psychic-like abilities to anticipate change and danger. Dersu uses his skills to good effect as he maneuvers captain and his troops through the harsh Siberian terrain, sheltering and guarding them from the cruelties and wilderness of the Tundra. Behind the façade of a rugged hunter, we see a man of profound intellect and deep compassion in Dersu which is most conspicuous in his respect for the old Chinese and his selflessness in rescuing Captain Arseniev and one of his men. After the expedition is over, Arseniev embraces Dersu and bids him farewell as Dersu returns to the wilderness. Few years later, when Arseniev returns to Siberia on another expedition, he once again encounters Dersu, who again proves to be handy, only this time round he appears to be aging really fast as time, which can be a great healer as well as a great leveler, had begun to take a toll on the Goldi. His eyesight deteriorates under the superstitious effect of a self-imposed curse after having killed a Siberian tiger, which the Goldis worship, in an act of self-defence. Arseniev, in his pitied adoration for Dersu, takes him to the city to live with his family. Arseniev's son gets greatly attached to Dersu and his story-telling abilities, but Dersu finds it difficult to adapt to the relatively restricted and significantly tamed urban life and soon realizes that his life has been reduced to that of a captive. He implores the captain to let him return to the wilderness of the woods. With great reluctance, Arseniev grants him the permission to leave, but not before presenting his savior with a brand new rifle as a parting gift and a souvenir. Few months later, Arseniev receives a letter informing him that a dead body of a Goldi has been found with no identification on it barring Arseniev's visiting card. As Arseniev pays a visit to the place of burial, he identifies the dead Goldi to be none other than Dersu Uzala. The investigating officer speculates the Goldi's brand new rifle might have lured someone into killing him.Dersu Uzala is not just a movie, but is an experience of a lifetime. Dersu Uzala is the only movie that Akira Kurosawa shot in a language other than Japanese and he proved it once and for all that cinema at its most pristine, knows no bounds or barriers. Kurosawa uses his auteurist mastery to bring the memoirs of Russian explorer, Vladimir Arsenyev to life as he inexplicably metamorphoses cinema to new levels of poignancy and pristineness. The cinematography is breathtakingly picturesque and it evokes a sense of melancholy that makes the majestic Siberian wilderness appear hypnotic and at times, surreal. The panoramic shot of Dersu and Arseniev looking at the horizon caparisoned with the juxtaposition of the setting sun and the rising moon is also indicative of their respective lives: Dersu is long past his prime and there is no hope for revival, but Arsieniev's is still in his prime and has a promising career ahead. Dersu Uzala is strongly suggestive of the sole consistency in human life: change. It also demonstrates the might of nature as an unforgiving force, strong enough to humble even the most savage of the creatures. Dersu Uzala can also be termed as an allegorical account of the environmental imbalance that unrestrained human intervention is causing. Dersu Uzala, besides being one of Kurosawa's greatest masterpieces is one of those rare cinematic gems which can be relished again and again, each time with a completely different perspective. It's a must watch for everyone who loves and understands cinema. 10/10For more on cinema visit: http://www.apotpourriofvestiges.com/