Akira Kurosawa’s early police drama Stray Dog (1949), a kind of urban noir starring Toshiro Mifune as a young police detective who loses his gun in the volatile years of post-war Tokyo and Takashi Shimura as the veteran detective who tries to mentor the rookie as he tracks the stolen handgun, plays in Turner Classic Movies’ month-long tribute to Kurosawa.
The young Mifune projects a marvelous dichotomy as Murakami, his restless energy checked by a veneer of surface calm: the composed social face masking fierce turmoil underneath. Shimura is a complete contrast as his older, wiser mentor: warm and patient, he calms down the anxious, emotionally impulsive rookie cop and channels his efforts to methodically follow the leads.
Kurosawa sets it in the sweltering heat wave of a Tokyo summer and the atmosphere pervades the entire film. The faces on screen are constantly beaded with sweat, the cops mopping their brows and the streets crowded with listless pedestrians brought to a shuffling crawl by the oppressive temperatures. Kurosawa matches the atmosphere to the rising tension and the heat wave breaks in dramatic fashion with the climactic action. The atmosphere only exacerbates Murakami’s anxiety and impulsiveness. He’s driven by a mixture of shame and duty, afraid he’ll be fired and feeling responsible for every crime committed with the gun. (“Was it my gun?” is his first response to every shooting report.) But the gun is also part of his identity as a detective and Murakami, conversely, starts to identify with the criminal he’s tracking, who like himself, is a former soldier, driven to desperate measures. Both are, in effect, stray dogs, and as Sato warns Murakami, a stray dog can become a mad dog out of desperation. “There is even a saying about them,” Sato muses. “Mad dogs can only see what they are after.” Murakami’s single-minded pursuit of his gun is in danger of overwhelming his judgment.
Read the complete feature on the TCM website here. The film plays on March 23 and is also available on Criterion DVD.