Every Akira Kurosawa film is at least interesting, and even in a work like The Quiet Duel, which is designed possible as something of a 'minor' work in the director's cannon, there's things about it that are striking and exceptional. The opening scene of the doctor, played by Toshiro Mifune, operating on the patient who will change his life forever, has a double-sided tension to it about not just the fate of the operation but of something else (this helps if you don't know what is going to happen). The way the scene is cut, the effect of the rain outside, the pan at the floor, the rain falling on the pan and making the one louder sound, it all amounts of a near-classic Kurosawa scene. This and the climax are, arguably, the best scenes of what is otherwise a good if shaky melodrama.
The problem might just be that I'm not tuned into this tearjerker side of Kurosawa, at least one that isn't as well-cooked, so to speak, as some of his best efforts. The premise is really good, as a doctor contracts syphilis by a mistake while operating on a patient during the war, and has to treat himself with medicine and cannot find a way to tell his to-be wife about his ailment (or, in fact, why he cannot marry). And saying that this isn't entirely 'well-cooked' is to say that the premise, while fascinating, doesn't entirely develop into a fully fascinating story. There are patches that seem to kind of coast, like something one might see on day-time television (not quite soap opera but close), and it's only in the last third that things really start to pick up dramatically.
Thankfully, Mifune is on his A-game as usual with his best collaborator at the helm, particularly in a scene where he (uncharacteristically for Kurosawa) breaks down in tears after seeing his once-possible-wife off to marry someone else, and there's a strange, cool mixture of musical instruments on the soundtrack- not quite what one would expect for a melodrama (i.e. xylophone, harmonica, harps, accordions). By the climax, as I said, it gets very good with the original patient Takata coming back in a drunken, syphilis-infected frenzy to the hospital. It just isn't enough, overall, to recommend it as highly as Kurosawa's best; Red Beard and Drunken Angel, also starring Mifune, are much better as medical/hospital dramas. 7.5/10
The problem might just be that I'm not tuned into this tearjerker side of Kurosawa, at least one that isn't as well-cooked, so to speak, as some of his best efforts. The premise is really good, as a doctor contracts syphilis by a mistake while operating on a patient during the war, and has to treat himself with medicine and cannot find a way to tell his to-be wife about his ailment (or, in fact, why he cannot marry). And saying that this isn't entirely 'well-cooked' is to say that the premise, while fascinating, doesn't entirely develop into a fully fascinating story. There are patches that seem to kind of coast, like something one might see on day-time television (not quite soap opera but close), and it's only in the last third that things really start to pick up dramatically.
Thankfully, Mifune is on his A-game as usual with his best collaborator at the helm, particularly in a scene where he (uncharacteristically for Kurosawa) breaks down in tears after seeing his once-possible-wife off to marry someone else, and there's a strange, cool mixture of musical instruments on the soundtrack- not quite what one would expect for a melodrama (i.e. xylophone, harmonica, harps, accordions). By the climax, as I said, it gets very good with the original patient Takata coming back in a drunken, syphilis-infected frenzy to the hospital. It just isn't enough, overall, to recommend it as highly as Kurosawa's best; Red Beard and Drunken Angel, also starring Mifune, are much better as medical/hospital dramas. 7.5/10