Akira Kurosawa’s favourite Martin Scorsese movie
When one speaks of Akira Kurosawa, the imagery that often springs to mind consists of epic samurai battles, haunting landscapes, and poignant human dramas. A cornerstone of Japanese cinema, Kurosawa’s visionary storytelling laid the groundwork for several filmmaking techniques still revered today. It’s no wonder he’s celebrated in his home country and across oceans, touching the minds and hearts of numerous Western directors.
One such admirer from the West was Martin Scorsese, an icon in his own right. Scorsese, the mastermind behind a slew of cinematic masterpieces, often spoke of Kurosawa with an admiration bordering on reverence. He once remarked: “His influence on filmmakers throughout the entire world is so profound as to be almost incomparable”. And the sentiment wasn’t one-sided. Kurosawa was certainly no stranger to Scorsese’s oeuvre either – a bridge of mutual respect connected these two titans of the cinematic world.
After his passing, a posthumous book dedicated to the Japanese legend was released: Yume wa tensai de aru (A Dream is a Genius). Included along with analysis of and notes on his works was a list of Kurosawa’s 100 favourite films. And, when one delves into his favourites, which naturally encompass everything from monochrome 1920s German Expressionist movies to pastel-coloured French New Wave entries, a particular choice stands out.
One Scorsese film made it into the list. From the Palme d’Or winning Taxi Driver to the Oscar-winning Raging Bull, Scorsese doesn’t exactly come up short when it comes to critically acclaimed, highly revered movies. But the Scorsese film that Kurosawa loved was one of the American director’s most overlooked works: 1982’s The King of Comedy.
The film, diverging from Scorsese’s better-known works, is a dark satire exploring the obsessions of celebrity culture. Robert De Niro’s portrayal of Rupert Pupkin, an aspiring comedian desperate for fame, anchors the narrative. When released, it didn’t quite garner the overwhelming acclaim some of Scorsese’s other movies did, but its biting commentary has made it a cult classic over time. Many now consider it one of Scorsese’s finest directorial offerings, and clearly, Kurosawa agrees.
One can only speculate why The King of Comedy resonated so profoundly with Kurosawa. You could argue that other Scorsese works, particularly his later films like Goodfellas and Casino, both of which Kurosawa would have been alive to see, were much closer to the Japanese director’s work in terms of epic scale and vast scope.
Nevertheless, The King of Comedy has a distinct, sharp, singular identity that stands out among Scorsese’s other movies as one that can make the audience feel the most uncomfortable. The 1982 gem has been massively reevaluated since its release, and it’s quickly become many cinephile’s most cited example as their own Scorsese favourite. So, perhaps, Kurosawa was just ahead of the curve.
