10 Movies and Shows Similar to High and Low (1963)

Description: Similar to High and Low (1963), Rashomon is a masterpiece by Akira Kurosawa that explores complex human nature and moral ambiguity. Both films employ a multi-perspective narrative structure, though Rashomon does so more explicitly by presenting conflicting accounts of the same event. The films share Kurosawa's signature visual style, with meticulous composition and dynamic use of weather (rain in High and Low, the forest setting in Rashomon). Both grapple with themes of truth, justice, and the subjective nature of reality.

Fact: Rashomon was the first Japanese film to win major international awards, bringing global attention to Japanese cinema. The term 'Rashomon effect' has entered psychological and legal terminology to describe contradictory interpretations of the same event. Kurosawa initially had trouble finding actors willing to work in the difficult forest conditions where much of the film was shot.

Description: Ikiru shares with High and Low a profound humanist examination of Japanese society. Both films feature protagonists facing moral crises (a dying bureaucrat in Ikiru, a kidnapping in High and Low) that force them to examine their values. Kurosawa's direction in both is deeply empathetic, finding nobility in ordinary people. The films share a similar structural approach, with Ikiru's famous flashforward anticipating High and Low's two-part structure.

Fact: The famous swing scene was filmed in a real public park with hidden cameras to capture natural reactions. Lead actor Takashi Shimura lost significant weight during filming to portray his character's illness. The film was inspired by Tolstoy's The Death of Ivan Ilyich.

Description: Like High and Low, Seven Samurai is a quintessential Kurosawa film that blends social commentary with gripping drama. Both films feature meticulous character development and explore class divisions in Japanese society. The careful framing and movement of characters within the frame in Seven Samurai anticipates the precise visual storytelling of High and Low. The films share Kurosawa's humanist perspective, showing both the nobility and flaws of their characters.

Fact: The film's production was so long and difficult it became known as 'the movie that wouldn't end.' At 207 minutes, it was one of the longest Japanese films made at that time. The rain-soaked final battle took weeks to film and required specially designed rain machines.

Description: Throne of Blood shares with High and Low Kurosawa's masterful use of atmosphere and tension. Both films are adaptations (Macbeth vs. King's Ransom), showing Kurosawa's skill at reinterpreting source material. The stark black-and-white cinematography and dramatic use of weather (fog in Throne, rain in High and Low) create similarly oppressive atmospheres. Both explore themes of ambition, guilt, and moral consequences.

Fact: The film's haunting final scene with the arrows required real arrows shot by expert archers just inches from Mifune. Kurosawa used actual Noh theater techniques for the performances. The spider web castle set was built on the slopes of Mount Fuji.

Description: The Hidden Fortress shares with High and Low Kurosawa's innovative narrative techniques, particularly in its use of low-status characters (the peasants here, the chauffeur's son in High and Low) to drive the plot. Both films feature elaborate sequences of movement and logistics (the gold transport here, the ransom delivery in High and Low). The widescreen black-and-white cinematography in both showcases Kurosawa's mastery of visual storytelling.

Fact: George Lucas cited this as a primary influence for Star Wars. It was Kurosawa's first widescreen film. The film was a major commercial success, helping fund Kurosawa's more experimental later works.

Description: Yojimbo shares with High and Low Kurosawa's masterful control of tension and pacing. Both films feature morally ambiguous protagonists navigating complex social situations. The black-and-white cinematography in both showcases Kurosawa's striking visual style, with particular attention to composition and contrast. While Yojimbo is more overtly a samurai film, both works examine themes of honor, justice, and the individual's role in society.

Fact: Yojimbo was directly remade as A Fistful of Dollars, launching the spaghetti western genre. Toshiro Mifune's scruffy, shoulder-scratching performance became iconic in Japanese cinema. The film's violent content caused controversy upon release, with some critics calling it too Western-influenced.

Description: Harakiri shares with High and Low a meticulous, slowly unfolding narrative that builds to a powerful climax. Both films are intense examinations of honor, justice, and social hypocrisy in Japanese society. The black-and-white cinematography in both is stark and beautiful, with careful attention to composition. While Harakiri is more overtly a samurai film, both works deconstruct traditional Japanese values with similar precision and moral complexity.

Fact: Director Masaki Kobayashi was known for his anti-authoritarian themes. The film's long takes and minimal score create a uniquely tense atmosphere. It was the first Japanese film to win the Special Jury Prize at Cannes.

Description: As a sequel to Yojimbo, Sanjuro continues many of the same thematic concerns that would appear in High and Low. Both films feature protagonists who must navigate complex moral dilemmas while maintaining their personal code. Kurosawa's direction in both is economical yet visually striking, with particular attention to spatial relationships between characters. The films share a cynical yet ultimately humanistic view of society.

Fact: Sanjuro was made quickly after Yojimbo's success, using many of the same cast and crew. The final blood spray effect was achieved using a high-pressure hose, shocking audiences at the time. Kurosawa considered this a more 'lighthearted' film compared to his other works.

Description: Red Beard continues many of the social concerns seen in High and Low, particularly the examination of class divisions and human dignity. Both films feature extended sequences in confined spaces (the clinic here, the house in High and Low) that become microcosms of society. Kurosawa's humanist perspective and attention to character detail are equally present in both works. The black-and-white cinematography maintains the director's striking visual style.

Fact: This marked the final collaboration between Kurosawa and Toshiro Mifune. The elaborate clinic set was built full-scale and remained standing for years. At 185 minutes, it was one of Kurosawa's longest films.

Description: Dodes'ka-den shares with High and Low Kurosawa's compassionate examination of marginalized lives. Both films use their settings (a slum here, a wealthy home in High and Low) to explore broader social issues. While Dodes'ka-den is more experimental with its use of color and vignette structure, both films demonstrate Kurosawa's ability to find humanity in desperate situations. The films share a deep empathy for their characters.

Fact: This was Kurosawa's first color film. The film's commercial failure led to a suicide attempt by Kurosawa. The title refers to the sound of a train, representing the characters' dreams of escape.