Akira Kurosawa's High And Low is another of his films that really stretches form, but it all aids in the denouement.
As I wrote:
Filmmaker Carl Theodor Dreyer once opined about mood defining a story. He stated: ‘Imagine we are sitting in an ordinary room. Suddenly we are told that there is a corpse behind the door. In an instant, the room we are sitting in is completely altered: everything in it has taken on another level; the light, the atmosphere have changed, though they are physically the same. This is because we have changed.…This is the effect I want to get.’ Alfred Hitchcock used this ploy in one of his best films, Rope, whose entirety is sort of an inverse of this film’s first 55 minutes, while Kurosawa follows a parallel track in regards to character. What changes in the scene on the train is not a willful manipulation of a character, by a screenwriter, but an organic and believable flowering into character, due to circumstances that are not contrived. Instead of knowing of a corpse behind the door, the audience’s first hour has let us become that corpse- or thing, with knowledge of itself. In essence, we know what Gondo will do because his character has been so skillfully revealed, despite many seeming moments that paint him as something other than his true self. That the remainder of the film shows a more complacent Gondo (check out the scene where he whistles as he mows his own lawn) is, thus, not in the least implausible, for it is the logical outcome of all that has gone before.
This is one of the cardinal rules of quality fiction (in any genre) that is always violated by the Dumbest Possible Action and the us of dei ex machina. Kurosawa, in this film, shows that by following logic and rules, one can still totally leave a percipient engaged and questioning his experience.
That's why he's a great artist.
