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If your impression of Japanese cinema consists entirely of samurai films, Pacific Film Archive's "Cinema Japan" series, running through Dec. 17, should set you straight. But these 24 films, which embody the breadth and depth of Japanese film in the post-World War II era—great as they are—may only whet the appetite. For viewers interested in delving further, three recent DVD releases from Criterion offer a great place to start.  

High and Low (1964) 

Kurosawa is represented well in the PFA series, but one film missing is High and Low, the director's bold adaptation of a novel by Ed McBain.  

Kurosawa, more than any other filmmaker, is strong associated with the samurai genre. And with a body of work that includes Yojimbo, Sanjurio, Throne of Blood, Rashoman, Seven Samurai and Ran, it is certainly understandable. But Kurosawa was not limited to period pictures.  

High and Low could be called a genre masterpiece, and yet it is hardly limited to any particular genre. Tense psychological drama gives way to police procedural which in turn gives way to noirish, expressionist melodrama.  

The film begins with a long sequence that never ventures outside the protagonist's home. Toshiro Mifune is introduced as business tycoon Kingo Gondo, and quickly enough the plot develops — a child has disappeared, though as it will turn out, it is not the right child. An unknown kidnapper seeks ransom from Gondo but has accidentally abducted the child of Gondo's chauffeur. No matter — the extortion plan will continue as planned. 

What follows is an extended sequence of beautiful widescreen compositions within a room full of people — Gondo, his wife and chauffeur, and a bevy of policeman on the case. Kurosawa choreographs a tour de force of shifting compositions as actors move across the space, their relationships and dilemmas exemplified as they turn toward and away from each other, move forward and recede and traverse the wide frame, crossing, blocking and boxing each other in. 

A moral dilemma is being systematically examined here, and Kurosawa sticks with it, milking every bit of tension, every scheming angle to full effect. It is a dilemma of some complexity: Is one child more valuable than another? Is a child's life worth a man's dreams and goals and wealth? Can Gondo be expected to throw away the dreams of a lifetime with no certainty of recompense, or of even of getting the child back? Kurosawa fills the frame with people, using his camera to make their relationships manifest. And the panoramic view of the city from Gondo's house on a hill reminds us of his vulnerability. The man who once seemed to stand above the city like a lord is now held captive by an unseen enemy below; the house on the hill is no longer a watchtower, but a cage that can be assaulted from any angle. 

To this point the film has essentially been a chamber piece, but once Gondo makes the decision to pay the ransom the film leaps into action with a breathtaking sequence aboard a train. Kurosawa insisted on a real train, with real cramped passenger cars and real scenery rushing past. He used eight cameras to capture the action almost entirely in real time. The result is a stunning sequence of taught action, compelling drama and unyielding suspense. And once the sequence comes to its emotional conclusion, at the film's one-hour mark, it is the end of a chapter and the beginning of what amounts to an entirely new film. 

In the next hour High and Low becomes a gripping police procedural, following investigators as they follow leads and report their findings. Their excursions into the field are interspersed like flashbacks much like in Fritz Lang's M. Gondo slips out of the spotlight as the plot shifts to the battle between the police inspector and the kidnapper, one dedicated to ensuring Gondo's sacrifice doesn't go unavenged, and the other bent on the great tycoon's destruction.  

Kurosawa maintains the tension throughout, as clues unravel into facts and facts lead to the criminal. Credulity may be strained slightly with the police delay the kidnapper's capture in order to hit him with more serious charges, resulting in a death, but the film never lets up. And once he is apprehended, the film once again adopts another tone, delving further into social commentary as the kidnapper and Gondo confront one another before the window slams shut and the film comes to an end.  

High and Low (1964). 143 minutes. $39.95. www.criterion.com. 

An Autumn Afternoon (1962) 

By contrast with the dynamic action of Kurosawa, Yasujiro Ozu sought to minimize the kinetic drama of his films. Ozu does not reach out and grab ahold of the viewer with startling compositions and frenetic movement; he holds his camera still and makes the viewer come to him.  

Ozu's style is like haiku. His imagery, his characters and dialogue are stripped to their essence; performances are purged of nuance, of subtley, of naturalism, reduced to precise movements. Endless takes where the director chiseled away at his actors' mannerisms might have resulted in stilted performances, but instead Ozu and his company produce pure, streamlined poetry. Like the decor and architecture surrounding them, the actors are spare and minimalist by design, and Ozu uses similarly spare and minimalist camerawork to film them, keeping his camera as still, as zen-like and as patient as he asks his actors and his audience to be. 

The reticence of his characters and the austerity of his style may leave the impatient viewer wondering after a time why they are watching. The first 20 minutes or so of an Ozu film may seem both slow and confusing as characters are introduced almost in mid-conversation. Ozu doesn't insert clumsy expository introductions into his thir' mouths to help orient the viewer. Instead he thrusts us directly into the scene and allows relationships and connections to gradually become clear. On the surface it may appear that we are simply listeningin on a series of polite conversations, broken up here and there by a few of Ozu's characterisitic transition shots — still life images of rooms, hallways, furniture, streets and buildings. But situation piles upon situation and character upon character until a full and rich world has been created, almost imperceptibly, and suddenly it dawns on us that not only do we know these characters, we care about them and have somehow become invested in them.  

This is not the identification that comes from cheap pandering or directorial manipulation, from simpering, soft-focus close-ups or crescendos of tear-jerking orchestral notes; it is instead the measure of Ozu's artisanship, of his unique talent for rendering a film with the depth of a novel — his ability, as both a writer and director, to fully and eloquently express the thoughts, dreams, emotions and desires of his characters to the point that we cannot help but take an active interest in their welfare.  

An Autumn Afternoon, Ozu's final film, reflects his late-career interest in the shift to post-war modernity. Japan's increasingly Americanized culture is a central issue in the director's later work, with new attitudes, priorities and interests widening the gap between old and young, between parents and their adult children. The nation's newfound prosperity simultaneously enriches, distracts and destroys the lives of the middle class; wealth purchases convenient appliances and luxury goods but opens the door to the creeping malaise of materialism and threatens to undermine the old social order.  

An Autumn Afternoon dwells on a theme he had worked before, that of a parent facing the unwelcome decision to marry off a daughter and thus embrace a new life without her presence. Ozu's films often deal with such generational issues, of the young leaving behind the aged. It is one of several themes that he returned to in film after film throughout his career, using different characters and situations to more fully examine the complexity of the issues at hand. It is a common joke that Ozu's films are essentially interchangeable, in style, in theme, and in the similarity of their titles: Early Spring, Late Spring, Late Autumn, Autumn Afternoon, etc. And while there is some truth in that observation, once you immerse yourself in Ozu's world you see that though nearly all of his films share a certain aesthetic, they are remarkably distinct from one another, each as rich, as engaging, as distinct as the faces of the actors he photographed.  

Criterion has released many of Ozu's films on DVD over the years, both in stand-alone editions and in the more recent line of Eclipse box sets. The "Silent Ozu" collection presented three of his early silent family comedies, and "Late Ozu" presented five of his late-career films. But Criterion did not include An Autumn Afternoon in that collection, opting instead to release it as a separate title. It was a good decision. While all of Ozu's later films are excellent, An Autumn Afternoon is essentially the culmination of a directorial style that evolved over several decades. The spaces Ozu leaves between scenes and between characters are deftly handled, wistful and open-ended; his compositions are as balanced and precise and idiosyncratic as ever; his use of color bold yet understated, with blacks and whites offset by strategic dashes of red; and his everyday, universal themes as sincere, as universal, and as heartrending as the medium will allow.  

An Autumn Afternoon. 1962. 113 minutes. $29.95. www.criterion.com. 

Mizoguchi's Fallen Women 

Director Kenji Mizoguchi secured his international reputation in the early 1950s with such films as Sansho the Bailiff, The Life of Oharu, and Ugetsu. His output was prolific and varied, but the plight of women was a recurring interest throughout his career, with many of his films centered on strong, resilient women characters.  

Criterion has released "Kenji Mizoguchi's Fallen Women," a box set in the company's Eclipse series that features four films that focus on the plights of women among the lower strata of Japanese society. 

The set includes two of Mizoguchi's early sound films (Osaka Elegy and Sisters of the Gion, both from 1936), a mid-career gem (Women of the Night, 1948) and the great director's final film (Street of Shame, 1956). All use the topic of prostitution to examine the hardships faced by women in a patriarchal society that renders them helpless without the aid of men. 

Sisters of the Gion follows two sisters and their vastly different approaches to life and their profession. Omocha (Isuzu Yamada) is ruthless, manipulative and grimly pragmatic, determined to use whomever she can to claw her away above her meager station. Her bold, gritty crassness calls to mind Barbara Stanwyck's Lily Powers from the 1934's Baby Face. Omocha's sister Umekici (Yoko Umemura) is far more fatalistic, resigned to her station in life. Neither approach works out too well in the end as the women are still unable to get ahead and are finally reduced to despair.  

Mizoguchi's final film, Street of Shame, was originally to be shot with a documentary approach, taking his camera and crew to the Yoshiwara, Edo's red-light district. However, ongoing political battles seeking to ban prostitution made brothel owners wary of participating in a project that would bring them unwanted attention at a sensitive time, forcing Mizoguchi to return to the studio. 

Street of Shame tracks the lives of five prostitutes at a brothel called Dreamland. Again, one is manipulative and ruthless; Yasumi lends money to her colleagues at ever-increasing interest rates, and entices a young, lovestruck businessman to embezzle from his employer with the false hope that she will one day marry him. Mickey, a brash young beauty who dresses like a 1950s American high school girl, has sought the geisha life as an almost welcome reprieve from life under the oppressive reign of a neglectful and possibly abusive father. Yorie clings to the idea of marriage as her salvation, but when she finally takes the plunge she finds she has only escaped into a life of loveless drudgery. Hanae has a young child and an unemployed husband and is thus the only breadwinner in the family. When her husband attempts suicide, she tackles him and hits him, demonstrating with her wordless fury that his supreme act of self-pity would have rendered moot the enormity of her sacrifice. Yumeko left the country to work as a prostitute in order to support her son, hoping that he would be able to support her when he grew to manhood. Now a young man, the son comes to the city to inform his mother that he will be taking a job at a factory, but when he learns how she has been supporting him over the years, he turns on her. 

Street of Shame was a commercial success and a few months after its release, prostitution was outlawed in Japan, with many attributing at least some of the credit to Mizoguchi and his final film. 

Kenji Mizoguchi's Fallen Women. $59.95. www.criterion.com. 

Osaka Elegy. 1936. 71 minutes.  

Sisters of the Gion. 1936. 69 minutes. 

Women of the Night. 1948. 74 minutes. 

Street of Shame. 1956. 85 minutes.