Blocking and Framing for Character: HIGH AND LOW
how an angel and a devil fight over a businessman in a living room
Gondo (magnificent Toshiro Mifune in one of his best roles) is a businessman with a dilemma.
Throughout High and Low, director Akira Kurosawa shows Gondo dealing with a angel and devil, played respectively by his wife Reiko (Kyōko Kagawa) and business associate Kawanishi (Tatsuya Mihashi).
Though a devil and an angel come from high and low places, most of the film’s blocking concentrates on the idea of each of them standing over Gondo’s shoulders, trying to convince him to commit to their respective plea to do right, or wrong.
Establishing Devil and Angel
Kawanishi is introduced as Gondo’s 'right-hand man' as he crosses behind a seated Gondo; the first of many times he’ll change sides.
We first see Gondo’s wife Reiko coming down from on high — literally descending stairs so high she’s framed out at first.
When she ‘reaches earth’ she comes face to face with Kawanishi, who almost can’t bear to look at her.
Blocking and Framing
The way Reiko and Kawanishi are framed on either side of Gondo continue to underline their angel and devil roles as they appeal, wheedle, browbeat, plead, and otherwise attempt to play on Gondo's better and worse natures.
They aren’t arranged this way every moment all three are in frame together; there’s a lot of moving around in this living room drama. At one point Reiko enters the room, and Kawanishi leaves; though she isn’t directly chasing him, their actions make it seem as though the devil is being run off by an angel.
But almost all the time the characters come to rest, they are set up as a devil/man/angel, even if other people are on the edges of frame.
Individual Interactions and Gestures
When either character is framed alone with Gondo, often they are over his shoulder, except a few times they are set across a large gulf.
Their actions are also connected to their imagery, including Kawanishi smoking, fidgeting, and ominously pointing, while Reiko never makes demands, but asks for Gondo to make the right choice and listen to his better nature, taking supplicating positions and making pleading gestures.
Look at this one, with Reiko in a pleading pose, while Kawanishi smokes!
Wardrobe and Props
Their outfits and props seal the deal: Reiko's light-coloured kimonos with her obi forming 'wings' and Kawanishi wearing shades-of-gray suits and horned-rimmed glasses.’
Kawanishi is constantly holding and serving drinks — it’s how he’s introduced, and he’s using whiskey to ingratiate himself to Gondo as much as try and loosen his inhibitions — while Reiko never is.
Conclusion
At the end, who does Kurosawa want to demonstrate has won the battle?
This is the final shot of Gondo with either angel or devil: centring Reiko in white, the only person standing.
Still, the mood is solemn, not only Reiko’s head bowed, but nobody making eye contact. Kawashani ‘the devil’ may be gone from frame, but his effects are still felt.
