Maxim Munzuk did not receive an Oscar nomination for portraying the titular character of Dersu Uzala.
Dersu Uzala follows the leader of a Russian army expedition, Arsenev, into the wilderness where he befriends a local hunter.
Dersu Uzala marks a little bit of a strange period for Akira Kurosawa. It is certainly was a period of rejuvenation after his unfortunate suicide attempt after the commercial failure of his previous post-Mifune endeavor. A strange circumstance though as Kurosawa collaborated with the Soviet government to develop this film which would eventually go on to win best foreign language film at the Oscars. A film not in Kurosawa's native Japanese but rather Russian. The film is rarely spoken of perhaps as it pre-dates his return to the epic of the masterworks of his 80's period, though perhaps better known than his quietly contemplative "retirement" films of the 90's. The film though is almost a mix of the two periods in a certain sense. In that the scale is very much of a grand filmmaker with gorgeous outdoor cinematography and remarkable sequences within that. The story, despite that scale, though is particularly intimate and rather relaxed, despite some tragic underpinnings. This is realized through the central characters of the expedition leader Arseney, and the man he meets in the expedition, of course the titular man played by Maxim Munzuk.
The role Dersu Uzala was intended for Toshiro Mifune by the Soviet film company, however it is said they were deterred from that pursuit as Mifune would likely have refused due to the nature of the shoot. I have a feeling though it may have run deeper due to the rift between the two former collaborators. Although it is easy to imagine Mifune in the role, we are given a very atypical lead then in Maxim Munzuk instead. He's a very curious man just in stature and appearance. The type of man you might find just randomly in Siberia, which is what happens in the film. Munzuk's performance very much embraces the idea by in no way trying to project some other style with his work. He instead works very much with the atypical nature of Dersu with his whole manner as a performer. There is a certain scurrying way he walks, his excessively energetic, though wholly earnest, delivery that creates this funny little man. A funny little man that is wholly endearing and honestly Munzuk makes us take to Dersu just as Arseney takes to him. Munzuk just creates such a wonderfully genuine quality within this manner, and just feels the truth of the man in every moment of this behavior. A behavior that evokes a varied, and perhaps harsh life though this is punctuated by an inherit optimism which makes Dersu so likable.
This is an example of a performance that is very much defined by its consistency. Munzuk does not veer off much from his general demeanor however this approach works in terms of creating a sense of who this man is. Munzuk shows that even in the most arduous of times, such as bearing a life-threatening blizzard, carries that endearing attitude. Munzuk holds the consistency as the manner of a man who has come to experience life his certain way. This is taking hardship in stride, and portraying only the utmost sincerity of appreciation towards friendship as an alleviation of that. We see this in his consistent relationship with Arseney as Munzuk only portrays this overarching gratitude and respect to the man. Munzuk delivers a warmth in every interaction making the friendship this purity that in part stems from the nature of the man. Munzuk brings enough of a vividness within this consistency that he makes Dersu not only likable but compelling in this state. He creates this sense of understanding of his surroundings as a man who has come to terms with his life very much through experience. This leads him to greatly help the expedition, but just thrive in the wilderness in general. The only element within the film that changes Dersu, which when this life experience is challenged in some way.
The first instance comes from this when Arseney scares away a Siberian tiger by shooting at it, unknowingly killing it as Dersu explains the tiger runs to its death once it is scared off. It is a fantastic moment in Munzuk's performance as he portrays his reaction as less of a direct anger towards Arseney but rather this palatable anguish withdrawn towards himself. An anguish he depicts as deeply emphatic as Munzuk says the words there is this almost fear in his eyes representing the man essentially seeing himself within the tiger and its strict attachment to nature, something he shares. This becomes all the more evident when the expedition ends and Arseney invites Dersu to stay with his family in the city. Where Munzuk portrayed that consistency of a man in his element, though certainly in his own unique way, in the wilderness, in the confines of a house he presents this inherent discomfort. I love though the warmth in interactions with Arseney and his family. He shows in his weary eyes a clear affection for the people around him, but as a man made ill by the city that forces him to live against his very nature. Munzuk effectively keeps this from seeming a negative by having so well established the particular nature of the man that is of, well...nature. The story in the end is tragic though the tragedy is founded by the accidental destruction of nature by a man with good intentions, as seen in the tiger and eventually Dersu. Again though this is no direct fault, and in turn Dersu's final scenes are bittersweet. They reflect a man just again being true to his self, that self that it is so wonderfully realized by this performance by Maxim Munzuk. Although I wouldn't place within the upper echelon of Kurosawa directed performances, it still stands as a memorable part of this charming curiosity.
