film of its year, the first of three Kurosawa movies to be so honored. Kurosawa, with producer Sōjirō Motoki and fellow directors and friends Kajiro Yamamoto, Mikio Naruse and Senkichi Taniguchi, formed a new independent production unit called Film Art Association (Eiga Geijutsu Kyōkai). For this organization's debut work, and first film for Daiei studios, Kurosawa turned to a contemporary play by Kazuo Kikuta and, together with Taniguchi, adapted it for the screen. The Quiet Duel starred Toshiro Mifune as an idealistic young doctor struggling with syphilis, a deliberate attempt by Kurosawa to break the actor away from being typecast as gangsters. Released in March 1949, it was a box office success, but is generally considered one of the director's lesser achievements. His second film of 1949, also produced by Film Art Association and released by Shintoho, was Stray Dog. It is a detective movie (perhaps the first important Japanese film in that genre) that explores the mood of Japan during its painful postwar recovery through the story of a young detective, played by Mifune, and his fixation on the recovery of his handgun, which was stolen by a penniless war veteran who proceeds to use it to rob and murder. Adapted from an unpublished novel by Kurosawa in the style of a favorite writer of his, Georges Simenon, it was the director's first collaboration with screenwriter Ryuzo Kikushima, who would later help to script eight other Kurosawa films. A famous, virtually wordless sequence, lasting over eight minutes, shows the detective, disguised as an impoverished veteran, wandering the streets in search of the gun thief; it employed actual documentary footage of war-ravaged Tokyo neighborhoods shot by Kurosawa's friend, Ishirō Honda, the future director of Godzilla. The film is considered a precursor to the contemporary police procedural and buddy cop film genres.Scandal, released by Shochiku in April 1950, was inspired by the director's personal experiences with, and anger towards, Japanese yellow journalism. The work is an ambitious mixture of courtroom drama and social problem film about free speech and personal responsibility, but even Kurosawa regarded the finished product as dramatically unfocused and unsatisfactory, and almost all critics agree. However, it would be Kurosawa's second film of 1950, Rashomon, that would ultimately win him, and Japanese cinema, a whole new international audience. International recognition (1950–1958) After finishing Scandal, Kurosawa was approached by Daiei studios to make another film for them. Kurosawa picked