Plot Details: This opinion reveals major details about the movie's plot.

This is to be the sixth entry in an ongoing series of reviews called The Samurai Papers. In these reviews we are exploring the samurai genre. The previous reviews in the series are: Yojimbo, Seven Samurai, Samurai I: Musashi Miyamoto, Hagakure, and Ghost Dog: Way of the Samurai.

After a bit of a digression in the last two reviews, we are returning to classic Japanese cinema. This review focuses on Akira Kurosawa’s Sanjuro. In this review we will discuss some things that have been touched upon in earlier reviews in the series. For those who haven’t guessed yet: there is a point to these reviews. We are reaching toward the discovery of something very important to the history of film. I wont belabor the point: but later in this review, when I begin to talk about how some films are indebted to others, listen.

Sanjuro was directed by Akira Kurosawa (
Seven Samurai, Ran). Sanjurofollows his earlier film Yojimbo. Sanjuro is not so much a sequel to Yojimbo as it is a little brother. The great Toshiro Mifune (Inchon, High and Low) again stars as Sanjuro (which means “thirty years old), a Ronin, or master less Samurai. In Yojimbo, our hero played two corrupt gangs against each other in a little town (that film was remade as Sergio Leone’s Fistful of Dollars). In this film Sanjuro is still wandering, and still finding adventure at every turn.

In the film’s opening nine young men are complaining about the corruption in their clan. They perceive the Chamberlain as evil, because he is ugly and not easy to understand. The Superintendent, however, is seen as good because he is attractive and affable.

Sanjuro joins their cause and shows them how poorly they understand human nature. He makes them see that they have misjudged both these men. At the same time he upsets their idea of a proper Samurai. He is crude, and dirty. He constantly scratches and dozes. He has forgotten the rules that a samurai must live by. These rules are set out in The Hagakure . No real samurai would behave the way he does. Sanjuro needs a bath, and some instruction in etiquette. Yet he is a master warrior, and the only one who can save them. And, of course, he does exactly what we would expect.

Toshiro Mifune and Akira Kurosawa created the character of Sanjuro. It is interesting to note that in the west Clint Eastwood would spend most of his career playing that same character. Eastwood’s career received a real jump start with Sergio Leone’s “spaghetti” westerns, which were either clever homage to Kurosawa’s film’s, or callous rip offs (depending on your point of view). Eastwood basically played Sanjuro with a six shooter in these films. He then went on to continue exploring this character for decades. It is sad to note that many Eastwood fans have no idea who Toshiro Mifune was.

Mifune is beautiful to watch in battle. He turns and spins in interlinked arcs that seem almost superhuman. He becomes a sort of comic book hero, more than man he is almost God-like in his ability. He has an intensity that comes through in the battle scenes. That intensity is even more clear when he is quiet. Mifune’s eyes gleam with strength and power.

In this film Mifune is better than he has ever been before. He must have worked very hard to prepare for this role. When he was a young man (growing up in China, where he was born to Japanese parents) military training was compulsory for all boys. Mifune excelled at the martial arts, and especially Kendo. These years of preparation really show through in the fight scenes. Mifune looks as comfortable with a sword as most me are with a spoon. Fighting seems second nature to him. Interestingly, as well as being dirty, strong and fierce; Sanjuro is also quietly pensive. He is an introspective character. He speaks little, spends time inside of his own mind, and lets his sword do the talking.

Sanjuro is a very funny, satiric film. The action and some of the characterizations are so outrageous that it seems, at times cartoonish. Even so, there is a gritty quality present that grounds the entire film. It is at once suspenseful, and comic. It is of note that the Japanese were the first to inject real humor into their action films. It is hard to imagine today, but at one time action films were taken completely seriously. Imagine Stallone or Schwarzenegger without their clever quips, and funny one liners. This is where we would be without Kurosawa and others who convinced the world that humor and action play well together.

We cannot say too much about the effect of Samurai movies on modern cinema. As noted above, Yojimbo, Seven Samurai, Sanjuro and others have had a massive effect just in the number of times they have been remade. Without them we would have no Magnificent Seven, no Fistful of Dollars, no The Good, the Bad and the Ugly.

Later we will discuss some fascinating direct links between Star Wars and Hidden Fortress. But for now, lets get back to Sanjuro .

Before becoming a director, Kurosawa was a painter. This fact is easy to see when one looks at the composition of his shots. Each inch of the frame is perfectly arranged. Each character is placed so as to convey some important information. No space is wasted.

Kurosawa uses the camera in ways that most directors cannot dream of.

Mifune is, as always brilliant. His performance here rivals the one he gave in Seven Samurai. It is as if Mifune was born to play this role. He is, in every way, Sanjuro.

The film continues the sort of musical themes that began in Yojimbo. The use of Leit Motifs is carried over, and it works beautifully. The music is a large part of the joy of watching this film. It is also of note that the musical style of these films was copied by the movies they influenced. You’re starting to notice the theme of these reviews now.

This movie works beautifully from the first frame to the last. It is yet another example of the genius of Akira Kurosawa. I cannot recommend this film highly enough. This film is less known, and less loved than many of Kurosawa’s other works: that fact is a shame. This movie is in need of rediscovery.

A word about the DVD. The Criterion Collection DVD is the best version available. It has little in way of extra features. Yet, it offers the cleanest transfer around. The image and the sound are both immaculate. This is the version of the film to buy.

Okay, to recap: modern movies are highly indebted to samurai films. We are beginning to see that fact quite clearly. As these reviews continue it will become crystalline. We will have no room for doubt. We are going to next endeavor to solidify the point by exploring two films together. This exploration will encompass two reviews, which should be posted at the same time.

The next two films in this series will be: The Hidden Fortress, and Star Wars. In these reviews we will look closely at the connections between these two films. We will also discuss the debt owed to Kurosawa. Some of the things said in these reviews may by offensive to fans of George Lucas. Just a warning.

The previous reviews in this series were:

Yojimbo
Seven Samurai
Samurai I: Musashi Miyamoto
Hagakure
Ghost Dog: Way of the Samurai.









Recommended: Yes

Viewing Format: DVD
Video Occasion: Fit for Friday Evening