Yojimbo

YOJIMBO is an action drama about a rōnin who finds himself at the center of a conflict between the two crime lords.

A hungry and tired rōnin wanders through a desolate Japanese countryside. Soon, he arrives in a small town. A local caterer advises him to leave because, two local clans fight every day on the streets. However, a stranger decides to stay. The situation in a town is very good for one rōnin. This is a good chance that he earns some money. However, he does not need a bloody money. He wants to destroy local crime lords...

This tense story is full of lies, doubt, turning, pranks, blackmails and excellent fights. A careless and seemingly insensitive samurai is actually a peaceful and good man. Mr. Kurosawa has, under the influence of a western and noir, made a very exciting and visually impressive film. Of course, he has not neglected the significant situations that are related to the Japanese culture and tradition.

Close-ups, almost perfectly, reflect an evil, arrogance, fear, invincibility and contempt on faces of some of the protagonists. There is a large number of villains, which are quite different in character.

Toshiro Mifune (Kuwabatake Sanjuro) is a resourceful, interesting and determined as a wandering rōnin and master swordsman. He, apparently, enjoys in his machinations, however, his goal is extremely benevolent. He's kind of a lone hero, regardless of a tactical evil and theatrical swagger in his character.

His support are Tatsuya Nakadai as Unosuke a wild and insolent gunslinger and the biggest threat to a samurai. He is interesting because he is a completely different character from Sanjuro. Kyū Sazanka (Ushitora) and Seizaburo Kawazu (Seibei) are fairly inconclusive as crime lords. However their primary relationship "of a teacher and his student", could be interesting. Isuzu Yamada as Orin is the the wife of Seibei. She is perhaps an initiator of conflicts. Daisuke Katō as Inokichi is a visually the most memorable character. A character, who is capable to commit a vicious murder, but also make the greatest stupidity.

Simply, Mr. Kurosawa has managed to combine several styles in a small masterpiece.

Classic samurai action pic; often imitated but never equalled. Mifune creates a memorable character (who appeared in a sequel) in the Ronin who decides the course of his life on the toss of a stick, and ends up risking his life to save a village full of peasants he finds revolting. It's possible to see "Yojimbo's" actions as either heroic or as the game of a bored warrior in need of amusement -- as often in Kurosawa's films, the fact that the characters' motives remain open to interpretation adds depth to the film.

Wonderful images, and skillful direction that keeps the pace of the storytelling tight and tells most of the story through images -- this is the kind of film that is so good it can be watched a silent film without losing too much of its impact or meaning.

I think that if Kurosawa had spent more of his time in litigation and less making movies, he might have made a living for the rest of his life off all the movies that have ripped off this movie. Certainly Eastwood's "Man with No Name" character owes a lot to Mifune's contribution; not only in Leone's films (the first of which borrows its entire plot from Kurosawa; a court settlement ensued which made sure Kurosawa made most of the profits from "Fistful of Dollars" in Asia his own) but also in Eastwood's best film as a director -- "High Plains Drifter", which borrows scenes such as Eastwood's rebuke of the villagers from "Yojimbo".

The really funny thing about all this, and what not too many American critics or audiences have noted, is that "Yojimbo" is itself a western. All the ingredients for a western are here, and the film's plot and style obviously owe a debt to Zinnemann's "High Noon". "Yojimbo" even borrows the device of time, setting up a confrontation at 3:00 a.m. as shouted by the town crier. I like "Yojimbo" better than "High Noon", so I don't want to go too far into this line of thought....

I'm not going to waste time debating which was the "greatest" or "best" of Kurosawa's movies, but if you want to know the one I enjoy the most it's 'Yojimbo'. 'Rashomon' and 'Throne Of Blood' are probably deeper and more substantial, but for sheer entertainment value 'Yojimbo' is hard to beat! Being a Kurosawa movie it's no surprise that it stars Toshiro Mifune. The two made many movies together, but this is the performance I like to watch the most. I love looking at Mifune's face! His expressions are awesome. He was without a doubt one of the 20th centuries greatest movie stars. 'Yojimbo' was a massive influence on many spaghetti westerns, specifically 'A Fistful Of Dollars', but before you bay for Sergio Leone's blood, please read Dashiell Hammett's detective classic 'Red Harvest', published in 1929 and you'll see that Kurosawa lifted his plot from it. I see no mention whatsoever of this source material in the credits for 'Yojimbo', so let's just leave the Leone bashing alone okay? Many people have convincingly argued that samurai movies were inspired by classic American westerns anyway. Walter Hill later "remade" 'Yojimbo' (or 'Red Harvest' depending on your perspective) as 'Last Man Standing' and David Lynch gave a small nod to it in his 'Wild At Heart'. You can certainly see both the samurai and spaghetti influences in Tarantino's 'Kill Bill' 1 and 2, that's for sure. "Influences", "inspirations", these are things that go around and around, it's what a writer or film maker does with them that counts. 'Yojimbo' is a classic action movie. Maybe only 'Wages Of Fear' is better. Every film buff needs this movie in their collection!

After a string of classic masterpieces, Kurosawa confronted his influences head-on. Throwing John Ford's Western aesthetics into a blender and painting them pitch black. The results are Yojimbo and its legacy.

Yojimbo ("the bodyguard") is the tale of a flea-ridden wandering swordsman, Sanjuro (Toshiro Mifune, in his finest performance). He arrives at a gang-war ravaged town and starts hiring himself out to both sides, playing them off against another, in order to wipe all the scum out. Sound familiar?

Even though Yojimbo the film is a thrilling ride and very funny dark comedy, it is hard to imagine what a bombshell this was for audiences at the time of its release. It is as far removed as can be from the then squeaky-clean aesthetic of samurai films: you can almost smell the sweat and the grime of the sordid town and characters. The action is fast and furious, enhanced by Kurosawa's deft use of telephoto lenses and Masaru Sato's avant-garde score. With all that, Yojimbo was a massive kick in the pants of a fossilized genre.

It exploded beyond the confines of its own country and genre, forever influencing the very Westerns that had inspired it, particularly a new wave out of Spain and Italy at the time. One Sergio Leone copy/pasted the whole plot into his own revisionist Western and gave us the Dollars trilogy. The slightest of Spaghetti Western enthusiasts owes Kurosawa a debt of gratitude.

As with all truly great work, its greatness exists even devoid of context, and for all the historical precedents it set, all Kurosawa wanted to make was an entertaining film. That he bloody well succeeded is the least you can say about Yojimbo.

Yojimbo, based on noir writer Dashiel Hammett's Red Harvest is a magnificently entertaining film. Toshiro Mifune stars as the nobody who calls himself Sanjuro (thirty but closer to forty). He enters a town destroyed by warring factions and plays a double-game to pit one faction against the other thus destroying the criminal element.

Yojimbo (aka The Bodyguard) is one of the coolest and most stylish films ever made. Starring Toshiro Mifune, Kurosawa's favorite actor, as the scruffy looking Samurai, Yojimbo has all of Kurosawa's qualities and none of the flaws. The music score is an essential element of the plot and strikingly good, but admittedly bettered by the Ennio Morricone version in the Spaghetti Western remake Fistful of Dollars. The visuals are great, from the samurai swordplay, to the desolate streets, the town crier announcing its 3 a.m. to the brutal torture scene.

One of the unique things about Yojimbo is the central character. He is an anti-hero. We see him initially as a killer and a man greedy for money. But then, he saves a family by re-uniting mother and child and giving them all the money he was advanced. Mifune has never been cooler than in this film and Eastwood could only aspire to equal such a performance.

Of the two remakes, I liked Fistful of Dollars for starting the Spaghetti Western genre, although Yojimbo is a far more superior and stylish film. The gangster version, Last Man Standing, was not very good and Bruce Willis made for a poor substitute to Yojimbo. This film looks fresh and undated even today - watch it!