La légende de judo

"Sugata Sanshirô" (1943) is a masterpiece that inspired countless sequels and imitations glorifying martial arts practitioners and their quest for inner and outer perfection. The 91-minute restored film we know today is still missing important scenes. Here is a short history of that censorship.

According to a very interesting online article by Walter Klinger, the film was submitted to two distinct forms of censorship. First of all, during production, from government censors urging Kurosawa to make a film glorifying Japanese warriors and their spirit of devotion to "chuukou", i.e. "loyalty and devotion" understood as an infallible principle requiring absolute loyalty to one's superiors and blind obedience to orders (a principle that made Kamikaze pilots possible). In the pond scene, Sanshirô's master urges him to follow "chuukou" and after his nighttime revelation, Sanshirô bows obediently to his master.

In the post-war period, all references to this principle were outlawed by the General Headquarters of the Supreme Commander for the Allied Forces (SCAF - the occupying Americans) as an anti-social remnant of Japanese feudalism which was perceived as the root cause of Japan's stubborn refusal to surrender. Not only was the "chuukou" word excised from that scene in mid-sentence (and never put back in, even in the "restored" version) but all subsequent editions of the novel the film was based on, even in animé or manga form or in film remakes and sequels, were also excised for the same reason, which means that the hero was reduced to finding "satori" in other more universal Zen sources or nuanced feelings, such as the love of his beloved, the realization of his own selfishness or respect for his master.

As post-war young Japanese people weren't particularly fond of "chuukou" to begin with, especially as it concerned blind devotion to tradition and unconditional loyalty to one's parents (or employers), this was not seen as a major problem.

The SCAF, however, also outlawed scenes of feudal loyalty, cruel violence and the "undemocratic idea of revenge", "feudal" commodities for which the Japanese public never really lost its tremendous appetite, and which eventually became the main themes of Yakuza, samurai and martial arts films. Furthermore, martial arts, including judo, with their stigma of "warrior's ways" and "blind obeisance", were also banned from government-sponsored settings like schools and police departments, until 1950, at the very time when they were conquering the rest of the civilized world, including America.

For 1942 (before the Pacific war actually started for Japan) one is struck by the modernity of technique, the adventurous way the film is visually narrated. The story is admittedly pretty creaky, but not unenjoyable. Interestingly, the evil characters are in Western clothes, whereas the wholesome good guys are salt-of-the-earth Japanese style, portending the coming war of values with the West.

The modernization of Japan began with the Meiji era in 1867. Mutsuhito, who proclaimed himself Emperor Meiji (loyalty to the rule) to ascend the throne, began a series of significant changes included the abolition of privileges, granted the right to wear a name (hitherto exclusive to samurai and the nobility) and opened the voting for the election of governors, among other measures that began the decline of more than 250 years of feudalism, to make way for the Meiji democracy would go until 1912, and that would open the way for Japan to begin to become a society, certainly more balanced.

Sugata Sanshiro proudly carries his name. Man of the people, attending a school of Jiu Jitsu, a martial art which derive Judo, a risky way to debug the techniques, paradoxically, called "art of softness". But when he meets the skill of the master judoka Yano, Sanshiro decides to become his student and then faced the challenges that will give him a place in the new institute.

What follows then are the circumstances of life that prove the man to his ideals and give opportunity to specify the strength of their inclinations. For it is with chiselases which are polished gems and it is with fire that demonstrates the strength of the metal. But there are things that weigh in man, as love is born and who never wants to hurt, and then, when man is forced to the difficult choice between self- interest or what benefits the group.

I think, "Sugata Sanshiro", was a good start for the master Kurosawa. The film denotes human sense, defending the rules and the collective interest, as it should be, but also understands the meaning of love and compassion, and rejoices as they deserve. The director shows fairly distanced with the scenes of violence, and although I'm sure weighed and weighed now more than ever, this gives a clear account of its central goal was the feeling and no physical force. After all, is in being and not in the domination, as a man can know himself, and as the teacher Yano says:"The way is the search for truth that governs the nature of man, as this is what will give us a peaceful death."

It must have been that this first film was well received at the box office since, two years later, the third Akira Kurosawa film, continue the story with the title "Soku Sugata Sanshiro". There is only regrettable that so valuable a work, with moments of undeniable beauty plastic, and is committed to a positive outlook on life, Japan's clumsy censorship of the time (¿perhaps there will not be clumsy censorship?), has cut about 600 feet, which may never recover and leave the film in some way unfinished.

Against all, I think any fan of the great Japanese filmmaker, should be deprived of seeing this remarkable debut.

This film was Kurasawa's big splash. The story based on the legends of Shiro Sakata, Jigoro Kano's (the founder of Kodokan Judo) bad boy is told with the art that only Kurasawa could muster. Fantastic camera work, tense and controlled action and done when Japan was losing the war. The film was competently remade in the early 60's with Mifune and Koyama. But, Koyama could not capture the simple intensity of Fujita in the original title role. A great monument to one of the greatest directors of all times, this film must be seen more than once to be thoroughly enjoyed.

First and foremost, in order to appreciate this film, one must face the fact that it is largely incomplete, due to the censorship of the time. Having that into consideration, you will most likely enjoy the film for what it is. Besides, if you are acquainted with Kurosawa's work, then you should not doubt giving this a try.

The outstanding, mind-blowing camera-work that Kurosawa is known for is in a huge development process here, on account of this being his first work; however, even though not yet in a full-fledged form, everything that is meant to be portrayed comes through wonderfully. The story is another factor that definitely enhances the representation taking place in the film, as it matches perfectly with the cinematic techniques Kurosawa puts to work. If there are any inconveniences to be encountered throughout the course of the film, it would all obviously be as a result of the cut-off already mentioned.

The conspicuous acting goes without saying; everyone in the film fits into their roll perfectly. The main character may probably come as overacted to an audience not familiarized with Kurosawa's work, or Japanese cinema for that matter; Susuma Fujita would not be as well-known as Toshiro Mifune would later become, but he undoubtedly does his best here.

The film, despite the cut-off, works perfectly. One can just wonder how much better this could be if it were in its full form, as first conceived by the director.