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Le Garde du corps

Titre original : Yôjinbô
  • 1961
  • Tous publics
  • 1h 50min
NOTE IMDb
8,2/10
139 k
MA NOTE
POPULARITÉ
2 771
730
Toshirô Mifune and Tatsuya Nakadai in Le Garde du corps (1961)
A crafty ronin comes to a town divided by two criminal gangs and decides to play them against each other to free the town.
Lire trailer2:35
2 Videos
99+ photos
One-Person Army ActionPeriod DramaSamuraiActionDramaThriller

Un samouraï rusé arrive dans une ville contrôlée par deux gangs rivaux. Il décide de les dresser l'un contre l'autre pour libérer la ville.Un samouraï rusé arrive dans une ville contrôlée par deux gangs rivaux. Il décide de les dresser l'un contre l'autre pour libérer la ville.Un samouraï rusé arrive dans une ville contrôlée par deux gangs rivaux. Il décide de les dresser l'un contre l'autre pour libérer la ville.

  • Réalisation
    • Akira Kurosawa
  • Scénario
    • Akira Kurosawa
    • Ryûzô Kikushima
  • Casting principal
    • Toshirô Mifune
    • Eijirô Tôno
    • Tatsuya Nakadai
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    8,2/10
    139 k
    MA NOTE
    POPULARITÉ
    2 771
    730
    • Réalisation
      • Akira Kurosawa
    • Scénario
      • Akira Kurosawa
      • Ryûzô Kikushima
    • Casting principal
      • Toshirô Mifune
      • Eijirô Tôno
      • Tatsuya Nakadai
    • 255avis d'utilisateurs
    • 154avis des critiques
    • 93Métascore
  • Voir les informations de production sur IMDbPro
  • Film noté 155 parmi les meilleurs
    • Nommé pour 1 Oscar
      • 5 victoires et 2 nominations au total

    Vidéos2

    Official Trailer
    Trailer 2:35
    Official Trailer
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    Photos129

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    + 123
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    Rôles principaux52

    Modifier
    Toshirô Mifune
    Toshirô Mifune
    • Sanjuro Kuwabatake…
    Eijirô Tôno
    Eijirô Tôno
    • Gonji - Tavern Keeper
    Tatsuya Nakadai
    Tatsuya Nakadai
    • Unosuke - Gunfighter
    Yôko Tsukasa
    Yôko Tsukasa
    • Nui
    Isuzu Yamada
    Isuzu Yamada
    • Orin
    Daisuke Katô
    Daisuke Katô
    • Inokichi - Ushitora's Rotund Brother
    Seizaburô Kawazu
    Seizaburô Kawazu
    • Seibê - Brothel Operator
    Takashi Shimura
    Takashi Shimura
    • Tokuemon - Sake Brewer
    Hiroshi Tachikawa
    • Yoichiro
    Yôsuke Natsuki
    Yôsuke Natsuki
    • Kohei's Son
    Kamatari Fujiwara
    Kamatari Fujiwara
    • Tazaemon
    Ikio Sawamura
    Ikio Sawamura
    • Hansuke
    Atsushi Watanabe
    • The Cooper - Coffin-Maker
    Susumu Fujita
    Susumu Fujita
    • Homma - Instructor Who Skips Town
    Kyû Sazanka
    Kyû Sazanka
    • Ushitora
    Kô Nishimura
    Kô Nishimura
    • Kuma
    Takeshi Katô
    Takeshi Katô
    • Ronin Kobuhachi
    Ichirô Nakatani
    • First Samurai
    • Réalisation
      • Akira Kurosawa
    • Scénario
      • Akira Kurosawa
      • Ryûzô Kikushima
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs255

    8,2138.6K
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    Résumé

    Reviewers say 'Yojimbo' is celebrated for Kurosawa's masterful direction, Mifune's compelling performance, and its innovative blend of genres. The film is lauded for its suspenseful narrative, dark humor, and impactful action. Critics praise Kurosawa's dynamic camera work and the film's influence on Spaghetti Westerns. Audiences appreciate its timeless appeal and intricate storytelling. Some note minor pacing issues and underdeveloped characters, but overall, it's a seminal work in world cinema.
    Généré par IA à partir de textes des commentaires utilisateurs

    Avis à la une

    9elvircorhodzic

    "I'll get paid for killing, and this town is full of people who deserve to die."

    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.
    9Ben_Cheshire

    The epitome of cinema cool.

    If you ever watched Pulp Fiction and thought: movie cool was born here, or maybe you saw any single Sergio Leone movie and thought: this guy invented movie-cool (if you haven't, i thoroughly recommend it - Kill Bill is nothing to his Good, the Bad and the Ugly or Once Upon a Time in the West), then experience Yojimbo, or The Bodyguard. Kurosawa's camera sits behind Toshiro Mifune's man-with-no-name, inviting us to look up at the back of his head as he walks the earth, inviting us to be in awe of this man. And as he walks, super-cool walking-the-earth music plays. Later on, when he's taunted and asked to prove himself, he slices a guy's arm off and plays the petty, money-grabbing rival factions in the town he wanders into off each other.

    If you have it in your mind that a guy called Kurosawa couldn't make movies that would impress you, that the cultural gap would be too great - be assured that Kurosawa's movies are rife with Western values. Sure, they are rife with Japanese values (i am told), but Kurosawa had a great appreciation of Western culture. He based many of his movies on Western texts, like Shakespeare, Dostoyevsky, or American gangster fiction and film. Yojimbo is one of the latter - inspired by the Dashiell Hammet novel Red Harvest (Hammett's novel The Maltese Falcon was put onscreen moment for moment by John Huston in the movie of the same name which immortalised Humphrey Bogart).

    Actually, the history of the story of the lone wolf, the wanderer with a weapon, who rides into town to play off two warring factions against each other - is quite a story itself. Dashiell Hammett, an American, wrote a novel with an American private eye as the stranger. In 1961, Akira Kurosawa transposed this story to medieval Japan, after the fall of a dynasty, where a Samurai finds himself with no place to go (at the beginning, we see him throw a branch up in the air and walk the direction it falls), and no master to serve. A bodyguard with no-one to protect. In 1964, Sergio Leone transposed the screenplay of Yojimbo (nearly word for word) to the spanish desert, and he brought along a young television actor named Clint Eastwood, and together they revolutionised the western with Fistfull of Dollars, and created an entire genre, the Spaghetti Western, which sported among its attributes a gritty, desolate landscape, and a cynical, postmodern lack-of-values ideology (traditional American westerns had quite plush landscapes and were always black and white (good and evil) in their value system. Despite the massive influence of Fistfull of Dollars, it pales in comparison to both its predecessor Yojimbo, and its sequals, For a Few Dollars More and The Good the Bad and the Ugly. But still, both Yojimbo and Fistful are iconic movies, and very cool movies.

    With cool music, a cool anti-hero, a fun script, and a visually spectacular canvas of an image, painted by the eye of an artist (it is said that Kurosawa storyboarded his movies in full-scale paintings), Yojimbo is one of the coolest movies ever made.
    10InzyWimzy

    Great movie with one cool character

    I just figured out why Toshirô Mifune is so mesmerizing to watch. It's just the way he expresses himself. This guy's amazing!

    I've been exploring the halls of Kurosawa and it's getting hard to leave. Yojimbo is a FUN film to watch. Toshiro as the samurai steals almost every scene he is in and I think the epitome of his character is when he's in Gonji's place lying on the floor. He doesn't brag, but when he goes into action, that's it! As soon as he enters the chaotic town, he doesn't seem fazed at all and actually enjoys it. His demeanor is really amusing and it's great watching his plan unfold; how he manipulates both groups to get his way (it's really funny). Great thing too is he's not really a hero and he's not entirely a villain. He doesn't hesitate to kill, but does so methodically. You also have "characters" including Gonji, the thugs from both sides, and Unosuke with an ace up his sleeve (or robe?) which makes things really interesting.

    Yojimbo's mix of dark humor, action, and a great performance from Mifune make for a Kurosawa classic.
    10funkyfry

    First class samurai action tale with philosophy to boot

    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....
    Tigereyes

    Sensational!

    If I had to choose only one movie for film students to learn from, this would be it. Other films may be more profound, or their imagery more groundbreaking, but this one is so tightly constructed that nothing - not a frame, word, or gesture - is extraneous.

    Toshiro Mifune, one of the world's most charismatic actors, is perfection as a tough loner of a samurai who takes it upon himself to clean up a town corrupted by two gambling clans. Swirling through and around him is a story that is both technically flawless and profoundly moving.

    Kurosawa meticulously infuses every detail with meaning; there's a purpose behind every shot, and aspiring directors should pay close attention (why is the camera slightly tilted? why are there concubines in the background?). His economy of style was never more amazing; watch as the samurai rides into town, and the director establishes the atmosphere with exactly one jaw-dropping shot. And the story is equally well-crafted, with no plot holes and no inconsistencies.

    A wonderful tale that rolls beautifully from start to finish. See it, see it, see it!!

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      Akira Kurosawa told Toshirô Mifune that his character was like a wolf or a dog and told Tatsuya Nakadai that his character was like a snake. Inspired by this direction, Mifune came up with Sanjuro's trademark shoulder twitch, similar to the way a dog or wolf tries to get off fleas.
    • Gaffes
      In the initial fight scene, The Samurai cuts the first two adversaries in the mid-section, then slices the last man's arm off. That last man is first seen from behind holding the sword in his right arm above his head, but the arm holding the sword shown moments later is a left arm.
    • Citations

      Sanjuro: I'll get paid for killing, and this town is full of people who deserve to die.

    • Versions alternatives
      The initial US release ran only 75 minutes, 35 minutes shorter than the original version at 110 minutes.
    • Connexions
      Featured in 62nd Annual Academy Awards (1990)

    Meilleurs choix

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    FAQ23

    • How long is Yojimbo?Alimenté par Alexa
    • Is 'Yojimbo' based on a book?
    • Who did the man with the prayer drums kill?
    • Any recommendations for movies similar to "Yojimbo"?

    Détails

    Modifier
    • Date de sortie
      • 25 avril 1961 (Japon)
    • Pays d’origine
      • Japon
    • Langue
      • Japonais
    • Aussi connu sous le nom de
      • Yojimbo
    • Lieux de tournage
      • Toho Studios, Tokyo, Japon(Studio)
    • Sociétés de production
      • Kurosawa Production Co.
      • Sammy
      • Toho
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Montant brut aux États-Unis et au Canada
      • 46 808 $US
    • Week-end de sortie aux États-Unis et au Canada
      • 15 942 $US
      • 28 juil. 2002
    • Montant brut mondial
      • 68 196 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      1 heure 50 minutes
    • Couleur
      • Black and White
    • Rapport de forme
      • 2.35 : 1

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