Sanjuro

Akira Kurosawa is probably the best Director in the entire History of film-making. He has not been that prolific given the amount of time he has spent making films, but many of these have subsequently been remade - Seven Samurai became the magnificent seven. Yoijimbo (the prequel to this one) became A fistful of dollars - and more recently last man standing. The hidden Fortress became Star Wars. Sanjuro marked the return of Toshiro Mifune as the Sardonic Ronin from Yoijimbo. Yet again, the photography is excellent - the period costumes and buildings beautiful to look at even in black and white. From one of the first scenes, in the grounds outside the Shrine, Mifune shows a 500% improvement in the art of Kenjutso - he must have been practicing night and day! But it is the character of Sanjuro itself that makes the film so absorbing. He is on the surface, a dirty, disrespectful abrasive man - but his deeds portray him as a hero - someone who once was a shining example of a Samurai and despite being put through the ringer still holds to a deeply rooted code of honor. When this shows however, he is most anxious to cover it up again..... The film involves a power struggle within a small city in Japan between the old faction and the new power-hungry one. It deals with false perceptions and truth. Two of the tenets that are at the heart of Kurosawa's films. This is a Gem - rent it - if you can, Buy it!

Leadership. Sanjuro is able to lead men because he appears confident, and is confident. His presence subjugates men, as a man's presence subjugates boys. We see here how a group comes to have a leader. First one man stands out against him, the competitor for leadership, but Sanjuro's intuition and actions put him ahead. There is a beautiful marked difference between Sanjuro and the men. He is the lazy quiet tiger, seemingly passive yet containing an immense power - a tightly drawn bow. The men are barking puppies, energy spilling over, but to no good end.

Kurosawa presents a couple challenges to the viewer. THere is a terrible absurdity in the killing of all these men, for it becomes quiet clear with the symbol of the prisoner, that the average soldier is a frightened herd animal, not good or evil, but cowardly. Sanjuro recognizes this but has no choice, for he wants to live, and so must kill. Thus he must even kill the young men who he helps, when they foolishly come after him. The prisoner is won over by the old lady - so we see an almost christian ethic. In the tensions of the film one feels that the people, riled up by lies to fight for the enemy, quickly become targets of the just young men's swords - luckily it does not come to this, but one recognizes the horrible possibility and inevitability of such a struggle. Thus we are faced with a critic of war - men, scared like cattle battle under the flag of corrupt leaders, and those that may love them must kill them, if they are not to die by sword, or become slaves to tyrants.

"stupid friends are worse than enemies" For you know who your enemies are, and that they wish to destroy you.

In Sanjuro we also see the soldier, so long in battle that he is unable to live a normal life. He can not wear the house kimoto, he is to bound up in fighting - he is samuri, warrior, and he cannot escape this, much as Achilles cannot return home to Pthia. And we sense Sanjuro must whilt in the easy domestic life, for his is the road of struggle. The pleasant scent of the straw in the barn, the pretty camillias are still able to touch him, but he cannot enjoy them; he is a soldier, and therefore his sensitivities must yeild to the demands of war.

We see only one man worthy standing with Sanjuro, and that is the uncle, the chamberlain, the horseface. These to stand out as burning stars against a massive black sky - the rest is horrifying; the chaos of tyranical men and the fear crazed soldiers, their supplicants.

Tsubaki Sanjuro is, unfortunately, not so widely seen abroad (= outside Japan) as Yojinbo, probably because it was not copied as a western. In Japan, however, Tsubaki Sanjuro is not less popular than Yojinbo. Not a few Japanese actually prefer the former to the latter, and it's easy to see why: It is stylistically more polished and smarter than Yojimbo and Mifune is 'cooler' as well - he shows a brilliant leadership and every Mifune fan would be really delighted to see how his young, naive disciples run after him like chicks following the mother duck.

And while Yojinbo's female main character, Orin, is an evil and crafty woman, Lady Mutsuta in Tsubaki Sanjuro is 'irritatingly light-hearted'. But she has a deep insight into Sanjuro's personality and understands him far better than his male disciples. An excellent character, and, in fact, she is the only person in Tsubaki Sanjuro AND Yojinbo to whom Sanjuro/Mifune speaks in a polite form (in Japanese).

Tsubaki Sanjuro is, so to speak, a 'concentrate' of Kurosawa's cinematography and one sees in it every aspect of his greatness in a very compact form. Therefore no one could remake this movie.

In Japan circa Eighteenth Century, nine young men decide to present an accusation of corruption in their clan to the local superintendent. However, the group is betrayed, but the ronin Sanjûrô Tsubaki (Toshirô Mifune) saves them from the superintendent's men. The uncle of the leader of the rebel clansmen, the Chamberlain Mutsuta (Yûnosuke Itô), is kidnapped, and his wife and daughter are detained and made prisoner of the superintendent, and he tries to force Mutsuta to write a fake confession letter declaring being corrupt. Sanjûrô helps the group to rescue the Chamberlain and his family.

"Sanjûrô" is a funny adventure of master Akira Kurosawa. The story has great action scenes and jokes, excellent cinematography and performances, I like it but it is not among my favorite movies of Kurosawa. My vote is eight.

Title (Brazil): "Sanjuro"

Sanuro, the sequel (or prequel, more likely a sequel though) to Akira Kurosawa's 1961 classic Yojimbo, brings us Toshiro Mifune to one of his most memorable characters, as he helps out (begrudgingly but, for the audience, funny way of help) with a group of would-be samurai trying to fight a corrupt man trying to gain power. With this film, Kurosawa delivers if not more than the same amount of violence (with one of his finest scenes of which towards the very end), and Mifune along with co-stars are believable and make for an entertaining ride. For those who are not familiar with Kurosawa and look to start, this and Yojimbo are the best starting points.

But to say that it is not one of Kurosawa's very best is not entirely a dis-service to him. One flaw for me was that the story was not very clear on the first viewing, or at least as clear as what I'm used to from him (then again, the samurai genre is one I've only started to dig into). But a second viewing brought it clearer, and was even more suspenseful and amusing. That it is not as satirical (or perhaps it is) than what I had heard is not a minus however. The best that can be said that it is highly watchable, and could grow on those looking for a samurai film with more based on character than on immediate, flowing blood-shed and carnage. The least that can be said is that it does not compromise artistry and thoughtfulness for mediocrity. Grade: A