3 Samouraïs hors-la-loi

Gosha was the Don Siegel of Japan, an artist of action, a poet of mêlée. So it is with this newly restored early picture of his, now available from Criterion in blazing black and white. Typical sam fare: clunky plot, great sword work, cool flourishes (like blowing dust giving mythic quality to climactic duel, or the use of blood to punctuate kills, never overdone but extremely dramatic.) Extremely enjoyable, it turns out to be an "origins" tale in which we learn how the three outlaws (if Japanese TV fame) came together. Briefly, seems wandering ronin decides to throw in with peasant reformers who've kidnapped magistrate's daughter for leverage on tax reform, and one way or other, the two others come to his side and ultimately they face off in duels and battles with magistrate's own ronin, soldiers, various thugs and creeps. Lots of racing, slicking, sword fighting in flip-flops and bathrobes. What did somewhat shock me was the utter disregard the movie shows for women. They are used up and tossed aside like Kleenex, with no regret or mourning or much in the way of grief. At least three are murdered or commit suicide, and two more dumped. I know this is emblematic of Japanese society in early '60s, but even so, it seems a little overdone here. I don't like to judge then by the standards of now, but even if gals were objects in '64, by those standards Gosha goes a bit overboard.

Excellent black and white cinematography, solid acting, well done action and a reasonably good story make this a satisfying film. The story of wandering samurai coming to the aid of impoverished farmers is not new and the characters are stock but this isn't a real problem if you are looking for something to sit back and enjoy easily. The direction is very assured and it's remarkable that this is a first directorial effort. The actors are appealing and the film never gets bogged down in long exposition or beauty shots. The comparison to a spaghetti western is apt.

The film seems like it was intended to start a series based on the three characters. Too bad that didn't happen.

This one is Gosha's first directorial attempt, and what a debut! Though some of the performances are occasionally a bit overwrought, there are also many instances where Gosha reveals his sense of the camera.

Of course, there are Gosha's typical studied camera angles and compositions (you see some interesting "moving camera" work, which significantly predates the attempts of "pioneering" US directors). However, "Sanbiki no samurai" also showcases Gosha's ability to tell a story through facial expressions, rather than simply relying upon dialogue.

This is all film-school wankery. The bottom line is that "Sanbiki" is a gripping chambara flick, with a solid morality tale disguised as a cynical amorality tale. (Note that a common theme through many Japanese "chambara" is that of cynical ex-samurai who ultimately decides to risk life and limb for some hopeless but noble "little guy" cause.)

This theme was repeatedly, um, emulated by the likes of Sergio Leone with his spaghetti westerns. However, my point is that such tales are just plain entertaining. The three actors playing the samurai also turn in great performances.

Viewers new to Hideo Gosha may wish to start with "Goyokin" or "Hitokiri" (a/k/a "Tenchu"), but if you've seen those two already (or if they're already checked out), then this is still a definite movie to catch!

Hideo Gosha got his start on television. His biggest hit was Three Outlaw Samurai, and in 1964 he got the chance to direct a prequel to that series with this, his first theatrical film. Tetsuro Tanba plays a wandering samurai who comes upon a hostage situation involving three peasants who have kidnapped the daughter of the local magistrate. The peasants of the district are being treated very poorly and are starving. Tanba sees that these guys aren't bad (the girl, Miyuki Kuwano, is unharmed) and decides to help them stand up to the magistrate. Among the men the magistrate hires to dispatch of the samurai and the peasants are Isamu Nagato and Mikijiro Hira, who will both switch sides and join up with Tanba eventually. Gosha's direction is impressive and the black and white cinematography is gorgeous. Occasionally the story is confusing and could be communicated a bit better, but for the most part it's not difficult to follow. The ending in particular is fantastic. I'd love to see some of the original series, but unfortunately it's lost.

Three Outlaw Samurai is a relentlessly thrilling Samurai movie full of twists and betrayals.

After a title sequence with a bombastic score, the action begins almost immediately in this film. A wandering Samurai stumbles upon a hostage situation - a few pathetic peasants (not too different from the ones in Seven Samurai) are holding the daughter of an aristocrat hostage in the hope that he would waive taxes. After observing the bumbling peasants and their failed negotiations with the aristocracy for a while, the cynical Samurai decides to join the fight on the peasants side.

While watching this film, it struck me that the Samurai attitude towards life is not too different from the cowboys in spaghetti westerns or protagonists in Noir thrillers. They are very cynical and are always watching how the situation unravels. But they often put their neck on the line in the end.

The treatment and portrayal of women in this film is quite hilarious and politically incorrect.

I liked the way the director balanced the different aspects of the film - the film is a mix of cynical tongue in cheek humor and relentless action while also foregrounding themes like samurai honor and the plight of peasants.

The plot, like a Noir film is quite complicated.

(7.5/10)