Hanbei draws his sword, but the faster Sanjuro kills him. Which isn’t to say that Sanjuro is a tragedy. their entire careers around creating gorier and gorier effects. Since they have no way of knowing where the Chamberlain is, Sanjuro takes charge sending many of the samurai off to spy on the houses of the Superintendent and his confederates while he plots the rescue of the Chamberlain’s wife (Takakao Irie) and Iiro’s love interest, Chidori (Reiko Dan). The two men stare at each other for a long moment, appearing Not bad for essentially a lark in between major productions. The Hidden Fortress (隠し砦の三悪人, Kakushi toride no san akunin, literally, "The Three Villains of the Hidden Fortress") is a 1958 jidaigeki adventure film directed by Akira Kurosawa.It narrates the story of two peasants who agree to escort a man and a woman across enemy lines in return for gold without knowing that he is a general and the woman is a princess. Although she’s played for comedy, she’s just as naïve as the young samurai and totally unused to any physical exertion, she also embodies feudal nobility and ideals in a very real way. in every action or horror film with nowhere near the same effect. The opening cine has you hooked, as Sanjuro single-handedly beats up about 15 men with his sword’s sheath. the gaggle of young samurai watching in the background framed between the two Communities. Why wouldn’t Sanjuro turn them all in to save his own hide and probably get a reward? The Samurai is just a bit faster, of course, and he slashes He was exactly like me. A foolish view, which is quickly pointed out as Sanjuro (Toshiro Mifune) intrudes on the scene. After trying and But, rather, it’s a film that acknowledges that there’s really no place in society for someone like our favorite ronin. And it’s left to Sanjuro to take charge, which will define the remainder of the movie as he uses his head to get out of the tight spot. fake blood spraying everywhere. and disgraced, Muroto challenges the Samurai to a duel. Kurosawa isn’t really known for his broad humor, but here he goes all in with Mifune playing the part to the hilt. As they poke their heads out, it’s an image that George Lucas would re-appropriate for Star Wars and the smugglers compartments of the Millennium Falcon. Muroto recognizes a man of Sanjuro’s skill and can relate to him on a level that the idealistic samurai cannot. Muroto sets up a trap which the young samurai are eager to rush into, but which Sanjuro keeps them out of. Feel free to insert your own Human Centipede joke here, who knows, Sanjuro might actually have been an inspiration considering there’s a Japanese part in Tom Six’s film. The other young samurai aren’t really given much characterization other than the hothead of the group. An ironic end to a film that often that celebrates Sanjuro’s skill with the sword. Throughout the film he repeatedly spars with his opposite number, a The young samurai misjudge Sanjuro based on his appearance and mannerisms, and Kurosawa subverts the audience’s own judgment in the same way. The duel brings no joy to Sanjuro who acknowledges that he cut down someone just like himself. The pairing of Kurosawa and Mifune was still strong as Kurosawa was preparing his next film. with the violence and killing he is forced to engage in purely due to the Featuring an excellent supporting cast and typically brilliant photography, the film is engaging from the bold opening scene to the tense, bloody final duel between Muroto and Sanjuro. Did you every watch the duel at the end of Sanjuro in slow motion? 90.5k members. Sanjuro may never get cut down out of foolish pride, but he’s clearly going to continue to wander in the wilderness. It seems like a perfect plan, except that the description of the temple is off which puts Sanjuro in jeopardy as soon as he steps through the gates. Even against his better judgment, he lets the prisoner they captured live at her insistence. The uncle took their evidence and told them to go home and mind their own business, essentially. Sanjuro is the sequel. Moruto is no sadist, but a pragmatic leader in his own right who recognizes a kindred spirit in Sanjuro. Sanjuro is reluctant to fight and tries to dissuade Hanbei, but Hanbei is furious at his loss of dignity and declares he can only find ease by killing Sanjuro. And when the time comes for the final duel with the bad guys’ head swordsman, Hanbei, it’s just one move-one cut, again like Kyuzo’s duel in “Seven Samurai”. Samurai movies show a distinct Western influence. In what may be the greatest samurai duel ever put to film, Kurosawa is able to have his cake and eat it, too. And the exaggerated final duel (that blood fountain) is a great satire on the unrealistic portrayal of duels in samurai films, while also being incredibly cool in its own right (samurai films are popular for a reason). Up to this point, That blood fountain became iconic almost immediately, and A thanks was planned for Sanjuro as well, but he’s nowhere to be seen, which is something of a relief to the Chamberlain even as the young samurai rush out to find Sanjuro. Realizing that the Superintendent will act swiftly, they’re all immediately off to spirit the Chamberlain away. And, for once, Sanjuro has no response. Kurosawa had wanted to make a film based on Shuguro Yamamoto’s story “Peaceful Days” before he made Yojimbo. It turns out that he was sleeping in the back room of the temple and overheard their discussion. And, this time, Kurosawa comes up with a really great visual for selling Sanjuro’s story by leaving him to be discovered in a genuinely embarrassing condition. 97.2k members. card. So, instead of trusting, Iiro and the hotheaded samurai decide to follow and spy on Sanjuro. In the final scene of the film, the young henchman Muroto It’s easy to imagine the continuing adventures of Toshiro Mifune in the role, but it would turn out to be the last pairing of Kurosawa and Mifune in a samurai adventure film. thoughtful art, more in harmony than in 1962’s. For this reason, Sanjuro is a more straightforward action-adventure than its cunning predecessor, yet this accessible sequel is equally entertaining every step of the way. It’s a connection that Sanjuro might take advantage of in a different time. Sanjuro. The ruse is, of course, discovered after the guards leave, but trickery rules the day as Sanjuro convinces the Superintendent and Kurofuji to dump a bunch of camellia flowers of a certain color into the stream as the signal to call off the raid. reflection of the Samurai. straight line from this shot to such diverse modern masterworks as Tatsuya Nakadai was Mifune’s chief nemesis in Yojimbo, and obviously Kurosawa wanted to repeat that success. classics like, Nowhere were these dueling goals, crowd pleasing and Product Identifiers Except for the fact that they both spot the young samurai spying on them. Sanjuro is both attracted to the idea of being part of society again and repelled by it, although he does try to follow the Chamberlain’s wife edict that he should restrict his killing. Visit. Picture 8/10. Throughout the story, Sanjuro poses as a bad ronin who is after making a quick score. Designed by Elegant Themes | Powered by WordPress. after that it wasn’t possible to release a Samurai movie without fountains of Muroto is so trusting that he’s ready to reveal all to Sanjuro. By all accounts the shoot was one of Kurosawa’s shortest and most fun. Directed by Akira Kurosawa. The Criterion Collection is a continuing series of important classic and contemporary films on home video. Subsequent directors around the world based Masterless and disgraced, Muroto challenges the Samurai to a duel. Its story is one of adventure, and cunning smarts, as the old samurai Sanjuro leads 9 young heroes on a mission of saving a town from a dictator. In the original film, a rōnin arrives in a small town trapped between competing crime lords. Muroto welcomes Sanjuro with open arms. Kurosawa doesn’t let the ideas bog down the story, as there’s still an escape to be made with the two ladies, with Sanjuro offering himself as a footstool for the older lady. I found this part of the plot to be tricky to follow, and I was definitely referring back to the wiki plot explanation often to make sure I was keeping up with what was going on. card classic compact. relaxed except for the intensity in their eyes, until suddenly they both draw Harryhousen’s. But, in the character of the Chamberlain’s wife, he allows the samurai ideals of honor tempered with mercy have their day. The lead samurai, Iiro Izaka (Yozo Kayama), breathlessly reports on how his goal of reporting corruption in the clan was apparently hushed up by his uncle Mutsuta (Yunosuke Ito), the Chamberlain of the clan. Toshiro Mifune is playing the role Clint Eastwood played. With the massive success of Yojimbo, the screenplay adaptation of “Peaceful Days” was reworked to be Sanjuro, the continuing adventures of Toshiro Mifune’s wandering ronin. Or almost pure, as Sanjuro decides to take some responsibility for these young fools who might get themselves killed out of their own idealism. Kurosawa was never particularly enamored with Japan’s feudal past and he doesn’t hesitate at all to make fun of the young samurai and their dreams of glory. He’s clearly the leader and the story is going to revolve around him. Posted on Jun 10, 2013 by Robert Reineke | 0 comments. (and it still works, especially after viewing the entire film in all its Again it’s a reprise of Yojimbo, but a thrilling reprise nonetheless, as Sanjuro slaughters the guards in a tour de force action sequence. Posts. Sorry, your blog cannot share posts by email. Like with Yojimbo my basis for comparison is again with Criterion’s original non-anamorphic DVD from 1999. Already the film establishes a “how are they going to get out of this one” sense of adventure. There is a good point to be made here about too much of a But, if the plot isn’t rushing forward, Kurosawa makes sure to stress that Sanjuro is very much an outsider. He is constantly depicted as separate from the group, dirty and constantly scratching, as contrasted to carefully coiffed and clean samurai. failing to convince the younger man to change his mind, the Samurai agrees and men, who are standing conspiratorially close as they discuss the duel. A lot can go wrong actually. With Toshirô Mifune, Tatsuya Nakadai, Keiju Kobayashi, Yûnosuke Itô. Along the way the Samurai becomes more and more disillusioned What follows are a series of feints and where Sanjuro starts to run out of fresh ideas. Featuring an excellent supporting cast and typically brilliant photography, the film is engaging from the bold opening scene to the tense, bloody final duel between Muroto and Sanjuro. In 1962, Akira Kurosawa was at the top of his game. What can go wrong with that plan? Sanjuro is generally a romp, and more often than not the Chamberlain’s wife is an object of humor, but unlike Yojimbo, there is a good side to this conflict and Kurosawa allows that side to express its ideals and even temper Sanjuro’s cynicism. And Muroto offers Sanjuro a place by his side. Kurosawa, ultimately took over the job of directing the film, which he never intended during development of the script, while preproduction work was underway on High and Low. At least that’s the impression based on the setup. Featuring an excellent supporting cast and typically brilliant photography, the film is engaging from the bold opening scene to the tense, bloody final duel between Muroto and Sanjuro. He didn't stay in his sheath. The blood is shocking first of all because it’s there at Topic on Reddit. all. The shared nature between the two men is obvious, and Muroto even reveals his own ambitions to manage the Superintendent so that he is the power behind the official and running to clan as he sees fit. In an irony, that’s the very same place that the superintendent is holding the chamberlain, with a wall, a little stream, and flowering camellia trees separating and connecting the two sides. At this point, chance plays a role as Chidori and the Chamberlain’s wife discover a note in the stream which reveals that the Chamberlain is being held next door. The final duel sums up Kurosawa’s visual style and strategy succinctly. When Sanjuro, walking into town, announces, “I want 3 coffins”, my friend immediately realized he was watching the Japanese version of A Fistful of Dollars. Kurosawa almost always had a contemporary film lined up among his period films and he and Mifune would return to a crime thriller like their earliest outings. The Chamberlain cuts them a little slack by telling a joke about his looks, but the lesson is communicated. The famous final scene of his duel with Hanbei, the henchman of the corrupt superintendent, is poignant. Not taking no for an answer, Iiro reports that he turned to the Superintendent Kikui (Masao Shimizu) for help and after being surprised by the uncle’s reaction the Superintendent agreed to cooperate. A crafty samurai helps a young man and his fellow clansmen save his uncle, who has been framed and imprisoned by a corrupt superintendent. Some brainstorming and the group concocts a plan where Sanjuro will report that he discovered the young samurai at a temple out of town, and when the guards leave to investigate, they’ll swoop in and rescue the Chamberlain after getting the signal of a bunch of camellia flowers dumped in the stream. Sanjuro may not be a masterpiece, but it’s only really because Yojimbo got there first. Again, the Superintendent and Hanbei Muroto are ahead of them as they arrive at the Chamberlain’s house in time to discover that the Superintendent’s troops are already there. These events are necessary and fun, but they don’t really move the plot forward. If this whole setup looks like a high noon scene from a Audiences agreed as Sanjuro was yet another hit. Kurosawa Sanjuro´s interactions with the young naive samurai are hilarious and I also enjoy how sound effects are used for comedic effect. through trickery and deception rather than skill with a blade. You can draw a Sanjuro’s plan, essentially a reprise of Yojimbo, spurs a fierce argument among the samurai. But, it’s clear that they’re all a bunch of idealists that believe wholeheartedly in making a difference and have a romantic view of the samurai life. Kurosawa frames the scene with Iiro in the center of the frame. The final duel sums up Kurosawa’s visual style and strategy succinctly. confronts the Samurai at a dusty crossroads as he is trying to leave town. Yojimbo (1961) vs Sanjuro (1962): Film Review Posted on June 3, 2011 by carolineguerin The cinematic impact of Akira Kurosawa ‘s Yojimbo can be seen most clearly in westerns such as Sergio Leone’s Dollars trilogy, where a nameless lone fighter comes to a lawless town and sets warring factions against each other. Much of it is a long take with a carefully composed composition as we wait for the two samurai to spring into action. Showing all 28 items Jump to: Photos (10) Quotes (18) Photos . Sanjuro being the name of the character (obviously a pseudonym), he is a ronin that gets sucked in to a local coup. 78 of 78 found this interesting What’s even better is that while Sanjuro isn’t likely to be called one of Kurosawa’s major works, it’s still an accomplished, highly entertaining film with a clear message. their swords. Their adventure opens with immediate comedic results. the two square off for a fight to the death. Which draws the attention of the leader in the field Hanbei Muroto (Tatsuya Nakadai),  Sanjuro’s opposite number and chief opponent in a battle of wits. falls. Someone that could have been his friend and ally in different circumstances. And the ronin wastes no time in letting his displeasure be known even as the most cursory of searches is performed. Yojimbo is the original "A Fist Full of Dollars". They want to thank Sanjuro, but he doesn’t want their thanks, rather a few coins so that he can feed himself. The film opens, somewhat surprisingly, without Sanjuro (Toshiro Mifune) wandering into town. Katanas instead of guns, but basically the same. To an audience in 1962 that blood fountain was shocking and novel In the final scene of the film, the young henchman Muroto confronts the Samurai at a dusty crossroads as he is trying to leave town. When Sanjûrô has to kill about a dozen of Kikui's men and then smacks three of the young samurai for forcing him to kill so many, Toshirô Mifune slapped the three young actors for real. The action is sudden, and violent with an impressive gush of blood as Muroto is dispatched, with a quick montage of reaction shots from all the spectators. The Superintendent even goes so far as to suggest Iiro should gather all his followers immediately, which brings us to present time and efficiently dispenses with most of the necessary exposition. Post was not sent - check your email addresses! With no real choice, the two expert swordsmen capture the two young samurai and throw them among guards. Sanjuro (1962) Toshirô Mifune: Sanjûrô Tsubaki, The Samurai. If Sanjuro was merely a fun romp, Kurosawa could have ended the movie right there, but even the lightest Kurosawa movies have some message attached. If it is, it’s the most enjoyable tragedy ever filmed. A friend, while in college, went to a showing of Yojimbo. Most particularly, she sees right through Sanjuro’s character judging him to be like an exposed sword that cuts everything in his way (even when it isn’t necessary), while the best swords remain in their sheathes. He is so convincing that Hanbei (Tatsuya Nakadai) swallows his line and becomes the unwitting accomplice of … A duel that Sanjuro thinks is foolish and unnecessary, but which Muroto insists on since Sanjuro abused his trust. directors in Italy, due in no small part to the ending of this shot. First, Kurosawa checks in with the Chamberlain who is revealed for the first time as he lightly lectures the young samurai for not trusting him and causing a lot of unnecessary death, including the ritual suicide of the Superintendent. First of all because it ’ s visual style and strategy succinctly trickery and deception rather than skill with sword... 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