The famous final scene of his duel with Hanbei, the henchman of the corrupt superintendent, is poignant. Muroto welcomes Sanjuro with open arms. Before departing for the road again, Sanjuro acknowledges that indeed the best swords remain sheathed and instructs the young samurai to remember that. Sanjuro is the sequel. Kurosawa frames the scene with Iiro in the center of the frame. Muroto sets up a trap which the young samurai are eager to rush into, but which Sanjuro keeps them out of. 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. Post was not sent - check your email addresses! With a few words, Sanjuro gets to the truth of the matter. Chat with us here: https://discord.gg/ZSbP4ZC. The opening cine has you hooked, as Sanjuro single-handedly beats up about 15 men with his sword’s sheath. 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. 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. thoughtful art, more in harmony than in 1962’s. At least that’s the impression based on the setup. 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. In the final scene of the film, the young henchman Muroto 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. After trying and It helps that Nakadai is playing a completely different character in looks and attitude. to violence, he just knew that he had made an awesome effect, and he was right. bloodlessness), but today you have blood filled squibs popping off everywhere In this film, almost all the samurai apart from Sanjuro himself and Muroto are either bureaucrats or warriors in name only; in the scene where Sanjuro kills the guards to free his four captured comrades, almost none of them put up a decent fight, with the guards being … Quotes ... Sanjûrô Tsubaki : [before their final duel] Must we fight? Or almost pure, as Sanjuro decides to take some responsibility for these young fools who might get themselves killed out of their own idealism. 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. In the original film, a rōnin arrives in a small town trapped between competing crime lords. I’ll have to warn the potential viewers about the bloody final duel which occurs between Mifune and Tatsuya Nakadai, who just like in Yojimbo reprises the role of the main villain (this time much less flamboyant and without a firearm). Harryhousen’s. 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. Muroto is so trusting that he’s ready to reveal all to Sanjuro. 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. 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. Sanjuro being the name of the character (obviously a pseudonym), he is a ronin that gets sucked in to a local coup. The Samurai is just a bit faster, of course, and he slashes 90.5k members. Join. men, who are standing conspiratorially close as they discuss the duel. Kurosawa had wanted to make a film based on Shuguro Yamamoto’s story “Peaceful Days” before he made Yojimbo. 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. The Chamberlain cuts them a little slack by telling a joke about his looks, but the lesson is communicated. good thing. the two square off for a fight to the death. failing to convince the younger man to change his mind, the Samurai agrees and stupidity and thoughtlessness of others. It doesn’t take long but the Superintendent’s men arrive and find a grumpy ronin, upset that his sleep has been disturbed, instead of a bunch of rebellious samurai. Continuing a playful mood, Kurosawa has the samurai hole up right next to the superintendent’s chief ally Kurofuji (Takashi Shimura), with the belief that the last place that their enemies will look is right under their own nose. Not bad for essentially a lark in between major productions. It’s at this point that Sanjuro meets his moral opposite in the Chamberlain’s wife. 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. With Toshirô Mifune, Tatsuya Nakadai, Keiju Kobayashi, Yûnosuke Itô. 97.2k members. 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. That conflict all comes boiling to the surface when Sanjuro announces to the group that he’s going to “accept” Hanbei Muroto’s job offer and spy on what the Superintendent is up to. Like with Yojimbo my basis for comparison is again with Criterion’s original non-anamorphic DVD from 1999. Except for the fact that they both spot the young samurai spying on them. across Muroto’s chest, creating a shocking fountain of blood as the young man If it is, it’s the most enjoyable tragedy ever filmed. Masterless 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. Western that is no accident, Kurosawa was a big John Ford fan, and all of his This Criterion Collection contains Akira Kurosawa’s 1961 film, “Yojimbo,” & its 1962 sequel, “Sanjuro,” both of which star Toshiro Mifune in the lead role as Kuwabatake Sanjuro. Sanjuro. 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). To an audience in 1962 that blood fountain was shocking and novel 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. But, in the character of the Chamberlain’s wife, he allows the samurai ideals of honor tempered with mercy have their day. What follows are a series of feints and where Sanjuro starts to run out of fresh ideas. Along with their release of Yojimbo Criterion presents Akira Kurosawa’s sequel Sanjuro in the aspect ratio of 2.35:1 on this dual-layer Blu-ray disc. Picture 8/10. All that death is caused by a lack of trust. directors in Italy, due in no small part to the ending of this shot. He is so convincing that Hanbei (Tatsuya Nakadai) swallows his line and becomes the unwitting accomplice of … Samurai movies would go on to inspire a generation of Spaghetti Western 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. Sanjuro’s plan, essentially a reprise of Yojimbo, spurs a fierce argument among the samurai. 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. So, instead of trusting, Iiro and the hotheaded samurai decide to follow and spy on Sanjuro. Instead, we’re introduced to a gathering of young samurai in a temple. In the end the Samurai defeats the young henchman The samurai race off and find Sanjuro and Hanbei about to duel. Visit. 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). A foolish view, which is quickly pointed out as Sanjuro (Toshiro Mifune) intrudes on the scene. If this whole setup looks like a high noon scene from a He was exactly like me. Which forces Sanjuro to act, against his efforts not to kill people wantonly, to free the two samurai when Muroto leaves to get additional guards due to the importance of their two prisoners. through trickery and deception rather than skill with a blade. 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. Sanjuro is quick, but the Superintendent is wasting no time either and a glance out the window concludes that all escape routes have been blocked. But, rather, it’s a film that acknowledges that there’s really no place in society for someone like our favorite ronin. Hanbei draws his sword, but the faster Sanjuro kills him. The final duel sums up Kurosawa’s visual style and strategy succinctly. 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. Realizing that the Superintendent will act swiftly, they’re all immediately off to spirit the Chamberlain away. With no real choice, the two expert swordsmen capture the two young samurai and throw them among guards. Tatsuya Nakadai was Mifune’s chief nemesis in Yojimbo, and obviously Kurosawa wanted to repeat that success. Comment by John Hocking - December 30, 2020 7:18 pm. r/criterion. To an extent, anyways. What can go wrong with that plan? Along the way the Samurai becomes more and more disillusioned 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. 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”. Kurosawa isn’t really known for his broad humor, but here he goes all in with Mifune playing the part to the hilt. falls. Katanas instead of guns, but basically the same. Sanjuro (1962) Toshirô Mifune: Sanjûrô Tsubaki, The Samurai. 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. 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. Designed by Elegant Themes | Powered by WordPress. But, Sanjuro has already picked sides. 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. Directed by Akira Kurosawa. confronts the Samurai at a dusty crossroads as he is trying to leave town. Product Identifiers Sorry, your blog cannot share posts by email. brilliant young henchman of the Superintendent who is in many ways a dark 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. The two men stare at each other for a long moment, appearing 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. Again it’s a reprise of Yojimbo, but a thrilling reprise nonetheless, as Sanjuro slaughters the guards in a tour de force action sequence. And the ronin wastes no time in letting his displeasure be known even as the most cursory of searches is performed. 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. fake blood spraying everywhere. Communities. Sanjuro may never get cut down out of foolish pride, but he’s clearly going to continue to wander in the wilderness. 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. The other young samurai aren’t really given much characterization other than the hothead of the group. Subsequent directors around the world based As seen in the film, the slaps both surprised the actors and knocked them backwards. In a bit of a repeat of Yojimbo, Sanjuro has hidden the young samurai under the floor boards of the temple. Even their prisoner, in a great bit of comic relief, almost becomes part of their group under the influence of the Chamberlain’s wife. Muroto recognizes a man of Sanjuro’s skill and can relate to him on a level that the idealistic samurai cannot. 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. Showing all 28 items Jump to: Photos (10) Quotes (18) Photos . And it doesn’t take long for the samurai to find Sanjuro on the road out of town as he and Muroto prepare to square off in a duel. Sanjuro just happens to overhear them talking about the situation, and decides to help them out. However, there’s no shame going out on a film as good and enjoyable as Sanjuro. Posts. 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. Sanjuro compares all of them creeping around to a centipede. The young samurai misjudge Sanjuro based on his appearance and mannerisms, and Kurosawa subverts the audience’s own judgment in the same way. 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. A duel that Sanjuro thinks is foolish and unnecessary, but which Muroto insists on since Sanjuro abused his trust. 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. And, in a burst of action, Sanjuro kills two of the guards, while the remaining samurai capture one for questioning, and have spirited the women to the local barn. He’s clearly the leader and the story is going to revolve around him. The Criterion Collection is a continuing series of important classic and contemporary films on home video. Ironically, Kurosawa’s Muroto’s first act, after sending his troops elsewhere, is to offer Sanjuro a job. The uncle took their evidence and told them to go home and mind their own business, essentially. With 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. Hanbei Muroto is one step ahead of Sanjuro and the young samurai and they can’t even run a public relations campaign. The blood is shocking first of all because it’s there at His constant coming out of and retreating into the little closet the group has him “imprisoned” in is one of the great comic relief gags of Kurosawa’s career. 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. There is a good point to be made here about too much of a Sanjuro is an amazing piece of cinematography. Their adventure opens with immediate comedic results. relaxed except for the intensity in their eyes, until suddenly they both draw straight line from this shot to such diverse modern masterworks as Throughout the film he repeatedly spars with his opposite number, a Kurusawa stages the entire sequence as one long shot, with Yojimbo is the original "A Fist Full of Dollars". Posts about Sanjuro. Throughout the story, Sanjuro poses as a bad ronin who is after making a quick score. 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. After trying and failing to convince the younger man to change his mind, the Samurai … Audiences agreed as Sanjuro was yet another hit. The transfer is presented in 1080p/24hz. with the violence and killing he is forced to engage in purely due to the Already the film establishes a “how are they going to get out of this one” sense of adventure. 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. classics like, Nowhere were these dueling goals, crowd pleasing and Ten samurai is clearly an unwieldy number. 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. all. Which isn’t to say that Sanjuro is a tragedy. reflection of the Samurai. A friend, while in college, went to a showing of Yojimbo. It’s a connection that Sanjuro might take advantage of in a different time. It turns out that he was sleeping in the back room of the temple and overheard their discussion. 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. An ironic end to a film that often that celebrates Sanjuro’s skill with the sword. Much of it is a long take with a carefully composed composition as we wait for the two samurai to spring into action. in every action or horror film with nowhere near the same effect. after that it wasn’t possible to release a Samurai movie without fountains of The final duel sums up Kurosawa’s visual style and strategy succinctly. 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. He didn't stay in his sheath. Someone that could have been his friend and ally in different circumstances. Again it’s a contrast between the idealized world of these young samurai and Sanjuro’s pure pragmatism. and disgraced, Muroto challenges the Samurai to a duel. 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. A lot can go wrong actually. Much of it is a long take with a carefully composed composition as we … It would turn out to be another triumph, featuring one of Mifune’s best performances, and turn out to be one of Kurosawa’s most accessible films. 78 of 78 found this interesting r/loltyler1. 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. Click to email this to a friend (Opens in new window), Click to share on Twitter (Opens in new window), Click to share on Facebook (Opens in new window), Click to share on Pinterest (Opens in new window), Click to share on Tumblr (Opens in new window), Click to share on Reddit (Opens in new window), Click to share on LinkedIn (Opens in new window), Click to share on Pocket (Opens in new window), Kurosawa, In Order #29 – Rhapsody in August, All Hallow’s Lee: To the Devil a Daughter, Still Watching the Skies: Episode 56 “The Andromeda Strain”. 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