“Stupid friends are dangerous.” – Sanjuro Tsubaki
Due to the incredible success of Yojimbo, Akira Kurosawa was asked by Toho figures to make a sequel with the Samurai Sanjuro. Suggestion he agreed with as he decided to make his next movie a new adventure with that wandering figure. Titled Sanjuro, this film was originally set as a non-Yojimbo story based on Shugoro Yamamoto’s novel Nichinichi hei-an (Peaceful Days). A script Kurosawa had written long ago, though it would be modified with the presence of Sanjuro as its protagonist; instead of its two inept samurai heroes in the original picture, whose title name would become Sanjuro, respect the atmosphere of Yojimbo, while also introducing more comedy. Through its characters and their situations.
For the wandering Samurai, a new conflict he stumbles on by accident. Local politics issues from nine clansmen aware of political corruption from the Chamberlain. Antagonist who kidnaps one of the clansmen’ uncle and attempts to murder them. Though the unexpected presence of Sanjuro ruins his strategies. And from that accidental stumble, Sanjuro decides to help those young men by protecting them, rescuing their uncle, and stopping that Chamberlain once and for all. Forcing Sanjuro to challenge with his sword other assaillants who attempt to hurt them. Something that we realize displeases him more than in the precedent motion picture. As if the years on the road made him more embittered by all the violence he went through.
Through this maze of political intrigues, but also comedic situations which the Samurai and his comrades live, we discover this new chapter of the Yojimbo universe. Another bodyguard situation, another samurai antagonist performed by Tatsuya Nakadai, and another town conflict which Sanjuro is trying to solve. Though unlike the precedent adventure where this warrior worked by himself, this time he is accompanied by nine figures. All of them bringing forth more obstacles than they would expect. Even Sanjuro gets to perform some subtle humour. Such as eating his meal while sitting on a Go Set. Placing him a little above all those nine allies, who see him as their Sempai (superior). And regarding the uncle’s wife and daughter, Sanjuro will enjoy with them some comical moments. Very intelligent humour that is refreshing in this age of sometimes unsubtle and crass humour in popular, but mediocre comedies out of Hollywood and certain French cinema cliques. As for Sanjuro, it is interesting to see him after Yojimbo. More experienced, but bitter over his lifestyle. Slaying time and time again people that stand in his way or might hurt others, it is at the end of the film that we realize his life is anti-romantic and unpleasant. A routine of loneliness and temporary encounters that he must shatter before travelling back on his road. Which makes it all the more disappointing that Akira Kurosawa did not produced a final chapter to conclude his Yojimbo saga. As a superb Samurai trilogy; like Sergio Leone did with his lonesome gunslinger travelling and stopping where help needs to be given.
Nevertheless, Sanjuro is a worthy chapter in Kurosawa’s cinema. And should be treated with the same attention as Yojimbo. Especially as Mifune and Nakadai again play protagonist and antagonist in this film. Making it an interesting continuity with what he saw in Yojimbo. Two figures so similar in their skills, yet different in their travel paths. So even their final showdown is more tragic than a pleasant ending. As for the technical wizardry behind that fight, Kurosawa broke boundaries.
For although the movie is similar in its direction as in Yojimbo, the director offers in the final showdown a gory moment. Using special effects so impressive that the blood pressure and technical effects shocked everyone who filmed and witnessed the scene. Indeed, as stated by the technical team, bystanders who saw the filming were shaking in shock and thought the actor slashed down was really wounded when it wasn’t the case. Therefore, if you have the Criterion Blu-Ray release, watch it as it details the picture’s production in extensive details.
Including some of Akira Kurosawa’s attempts to introduce subtly colors on a particular plot device used in the movie by Sanjuro to alert his nine comrades about the proper moment to intervene. A technical effect that did not happen sadly, but which would have been fascinating on screen. For like most of Kurosawa’s movies; Sanjuro is shot in Black and White. And though there is nothing wrong with that, it makes you wonder how his films would have looked like had they been done in color like his peers, such as Hiroshi Inagaki did with his Musashi trilogy. Another important series featuring Toshiro Mifune who amazes us with his swift sword skills the same way he did in Yojimbo and Sanjuro.
As for the cinematography, Kurosawa and his team display again their talent for image compositions. Cinemascopic images that present the characters either in action or in waiting. Presenting beautifully the house locations, their exteriors and interiors, but also the high streets of that town Sanjuro is resting. Much more urban and poshy; and without any of the dusty wind in the ghost town of Yojimbo. Though with the same nasty urban culture among its citizens.
Regarding the cast, everyone is perfectly cast. From Mifune to Nakadai, their scenes amaze audiences the same way Masaru Sato did with his soundtrack. Musical jewel that I wish would be properly available on Spotify the same way Yojimbo and Throne of Blood are.
In conclusion, Sanjuro, though not mentioned in cinema discussions as much as Yojimbo, should not be omitted from our screening rooms. It should be considered as another important piece of Kurosawa’s cinema. A beautiful chapter in the Yojimbo saga. Though lacking a final chapter that would conclude the series as a trilogy that would amaze moviegoers and fans of Japanese cinema and Samurai films.
Omnes's Oasis 