Real Men Wear Pink : Played for laughs when Sanjuro is caught carrying an armload of flowers. He is so convincing that Hanbei (Tatsuya Nakadai) swallows his line and becomes the unwitting accomplice of … failing to convince the younger man to change his mind, the Samurai agrees and Of the two female characters, the younger is a typical Kurosawa woman. To an extent, anyways. Throughout the film he repeatedly spars with his opposite number, a Ironically, Kurosawa’s Kikui commits hara-kiri, and the other conspirators are banished from the tribe. Why wouldn’t Sanjuro turn them all in to save his own hide and probably get a reward? Mutstuta holds a celebratory meal with Sanjuro as the guest of honor, but Sanjuro fails to appear. Yojimbo is very exactly placed in the 1860s, the final … Kurusawa stages the entire sequence as one long shot, with Muroto welcomes Sanjuro with open arms. Sanjuro. 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). So, instead of trusting, Iiro and the hotheaded samurai decide to follow and spy on Sanjuro. Originally used to record catches or brag about them in front of others, Gyotaku later became a recognized art form. What can go wrong with that plan? 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. Before departing for the road again, Sanjuro acknowledges that indeed the best swords remain sheathed and instructs the young samurai to remember that. Sanjuro wins, and departs, having had his fill of violence. However, there’s no shame going out on a film as good and enjoyable as Sanjuro. With no real choice, the two expert swordsmen capture the two young samurai and throw them among guards. In each edition of One Shot I take a closer look at one of these shots. One Shot: The Final Duel from Sanjuro One amazing shot can take a good film and make it great, or take a great film and make it a classic. Sanjuro (1962) is the lesser-known sequel to Yojimbo.Akira Kurosawa made the two films back to back. And Muroto offers Sanjuro a place by his side. With 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). Judo Saga) is a 1943 Japanese action drama film and the directorial debut of the Japanese film director Akira Kurosawa. Nine idealistic young samurai are meeting in a lonely barn. across Muroto’s chest, creating a shocking fountain of blood as the young man The transfer is presented in 1080p/24hz. their entire careers around creating gorier and gorier effects. Samurai movies show a distinct Western influence. Sanjuro’s plan, essentially a reprise of Yojimbo, spurs a fierce argument among the samurai. 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. Western that is no accident, Kurosawa was a big John Ford fan, and all of his 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. Up to this point, That blood fountain became iconic almost immediately, and Originally an adaptation of the Shūgorō Yamamoto novel Hibi Heian, the script was altered with the success of Kurosawa's 1961 Yojimbo to incorporate the lead character of that film. A foolish view, which is quickly pointed out as Sanjuro (Toshiro Mifune) intrudes on the scene. The uncle took their evidence and told them to go home and mind their own business, essentially. Not only because the movie itself was excellent, to say the least. There is a good point to be made here about too much of a Kurosawa had wanted to make a film based on Shuguro Yamamoto’s story “Peaceful Days” before he made Yojimbo. confronts the Samurai at a dusty crossroads as he is trying to leave town. bloodlessness), but today you have blood filled squibs popping off everywhere 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. Look at the 45 second, frozen frame final standoff duel in Kurosawa's Sanjuro (1962) sequel to Yojimbo to see his influence on Leone's style. Sanjuro. Again it’s a reprise of Yojimbo, but a thrilling reprise nonetheless, as Sanjuro slaughters the guards in a tour de force action sequence. reflection of the Samurai. Much of it is a long take with a carefully composed composition as we wait for the two samurai to spring into action. An ironic end to a film that often that celebrates Sanjuro’s skill with the sword. Sanjuro (1962) Scene – the final duel: A scene does not get any more poetic than this. A naked sword. Hanbei Muroto : Everything in that notice was a bald-faced lie. 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 gaggle of young samurai watching in the background framed between the two True artistry was being shown here by Akira. 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. The duel brings no joy to Sanjuro who acknowledges that he cut down someone just like himself. Sorry, your blog cannot share posts by email. men, who are standing conspiratorially close as they discuss the duel. A lot can go wrong actually. 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. Kurosawa had used one version of the “wise fool” in Seven Samurai and here he presents another version. In 1962, Akira Kurosawa was at the top of his game. You definitely get some during the final duel, which was cool but I wished it would have been longer. Sanjuro´s interactions with the young naive samurai are hilarious and I also enjoy how sound effects are used for comedic effect. Product Identifiers Sanjuro, a wandering samurai enters a rural town in nineteenth century Japan. Sanjuro (椿三十郎, Tsubaki Sanjūrō) is a 1962 black-and-white Japanese jidaigeki film directed by Akira Kurosawa and starring Toshiro Mifune.It is a sequel to Kurosawa's 1961 Yojimbo.. 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. The blood is shocking first of all because it’s there at This was the first instance of over-the-top bloodletting that would later be common in samurai films and anime, the best-known modern examples being the … 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. 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. brilliant young henchman of the Superintendent who is in many ways a dark 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. but oh my god that last scene. The comedy also works really well. The final duel between Sanjuro and Muroto - spoilers! 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. Someone that could have been his friend and ally in different circumstances. The young samurai track him down, and witness his final duel with the disgraced Muroto. 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. Instead, we’re introduced to a gathering of young samurai in a temple. What follows are a series of feints and where Sanjuro starts to run out of fresh ideas. The final duel sums up Kurosawa’s visual style and strategy succinctly. With a few words, Sanjuro gets to the truth of the matter. 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. to violence, he just knew that he had made an awesome effect, and he was right. Realizing that the Superintendent will act swiftly, they’re all immediately off to spirit the Chamberlain away. If it is, it’s the most enjoyable tragedy ever filmed. From the Sanjuro's final duel with young gun-toting thug Unosuke (Tatsuya Nakadai) to the single grotesque image of a dog clutching a human hand at the film's outset, Yojimbo crackles with a dynamic energy that rivets and entertains. The duel in Sanjuro has the closest composition to “Twin Suns,” with the aggressor taking the foreground as the final strike lands. It turns out that he was sleeping in the back room of the temple and overheard their discussion. Like with Yojimbo my basis for comparison is again with Criterion’s original non-anamorphic DVD from 1999. Even their prisoner, in a great bit of comic relief, almost becomes part of their group under the influence of the Chamberlain’s wife. He is constantly depicted as separate from the group, dirty and constantly scratching, as contrasted to carefully coiffed and clean samurai. is so awesomely over-the-top. 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. 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. Muroto recognizes a man of Sanjuro’s skill and can relate to him on a level that the idealistic samurai cannot. When Sanjuro kills Hanbei a ridiculous amount of blood explodes between the two of them at high pressure. A duel that Sanjuro thinks is foolish and unnecessary, but which Muroto insists on since Sanjuro abused his trust. Along the way the Samurai becomes more and more disillusioned

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