A naked sword. 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. Kurusawa stages the entire sequence as one long shot, with 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”. and disgraced, Muroto challenges the Samurai to a duel. 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. 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. all. Toshiro Mifune is playing the role Clint Eastwood played. their swords. Kurosawa frames the scene with Iiro in the center of the frame. A foolish view, which is quickly pointed out as Sanjuro (Toshiro Mifune) intrudes on the scene. 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. through trickery and deception rather than skill with a blade. Western that is no accident, Kurosawa was a big John Ford fan, and all of his There is a good point to be made here about too much of a He didn't stay in his sheath. 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. Or almost pure, as Sanjuro decides to take some responsibility for these young fools who might get themselves killed out of their own idealism. in every action or horror film with nowhere near the same effect. Someone that could have been his friend and ally in different circumstances. 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. 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. Muroto recognizes a man of Sanjuro’s skill and can relate to him on a level that the idealistic samurai cannot. They want to thank Sanjuro, but he doesn’t want their thanks, rather a few coins so that he can feed himself. the gaggle of young samurai watching in the background framed between the two 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. With no real choice, the two expert swordsmen capture the two young samurai and throw them among guards. After trying and straight line from this shot to such diverse modern masterworks as Like with Yojimbo my basis for comparison is again with Criterion’s original non-anamorphic DVD from 1999. 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. Even their prisoner, in a great bit of comic relief, almost becomes part of their group under the influence of the Chamberlain’s wife. 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