Sanjuro

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Sanjuro
SanjuroPoster.jpg
Japanese theatrical release poster
Directed byAkira Kurosawa
Produced by
Screenplay by
Based onHibi Heian
by Shugoro Yamamoto
Starring
Music byMasaru Sato[1]
Cinematography
Production
companies
Distributed byToho
Release date
  • January 1, 1962 (1962-01-01) (Japan)
Running time
95 minutes[1]
CountryJapan
LanguageJapanese

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.[2]

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.

Plot[edit]

Nine young samurai believe that the lord chamberlain, Mutsuta, is corrupt after he tore up their petition against fraud at court. One of them tells the superintendent of this and he agrees to intervene. As the nine meet secretly to discuss this at a shrine, a rōnin overhears and cautions them against trusting the superintendent. While at first they do not believe him, he saves them from an ambush. But as their rescuer is about to leave, he realises that Mutsuta and his family must now be in danger and decides to stay and help.

By the time the samurai get to Mutsuta's house, the chamberlain has been abducted and his wife and daughter are held prisoner there. Following the rōnin's suggestion, a servant from the house gets the guards drunk, allowing the samurai to free the women. Then the group hide in a house next door to the superintendent's compound. When Mutsuta's wife asks the rōnin his name, he looks out of the window at the surrounding camellia trees and says it is 椿三十郎 Tsubaki Sanjūrō, literally "thirty-years-old camellia”. The lady then criticises ‘Sanjuro’ for using his sword too frequently and insists that he refrain from unnecessary killing.

Sanjuro decides to get closer to the corrupt officials, and he joins their henchman Hanbei, who had previously offered him a job after the ambush at the shrine. Although the samurai distrustfully decide to keep watch on him, Sanjuro realises he is being followed as he walks along with Hanbei and their shadows are easily captured and bound. Made to believe that a much larger group may be involved, Hanbei leaves to request reinforcements. Sanjuro then frees the four captured samurai, although having to kill all their guards. He tells the four to leave him tied up, then explains to Hanbei on his return that he did not wish to die in a cause in which he had no stake.

The chamberlain’s whereabouts are not discovered until next day, when Mutsuta's wife and daughter find a piece of the torn petition in the small stream that flows from the superintendent's compound past their hideout. Since an attack on the officials is impossible with the compound full of armed men, Sanjuro hatches a plan to get the army away by reporting to Hanbei that he saw the rebels at a temple where he was sleeping. Meanwhile he has told his group of samurai that he will send the signal to attack by floating large numbers of camellias down the stream.

The first part of the plan works, with the superintendent's forces rushing off to the temple; however, Hanbei becomes suspicious after catching Sanjuro trying to drop the camellias into the stream and ties him up. Just as Hanbei is preparing to kill him, the remaining corrupt officials realise that Sanjuro has tricked them - his description of the temple was incorrect. They convince Hanbei not to waste any further time and instead catch up with the superintendent's forces and have them return as soon as possible. However, Sanjuro tricks the officials into giving the signal for the samurai to come to the rescue. Hanbei returns to find he has been made a fool of once again.

Mutsuta is restored to his position and the superintendent commits hara-kiri, much to the chamberlain's regret, as he wished to avoid a public scandal. As his family and the loyal samurai are celebrating, they discover that Sanjuro has slipped away. The samurai race off and find Sanjuro and Hanbei about to duel.

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. The two face off, but as Hanbei draws his sword, Sanjuro defeats him by drawing and cutting in a single, faster action. A fountain of blood gushes from Hanbei and he falls dead. When the young samurai cheer his victory, Sanjuro becomes angry and says he will kill them if they follow him. His admirers can only kneel and bow as he walks away.

Cast[edit]

Production[edit]

The story is largely based on Shūgorō Yamamoto's short story "Peaceful Days" (日日平安 Hibi hei-an). Originally Sanjuro was to be a straight adaptation of the story. After the success of Yojimbo the studio decided to resurrect its popular antihero, and Kurosawa reimagined the script accordingly.[3][4] But despite a certain element of continuity, the eventual film turned out to be more than just a sequel to Yojimbo for the hero goes on to develop in character from the swashbuckling original.

He is, as before a masterless samurai who preserves his anonymity by the same means. When asked his name in Yojimbo he looks outside and names himself mulberry (Kuwabatake), while in Sanjuro it is a camellia (Tsubake) that he chooses for first name. In both cases he gives Sanjuro (thirty-year-old) as his surname, although in the latter film he admits to being closer to forty.[5] A crucial difference, however, is that there is no appeal to the Western genre in the story line, as there was in Yojimbo. That was set in an out-of-the-way border town where the hero deals ruthlessly with local thugs, while in Sanjuro the action centres on a Japanese feudal power struggle in a clan fortress town. There the hero realises that Hanbei, his main opponent, is a man much like himself: a social outsider (an “unsheathed sword” in the words of the chamberlain’s wife) free to pick his own side in a conflict. The difference between them is only in the motives behind their choice.[6]

There is also a greater element of social comedy, with the seasoned fighter constantly hampered by the failure to grasp the true situation of the young men he chooses to help. But while he is their superior in tactics, the lady he has just rescued confounds him by insisting that he restrain himself, since killing people is a bad habit. Although there has to be some killing, largely as result of the inept actions of his young allies, the only truly violent moment comes at the very end in the duel between Sanjuro and Hanbei. From this he walks away in a fury, because his young admirers are still unable to read human nature and understand the significance of what has just happened.[7]

Release[edit]

Sanjuro was released on January 1, 1962 in Japan where it was distributed by Toho.[1] Sanjuro was Toho's highest-grossing film in 1962, coming second place for the highest grossing Japanese productions in 1962.[1] The film was released in 1962 in the United States.[1]

The film was remade as Tsubaki Sanjuro in 2007 by Yoshimitsu Morita and starring Yūji Oda in the title role.[1]

Reception[edit]

Mifune's sword fighting in the film was used in an extensive illustrated example of "samurai virtuosity with his sword" in This Is Kendo, a 1989 kendo manual published in English.[8]

The film has been positively received by critics. It holds a 100% rating on the review aggregator Rotten Tomatoes based on 23 reviews, with a weighted average of 8.38/10. The site's consensus reads: "Technically impressive and superbly acted, Sanjuro is a funny, action-packed samurai adventure featuring outstanding cinematography and a charismatic performance from Toshiro Mifune".[9]

Notes[edit]

References[edit]

  1. ^ a b c d e f g h i j k Galbraith IV 2008, p. 188.
  2. ^ "Sanjuro". britannica.com. Retrieved 22 August 2012.
  3. ^ Richie, Donald. The films of Akira Kurosawa. p. 156.
  4. ^ Yoshinari Okamoto (director) (2002). Kurosawa Akira: Tsukuru to iu koto wa subarashii [Akira Kurosawa: It is Wonderful to Create] (in Japanese).
  5. ^ Roger Ebert, Great Movies III, University of Chicago Press, 2010, pp.411-14
  6. ^ Mitsuhiro Yoshimoto, Kurosawa: Film Studies and Japanese Cinema, Duke University Press, 2000, p.294-302
  7. ^ Brian Eggert, Deep Focus Review, July 4, 2011
  8. ^ Sasamori, Junzo; Warner, Gordon (1989). This is Kendo - the art of Japanese fencing. pp. 38–41. ISBN 0-8048-1607-7.
  9. ^ "Sanjuro (Tsubaki Sanjûrô) - Movie Reviews - Rotten Tomatoes". www.rottentomatoes.com.

Sources[edit]

External links[edit]