After a prison riot, former-Captain Nascimento, now a high ranking security officer in Rio de Janeiro, is swept into a bloody political dispute that involves government officials and paramilitary groups.
Sanjuro, a wandering samurai enters a rural town in nineteenth century Japan. After learning from the innkeeper that the town is divided between two gangsters, he plays one side off against the other. His efforts are complicated by the arrival of the wily Unosuke, the son of one of the gangsters, who owns a revolver. Unosuke has Sanjuro beaten after he reunites an abducted woman with her husband and son, then massacres his father's opponents. During the slaughter, the samurai escapes with the help of the innkeeper; but while recuperating at a nearby temple, he learns of innkeeper's abduction by Unosuke, and returns to the town to confront him. Written by
Bernard Keane <BKeane2@email.dot.gov.au>
Akira Kurosawa challenged his assistant directors to come up with an image for the film to let Sanjuro know he was entering a bad town. He shot down all of their ideas, since all of them had already been done. Kurosawa himself then came up with the idea of the dog carrying the human hand. See more »
When Sanjuro practices throwing the knife at a leaf, the wire on the knife is clearly visible (the scene was filmed backwards; the knife was actually pulled off the leaf by the wire). See more »
Let me go, father. It's my chance.
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If I had to choose only one movie for film students to learn from, this would be it. Other films may be more profound, or their imagery more groundbreaking, but this one is so tightly constructed that nothing - not a frame, word, or gesture - is extraneous.
Toshiro Mifune, one of the world's most charismatic actors, is perfection as a tough loner of a samurai who takes it upon himself to clean up a town corrupted by two gambling clans. Swirling through and around him is a story that is both technically flawless and profoundly moving.
Kurosawa meticulously infuses every detail with meaning; there's a purpose behind every shot, and aspiring directors should pay close attention (why is the camera slightly tilted? why are there concubines in the background?). His economy of style was never more amazing; watch as the samurai rides into town, and the director establishes the atmosphere with exactly one jaw-dropping shot. And the story is equally well-crafted, with no plot holes and no inconsistencies.
A wonderful tale that rolls beautifully from start to finish. See it, see it, see it!!
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