There are two aspects of this feature that especially stand out right away. The first is that, unsurprisingly, the cast and crew include no few of Kurosawa Akira's regular collaborators, and specifically no few individuals returning from the immediate predecessor, 1961's 'Yojimbo.' The second is that in no time at all, even within just ten minutes beyond the opening credits, it's made abundantly clear that the playful, wry wit of the preceding work has given way to much more outward humor, to the point that more than not 'Sanjuro' could plainly be categorized as a comedy. It most assuredly remains a period flick, and a samurai flick, and as well made as we anticipate of so esteemed a filmmaker, but to the extent that its forebear delighted with its jest, this picture earns hearty laughs while imparting its earnestly compelling story. The result isn't just a wonderfully fun viewing experience, but one that quite stands apart from much of Kurosawa's oeuvre. This is a blast!
In fact, in its own way, the writing here is unexpectedly complex, and arguably more so than in 'Yojimbo' with its tale of two rival gangs pitted against each other. Kurosawa and returning co-writers Oguni Hideo and Kikushima Ryuzo expand somewhat on the central character of Sanjuro, suggesting even greater intelligence and hidden depths to a figure we've already seen to freely roam the countryside and cleverly render aid as he deems fit - only, here he joins up with a squad of brash, impulsive young samurai who he must continuously prevent from committing terrible blunders that would subsequently foil their own plans. The plot is a tad more direct, and swiftly paced, yet this only reflects how busy the narrative is as Sanjuro and his new compatriots face steady opposition and a series of obstacles in rescuing the abducted chamberlain Mutsuta. In turn, ninety-five minutes pass very quickly as major intrigue and scheming mix with fluid shocks of violence and the regular bursts of cheeky, almost frolicsome dialogue, situational humor, and some decidedly animated performances. It would have been easy enough for the title to have been made as a straight blend of drama and action; that Kurosawa, Oguni, and Kikushima instead followed the antecedent by fully embracing the friskiness speaks incredibly well to their brilliance.
Moreover, given the fare for which the man was best known, I don't think it's unreasonable to suppose that 'Sanjuro' illuminates Kurosawa's range as a filmmaker, and likewise the skills of those he worked with. In every regard this is solidly made, with superb fight choreography, stunts and effects; heavily detailed sets, costume design, hair, and makeup; smart, dynamic cinematography and editing; and a splendid score that, if less prominent here, nevertheless lends further to the tableau. Iconic actor Mifune Toshiro again illustrates his tremendous capabilities as an actor as he deftly rides the line between imposing severity, tightly controlled passion, and sardonic disdain; those in supporting parts, generally guided toward one mood or another, very ably serve the humor as much as the story. Maybe it's just a projection of the viewer that results from the overall tenor of the film, but it also seems to me that Kurosawa's direction is marginally looser here, and less rigid, in order to facilitate that lightheartedness. This is hardly to suggest that his famous, perfectionist fastidiousness is specifically diminished, only that he perhaps loosened his grip on the reins to a slight degree as befit the production. All these facets nimbly maneuver between the serious period roots and the strong comedy woven throughout, complementing a screenplay that in and of itself is a joy in its unusual swirl of elements down to the scene writing, characters, and dialogue.
If I have any criticism at all to impart it's that the ending, no matter how suitable for the plot at large, feels a tad out of place given the tone that is broadly adopted. In its coda the storytelling swerves from a careful balance to abject drama, and I must think it would be impossible not to observe the discrepancy. Still, be that as it may, the whole is so excellent and entertaining that this measure of imperfection doesn't seem that important. Unless one is dead-set against the approach that Kurosawa took to the source material, I can't imagine anyone would watch this movie and not step away having enjoyed themselves. For the level on which Kurosawa operates any difference in quality from one work to the next is mostly very small, and a matter of personal preference; I can't say I was prepared for the unabashed humor in 'Sanjuro,' but I'm very pleased with just how superbly it all turned out. Why, maybe that makes this an easier point of entry for the uninitiated to Kurosawa's body of work, not least as it is not particularly necessary to first watch 'Yojimbo.' One way or another what it all comes down to is that this 1962 feature is really fantastic, and whether you're a fan of someone involved or just looking for something good to watch, there's no going wrong here. Not as essential as some of Kurosawa's other pictures, but also likely more accessible, 'Sanjuro' is a terrific classic and I'm happy to give it my high recommendation!
In fact, in its own way, the writing here is unexpectedly complex, and arguably more so than in 'Yojimbo' with its tale of two rival gangs pitted against each other. Kurosawa and returning co-writers Oguni Hideo and Kikushima Ryuzo expand somewhat on the central character of Sanjuro, suggesting even greater intelligence and hidden depths to a figure we've already seen to freely roam the countryside and cleverly render aid as he deems fit - only, here he joins up with a squad of brash, impulsive young samurai who he must continuously prevent from committing terrible blunders that would subsequently foil their own plans. The plot is a tad more direct, and swiftly paced, yet this only reflects how busy the narrative is as Sanjuro and his new compatriots face steady opposition and a series of obstacles in rescuing the abducted chamberlain Mutsuta. In turn, ninety-five minutes pass very quickly as major intrigue and scheming mix with fluid shocks of violence and the regular bursts of cheeky, almost frolicsome dialogue, situational humor, and some decidedly animated performances. It would have been easy enough for the title to have been made as a straight blend of drama and action; that Kurosawa, Oguni, and Kikushima instead followed the antecedent by fully embracing the friskiness speaks incredibly well to their brilliance.
Moreover, given the fare for which the man was best known, I don't think it's unreasonable to suppose that 'Sanjuro' illuminates Kurosawa's range as a filmmaker, and likewise the skills of those he worked with. In every regard this is solidly made, with superb fight choreography, stunts and effects; heavily detailed sets, costume design, hair, and makeup; smart, dynamic cinematography and editing; and a splendid score that, if less prominent here, nevertheless lends further to the tableau. Iconic actor Mifune Toshiro again illustrates his tremendous capabilities as an actor as he deftly rides the line between imposing severity, tightly controlled passion, and sardonic disdain; those in supporting parts, generally guided toward one mood or another, very ably serve the humor as much as the story. Maybe it's just a projection of the viewer that results from the overall tenor of the film, but it also seems to me that Kurosawa's direction is marginally looser here, and less rigid, in order to facilitate that lightheartedness. This is hardly to suggest that his famous, perfectionist fastidiousness is specifically diminished, only that he perhaps loosened his grip on the reins to a slight degree as befit the production. All these facets nimbly maneuver between the serious period roots and the strong comedy woven throughout, complementing a screenplay that in and of itself is a joy in its unusual swirl of elements down to the scene writing, characters, and dialogue.
If I have any criticism at all to impart it's that the ending, no matter how suitable for the plot at large, feels a tad out of place given the tone that is broadly adopted. In its coda the storytelling swerves from a careful balance to abject drama, and I must think it would be impossible not to observe the discrepancy. Still, be that as it may, the whole is so excellent and entertaining that this measure of imperfection doesn't seem that important. Unless one is dead-set against the approach that Kurosawa took to the source material, I can't imagine anyone would watch this movie and not step away having enjoyed themselves. For the level on which Kurosawa operates any difference in quality from one work to the next is mostly very small, and a matter of personal preference; I can't say I was prepared for the unabashed humor in 'Sanjuro,' but I'm very pleased with just how superbly it all turned out. Why, maybe that makes this an easier point of entry for the uninitiated to Kurosawa's body of work, not least as it is not particularly necessary to first watch 'Yojimbo.' One way or another what it all comes down to is that this 1962 feature is really fantastic, and whether you're a fan of someone involved or just looking for something good to watch, there's no going wrong here. Not as essential as some of Kurosawa's other pictures, but also likely more accessible, 'Sanjuro' is a terrific classic and I'm happy to give it my high recommendation!