Ed note: For the next several weeks, composer and film aficionado Lewis Saul has agreed to supply us with in-depth commentary about the films of Akira Kurosawa, now showing in an extended festival at the Film Forum. Even if you're unable to stop by the Forum, we think Lew's insights will deepen your appreciation of these important movies.
Yojimbo [1961]
PLAYING February 3rd at The Film Forum
This is Kurosawa's 20th film.
Interestingly, Galbraith (whose book, after all, is a dual-biography of both Mifune and Kurosawa) begins this chapter ("Mulberries, Camellias, and Cacti" [the "cacti" refers to a film Mifune made in Mexico called Ánimas Trujano {El Hombre Importante} |1961|]) with this statement:
"Mifune's next film would be the picture that deeply etched his screen persona, to both good and bad effect, for the rest of his life." [p. 301].
In fact -- although Kurosawa was already an international star after Rashômon (In the Woods) [1950] -- this film perhaps cemented Kurosawa's reputation, as well. There is no way that Galbraith could overstate the degree to which Mifune became an international superstar after this film became so successful! A career-defining performance!
This movie is simply a blast to watch! One hundred and ten minutes pass and you wonder where the time went!
"The story opens in 1860. Mifune, a
ronin named Sanjuro, is seen wandering under the opening titles in tight close-ups. His journey is interrupted by the appearance of a farmer's son (
Yosuke Natsuki), a youth sick of the rural life, in want of fame and fortune. His father tries to dissuade him, but the farmer's son wants a 'short and exciting life' and runs off. Soon thereafter, Sanjuro reaches a small, hellish town. Windows slide open, and geisha and thugs stare at him suspiciously.