When a grand masterpiece of cinema receives a sequel, it is almost inevitable that the follow-up will fall short of its predecessor's brilliance. This trend often holds true, especially when the original film has achieved iconic status. However, the situation can be somewhat mitigated if the sequel is helmed by the same visionary director who crafted the original. In 1962, Akira Kurosawa, one of cinema's most revered directors, released Sanjuro, a sequel to his acclaimed jidai geki classic Yojimbo.
The film is based on Hibi Heian ("Peaceful Days"), a short story by Shūgorō Yamamoto, a popular author of samurai novels. Interestingly, the story had no connection to Yojimbo, and the film was initially intended to be a straight adaptation of Yamamoto's work. However, Toho, the studio behind the film, decided to exploit the immense popularity of Yojimbo by incorporating its anti-hero, played by Toshirō Mifune, into the new film. This decision ultimately led to the creation of Sanjuro, a film that, while not a direct sequel to Yojimbo in terms of storyline, features the same iconic character in a new and distinct narrative.
Set during the mid-19th century at the tail end of the Edo period, Sanjuro sees Toshirō Mifune reprising his role as the nameless rōnin—the masterless samurai who wanders into a feudal clan's estate plagued by corruption and internal discord. The plot revolves around a group of nine young, idealistic samurai who serve this clan and are convinced that their chamberlain, Mutsuta (played by Yūnosuke Itō), is corrupt. Their suspicions arise after Mutsuta dismisses their grievances by tearing up their petition. In their quest for justice, they approach Superintendent Kikui (played by Masao Shimizu), who promises assistance but is himself corrupt and colludes with court official Kurofuji (played by Takashi Shimura). The rōnin, who names himself “Sanjuro Tsubaki”, warns the young samurai about Kikui’s true nature, a prediction that proves accurate when Kikui sends his men to apprehend them. Demonstrating his exceptional swordsmanship, Sanjuro rescues the samurai from certain doom. As events unfold, Sanjuro volunteers to assist them in their misguided mission to confront Mutsuta’s captors and face off against the formidable swordsman Hanbei Muroto (played by Tatsuya Nakadai).
Inevitably, comparisons between Yojimbo and Sanjuro arise, leading many critics to view the latter as a downgrade. The most glaring distinction lies in their settings; while Yojimbo features an Old West-like town filled with vibrant characters and chaotic energy, Sanjuro is confined to a feudal estate where characters adhere strictly to etiquette and customs that may seem perplexing to non-Japanese viewers. Many scenes transpire indoors, giving Sanjuro an almost theatrical quality akin to a stage play. Furthermore, the humour that was integral to Yojimbo is largely absent here, which may leave some viewers longing for the levity that characterised its predecessor.
Nevertheless, Kurosawa's directorial finesse remains evident throughout Sanjuro, showcasing his ability to craft compelling visuals and engaging narratives. Mifune delivers another stellar performance as the cynical anti-hero who ultimately chooses to do what is right despite his disdain for societal norms. In this sequel, Sanjuro embodies an even greater sense of alienation; his experiences among common folk have fostered contempt for the aristocracy and its petty intrigues. The film also features remarkable sword-fighting sequences that, although brief, are both impressive and grounded in realism.
Despite its relatively short runtime of just over an hour and a half, Sanjuro grapples with pacing issues at times. However, Kurosawa compensates for this with powerful final scenes that serve as poignant commentary on corruption within Japanese politics and society at large. These moments resonate deeply with audiences familiar with historical contexts and contemporary issues alike.
The culmination of viewers' patience manifests in a climactic showdown between Sanjuro and Hanbei—a confrontation that is brief yet brutally graphic in its depiction of violence. This sequence has inspired countless similar scenes in later samurai films and anime, solidifying its place in cinematic history as one of the great confrontations within the genre.
While Sanjuro may not reach the same heights as Yojimbo or other Kurosawa masterpieces, it remains a commendable film that showcases the grand master’s artistry at work. It is an engaging experience that should be recommended to fans of jidai geki films as well as enthusiasts of martial arts and period action genres.
RATING: 7/10 (+++)
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