It’s set in 1860 in Japan at the close of the Tokugawa dynasty and the rise of the middle-classes. An unemployed, lazy, gruff but masterful samurai, Sanjuro Kuwabatake (Toshiro Mifune), wanders into a sleepy village that is terrorized by two rival factions fighting over the turf and finds out from the embittered innkeeper Gonji (Eijiro Tono) that there’s a gang war raging over a rift between former partners. On one side is a greedy and ruthless silk merchant and brothel keeper, Seibei (Seizaburo Kawazu), on the other side a greedy and ruthless sake merchant Ushi-Tora (Kyu Sazanka). The mysterious samurai offers his services to the highest bidder by staying with the neutral innkeeper and not committing to either side he secretly schemes to have both sides try to outbid each other for his services and that they will eventually destroy each other. He believes neither side is worth defending.
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The samurai cunningly starts a series of fights, performs a few killings and arranges dual kidnappings, as each side believes the other is responsible till a full scale war rages. In an act of unselfishness the bodyguard kills six of Ushi-Tora’s guards with his sword and frees a stupid weakling farmer’s pretty wife from being the property of a brewer, as the hubby lost her to a gambling debt. But Unosuke (Tatsuya Nakadai), the sly and vicious pistol brandishing younger brother of Ushi-Tora, who has the only gun in town, figures out his older blood-thirsty but incompetent brother Ino (Daisuke Kato) was duped by the bodyguard into thinking she was released by a raid from Seibei’s men and takes the bodyguard prisoner. After being subject to torture and a beating, the bodyguard escapes and is nursed back to health by the innkeeper and the cooper in a hut on the outskirts of town. When the bodyguard learns that Gonji has been captured by Ushi-Tora’s men, after they wiped out all of their rival’s men, he comes to town and using a borrowed sword from a dead man eliminates the rival gang single-handed and leaves town with only the innkeeper and cooper around for him to say goodbye to.Ī great mixture of technical skill, action and comedy, while showing how contemptuous humans can be in their ill behavior that ranges from being merely obsequious to unsympathetic killers.
Not much on plot or leaving one much to think about, but it sure was entertaining.To many, Akira Kurosawa's reputation rests on his samurai epics. But he was, in fact, a supremely versatile director. He started out in martial arts before tackling period dramas, social realism, hard-boiled crime and literary adaptations. But, before Yojimbo, he had never attempted a comedy. At first glance, this tale of a rnicrocosmic civil war may not seem all that amusing. Its setting is bleak, its scenario pitiful and its violence shocking. But set it against the films it influenced - including Sergio Leone's Dollars trilogy and the yakuza thrillers of Takeshi Kitano - and it's clear what kind of comedy we're dealing with. Since the discovery of his 1950 masterpiece, Rashomon, Kurosawa had been considered Japan's most Western filmmaker.
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