TATEYAKU MIFUNE-Kurosawa's Classic-The Bodyguard

This is the story that inspired the first spaghetti Western, FISTFULL OF DOLLARS, and more recently, LAST MAN STANDING, with Bruce Willis. The story holds no surprises for me, having watched Leone's version too many times in a house where only Westerns were viewed. Still, I have to admire the style, and the brilliant combination of the performance of Tishoro Mifune, and the film-making genius of Akira Kurosawa.

The title of this review, if you are interested, is from Japanese Kabuki theater, and relates to a "style" of acting that applies to most of Mifune's work. (In fact, a style applies to most actors, when they become cast for the roles that have already played), Mifune's style, "tateyaku" was that of the forceful, well disciplined, macho-type leading man, which is in contrast to the softer more sensitive leading male role, or the "nimaime" male. (sort of a Johhny Depp type) He has been in many films, and won countless awards. You may not have known he was in Speilburg's "1941" or the acclaimed SHOGUN mini-series. He is probably best known for his roles in classic Kurosawa films, and he was in several. Each character he plays is unique.

YOJIMBO is the original masterpiece, and like all of Kurosawa's films, it is a work of genius.
Released in April of 1961, it is slower paced than SEVEN SAMURAI and RASHOMAN, but is more sophisticated. It was criticized at home for being a bit "too" Western. Some say Dashiel Hammet, who wrote RED HARVEST, centering on a Montana Mining town, was the inspiration, but it is too much of a stretch for me. Kurosawa's education introduced him to Western philosophy , art and literature, but YOJIMBO, like Kurosawa's other work, is based on a thorough knowledge of his own Japanese culture and history. The fact that the characteristics and activities seem familiar only makes Kurosawa's work more impressive, because he has touched on the nature of man.

The filming and direction of Kurosawa is hard to beat, from the perfection of each scene and camera angle, to the flow of the plot through the little village, which is seamless and perfect. There is outstanding character development, in spite of the cultural and language differences, making the defining of human characteristics approach the very best of art in all its forms.

Black and white photography requires absolute perfection in design, angles and lighting, and Kurosawa was the master.
The score, characterized by theme music for the hero,and jarring "fighting" music, is the best use of music for any type of film, something Hollywood seems to have forgotten.

Kurosawa uses an interesting device in exposition, the use of nearly neutral characters to befriend the hero, or tell the tale. In this movie the role is Gonji's, with some added assistance by the busy body town crier, Hansuke, and the cooper, who makes the coffins.


THE POINT

The movie shows all the worst characteristics of modern civilization in it's primal form. The rising middle class in the 1860's changed Japan's social structure forever. Tradition and honor became a thing of the past, and children left the family trade to make a quick buck. Prosperity brought greed, sloth, gambling and prostitution. Sound familiar? Yet, through all this strides the lone Samurai, who calls no one master, lives by his wits and skill, and maintains a refined sense of honor.

THE PLOT

THE CROSSROADS "The smell of blood brings the hungry dogs"

The year is 1860. Samurai, formerly employed by nobility to protect their interests are wondering aimlessly looking for work. Sanjuro comes to a crossroads, and tosses a stick, and saunters down that road to a small town. The town is in turmoil. Two rival gangs are fighting for control of the town. Sanjuro heads for the local saloon (I mean inn) and over a cup of sake, hears the tale from the disgusted shop owner.

Sanjuro hatches a plan, knowing that the warring groups would be plying for his skills as sword slinger. Townpeople and prostitutes peer at him as he strides through town, with a hitch of his powerful shoulders, scratching at the stubble on his chin.

He goes first to Seibei, the original big man in town, after demonstrating his skills by killing a few of the thugs of his rival (and former right hand man) U-s-h-i-t-o-r-a**. He makes a good deal, but overhears a treacherous plot hatched by Seibei and his wife Orin, to kill him after "he wins" so they don't have to pay him. He tosses the money down , and stalks off.

He gets above the street so he can watch the rival thugs fight, finding it very amusing.

INSPECTION, AND THE ODDS CHANGE

Everything is put on hold when the town cleans up their act to pass government inspection. Sanjuro is still playing the thugs against each other and feeling pretty good, expecting the one with the biggest pile of money to come to him, when Unosuke, Ushi's** youngest brother, returns to town...with a gun.

ANOTHER COMPLICATION

The rivals soon begin their fight again. Seibei takes a favorite concubine from Ushi's** camp, and Ushi** takes his son hostage. They meet in the center of town and exchange hostages.The girl is put under guard.

Sanjuro, a hero in spite of himself, listens to the girl's lament, who had been married with a young son, and kills the guards, freeing her to re-unite with her family and run.
When they wait to thank him, he shouts,

"I hate pathetic people! I'll kill you if you cry".

Sanjuro makes up a cover story, but is soon found out and beaten badly by Ushi's** thugs, led by the young gun- toting psycho, Unosaki. He crawls off, and asks Gonji to bring him a coffin. Gonji cries in despair, "Don't give up!"
Sanjuro responds:

"IDIOT! I'M NOT DYING YET! I STILL HAVE QUITE A FEW MEN TO KILL".

SHOWDOWN AT HIGH NOON

The two rival groups start killing each other, with the advantage going to Ushi**, since his side has the gun. Sanjuro gets toted out of town in his coffin, with help from Ushi's** idiot brother, but he looks bad. "You look dead" says Gonji. It is worse when he smiles.
When his friend is taken by the thugs, Sanjuro is one angry dude, and he has a score to settle.
Nope, I'm not going there! You can guess the ending, or read another review, but you won't hear it from me.

THE CAST

TISHORO MIFUNE as Sanjuro Kuabatake. You have to love this actor, who was the epitome of the almost perfect hero. His comic timing is perfect, his characters are always complex, and complete. When he arrived on his first set, it was to apply for a job as back-up camera operator. He was possibly the greatest actor of his time, and never delivered a bad performance. His character proves something important. He is and skilled and powerful, yet grubby and unshaven. He exudes confidence, and inspires respect. His greatest weapon is his intelligence.

ELJIRO TONO as Gonji, who keeps a little sake and rice place in the middle of town. He is the character that relates to the audience, explaining what goes on and being Sanjuro's confidant and friend. Well done, as well as the purely human comic touches.

SEIZABURO KAWAZU as Seibei. The character was the first successful businessman, and rivalry develops when his former right hand man Ushi** strikes out on his own and challenges his monopoly on the town. He plays a man without honor, bossed by his wife who not only has no manners, but is completely without honor herself. Well done, again.

ISUZU YAMADA as Orin. This woman, with her sly sidelong glances and her rude behaviour needs not speak in OUR language for us to know exactly what she is all about. Great performance.

HIROSHI TACHIKAWA as Yoichiro, the weak and somewhat cowardly son of Seibei, who at least once questions his parent's lack of scruples, when they tell him he has to kill someone. His mother says "Kill one or a hundred. You only hang once".

KYU SAZANKA as Ushi**. The character had no honor, and the fine points of his performance were lost on me. Hey, I have enough to do!

DAISUKE KATO as Inokichi, the idiot brother and chief thug for Ushi**. I have seen him before and he is wonderful in this comedic role. When he is counting coup, he has to count on his fingers to figure out how many died. I really enjoyed his performance. He is hilarious!

TATSUYA NAKADAI as Unosuke, the wild brother, who comes to town with a gun. This actor would stay with Kurosawa for a few lead roles. Handsome, and able to portray the reckless over- confidence of the crazy renegade with a truly wild eyed glare, you have to be a little impressed. Check out the final scene in the movie, for something to remember.

SUSMU FUJITA as Homma, Seibei's fencing master, resident bodyguard. When Sanjuro makes a deal with his master, and a REAL fight is about to go down, he packs his bag and runs off, with a little wave and smile for Sanjuro, who watches from a window. I only bring this up because it is one of the funniest scenes in the entire flick.

IKIO SAWAMURA as Hansuke, the town crier. This is another comic spot, for this little man with a rubber face. His expressions are priceless, his character is universal. He is one who profits in smaller ways from the fighting.


FINAL RECOMMENDATION

This is a wonderful movie, and no imitation comes close. Why bother with Willis or Eastwood, when you can watch Mifune?


**I will refer to this character as "Ushi", since Epinions has decided the word, which is the name of the character in the film, is obscene.