An eye for an eye makes the whole world dead (anti-war Write-Off)

The title of my review of course misquotes Gandhi. However, it accurately sums up the plot of Akira Kurosawa's classic film much better than Gandhi's famous quote. Here we've got a case of a town embroiled in a conflict that leads to "an eye for an eye for an eye for an eye for an eye....etc."

The year is 1860. The setting is Japan. The emerging middle class has led to the collapse of the emperor's regime and unemployment for his samurai, who are forced to go from town to town looking for work. One such samurai is Sanjuro Kuabatake (not his real name, if you know Japanese you'll get the joke here). Sanjuro, played with swaggering confidence by Toshiro Mifune, wanders the countryside in search of employment.

Sanjuro is in luck. He comes across a small, isolated town out in the country. We immediately sense there is something wrong with this town. The moment Sanjuro enters the town, he comes across a scene of two people arguing and shoving each other. The dusty streets are deserted and people cower behind closed doors peeping through the eyeholes. The two main businesses the town seems involved with are prostitution and gambling. A dog wanders through the streets carrying a human hand in his mouth.

Sanjuro meets up with Gonji, an old man who works as both an inkeeper and a mortician. Gonji explains to Sanjuro the decadent reality of their town with disgust in his voice. It seems the people of this town are caught up in a feud over...something. In theory it's over business and property, but the war has been going on for so long it seems to make little difference who started it or what it's about. The main rivalry is between Seibei's family and clan and that of his former business partner Ushi. Gonji has responded to the feud by withdrawing into himself, only going through the motions.

Sanjuro immediately sees a chance both to make some money, and to help Gonji with his business as a mortician. Sanjuro will loan himself out as a bodyguard to the two clans, agreeing to work for whoever offers him the most money. Of course, this is only part of his plan. Sanjuro also intends to do some behind-the-scenes work for the rival clan, playing the two against each other. For Sanjuro is motivated not only by money, but also by a genuine disgust and horror to the things he witnesses in this town. Sanjuro is determined to help this bloodthirsty town aid itself in killing each other off. Any person who is so bloodthirsty that they will destroy each other over trivialities commands no respect to this ronin samurai. Sanjuro comes to the conclusion that these people all deserve to die, and we the audience are inclined to agree. The only man Sanjuro has any respect for is the Gonji, who wants no part of the conflict that has engulfed his town.

Throughout the course of the film, Sanjuro will work both sides to get as much money as he can, and work to keep both sides from getting the better of him. Sanjuro must keep himself on his toes. His first client, Seibei, hired him for a handsome sum of money. However, Sanjuro overheard that Sebei's family was planning to kill him once they were through with him. Whenever the two clans agree to exchange prisoners from the rival clan, there is usually some plot afoot for one clan to get the advantage over the other. Such is the way in this modern world of business. Honor is a thing of the past and people are willing to double-cross their dearest family members to get what they want, in this case land, money, and property.

Much has been made here about the film reflecting director Kuroswawa's ambivalent feelings about the world Japan was turning into. Japan of 1860 resembles in some ways the capitalist society of Japan in 1960 when this film was made.

While "Yojimbo" may sound like a dark film, it's actually quite humourous for the most part. This is the kind of film where you laugh so you won't cry. The absurdity of the situation, two warring clans more interested in getting one up on the other no matter how many family members it costs them, while the Samurai profits from their bloodlust. Sanjuro indeed seems quite amused at this conflict; in one scene he quietly stands apart from the fighting laughing at a distance. The two clans are too stupid and bloodthirsty to realize that they're being used.

There's also some thrilling action sequences where Mifune gets to demonstrate his athletic prowess, waving his sword about. Sanjuro demonstrates his ability as a swordsman early on when he kills several gamblers in order to show off his skill to the warring clans ("Two coffins. Wait, better make that three.") I like the way Kurosawa makes full use of the widescreen using wide shots, such as in the scenes where the clans gather on both sides of the dusty streets approaching each other. There's also that suspenseful final action sequence towards the end when Sanjuro has to take on the remainder of Ushi's gang, including one with a pistol. How Sanjuro overcomes these people makes for a thrilling ending.

Yet lest this film sound too lighthearted, there are some dark moments that drive home the horror and tragedy over this stupid feud. When Tokuemon's wife is held hostage by Ushi's clan, even the hardened Sanjuro can't help but be overwhelmed with horror. For Tokeuemon's wife is also a mother, and her little son must watch as she is carted along the street tied up like a possession. Sanjuro, who is presently the bodyguard of Ushi's clan, will take it upon himself to rescue Tokeuemon's wife so that she, her husband, and her son can get away from this horrible feud and live in peace. This scene is vital in developing Sanjuro's character. The Samurai may seem disconnected and comptemptuous towards everyone, but in fact he shows compassion towards certain people he feels deserve respect. Sanjuro's decision will cost him dearly when Ushi's gang finally realizes they are being duped. But Sanjuro has one more trick up his sleeve...

"Yojimbo" was directed by the famed Japanese director Akira Kurosawa, famous for such classics as "Rashoman", "Seven Samurai", and "The Hidden Fortress". Kurosawa was a big fan of American films, particularly Westerns which shows up in many of his films. After all, what else is "Yojimbo" except a Western set in feudal Japan? However, Kurosawa brilliantly reworks the genre of the Western shaping into a film that reflects his feelings about greed, decadence, capitalism, and most of all the arbitrary nature of war. "Yojimbo" was of course the influence for Sergio Leone's spaghetti-western "A Fistful of Dollars" and later "Last Man Standing" with Bruce Willis. But then, you probably already knew that.

Acting and directing are all excellent. Toshiro Mifune is terrific as usual as the Samurai-with-no-name. Eijiro Tono is also good as the burn-out old man who is tired of all the bloodshed he sees around him. Kurosawa's direction is flawless, making good use of widescreen and the stark black & white photography.

So how does this film fit into an anti-war theme? Well, although is doesn't depict a war in the traditional sense of invading armies attacking each other. But it does depict a miniature war of greed tearing apart a small town. We see the tragic effects of war on families, all for a little bit of land. The seems quite timely since a lot of us believe this current war is little more than an oil grab at the expense of civilians. A good case could be made for saying that in this miniature conflict, Kurosawa makes larger statements about the arbitrary nature of war and greed.

This has been my entry in jay1041971's anti-war write-off. Other participants include:

lambchops
beckytcy
ingysdayoff
jordan_tar
lemon_lime
matthewn
sfarmer76
briandalsmom
foxy_shy
jankp
sampo24
skbreese
scrmak
voxpoptart,
and your truly