'sanjuro final duel' is an ongoing research project by David Addison stemming from the initial question: which two pieces of music would you like played at your funeral?
Submissions will be compiled and aim to inform a visual art project in 2018. Possible outcomes include a public exhibition, critical text(s), digital archive, printed publication or presentation within an audio format.
Please share with anyone you feel may be interested or benefit in somehow from tackling the question. A varied dataset of ages, locations, gender and cultural identities will help realise a more fully formed response and critical understanding. If you would like to discuss any aspects of the project in further detail then please get in touch at firstname.lastname@example.org
All submissions can be made anonymously, if contact details are provided then any personal data will be stored securely and if presented publically you will be consulted for consent before any distinguising information is released in a public facing format.
A 'song' here is defined as any piece of recorded music or other composition of sound, instrumental or otherwise. Please supply the performer(s) of your chosen version of the piece rather than original writer if different.
Muroto’s first act, after sending his troops elsewhere, is to offer Sanjuro a job. Kurosawa isn’t really known for his broad humor, but here he goes all in with Mifune playing the part to the hilt. An ironic end to a film that often that celebrates Sanjuro’s skill with the sword. With Some brainstorming and the group concocts a plan where Sanjuro will report that he discovered the young samurai at a temple out of town, and when the guards leave to investigate, they’ll swoop in and rescue the Chamberlain after getting the signal of a bunch of camellia flowers dumped in the stream. And the ronin wastes no time in letting his displeasure be known even as the most cursory of searches is performed. Featuring an excellent supporting cast and typically brilliant photography, the film is engaging from the bold opening scene to the tense, bloody final duel between Muroto and Sanjuro. Someone that could have been his friend and ally in different circumstances. Featuring an excellent supporting cast and typically brilliant photography, the film is engaging from the bold opening scene to the tense, bloody final duel between Muroto and Sanjuro. With the massive success of Yojimbo, the screenplay adaptation of “Peaceful Days” was reworked to be Sanjuro, the continuing adventures of Toshiro Mifune’s wandering ronin. Kurosawa had wanted to make a film based on Shuguro Yamamoto’s story “Peaceful Days” before he made Yojimbo. What’s even better is that while Sanjuro isn’t likely to be called one of Kurosawa’s major works, it’s still an accomplished, highly entertaining film with a clear message. across Muroto’s chest, creating a shocking fountain of blood as the young man Kurusawa stages the entire sequence as one long shot, with Or almost pure, as Sanjuro decides to take some responsibility for these young fools who might get themselves killed out of their own idealism. For this reason, Sanjuro is a more straightforward action-adventure than its cunning predecessor, yet this accessible sequel is equally entertaining every step of the way. their entire careers around creating gorier and gorier effects. It doesn’t take long but the Superintendent’s men arrive and find a grumpy ronin, upset that his sleep has been disturbed, instead of a bunch of rebellious samurai. And when the time comes for the final duel with the bad guys’ head swordsman, Hanbei, it’s just one move-one cut, again like Kyuzo’s duel in “Seven Samurai”. What can go wrong with that plan? Along the way the Samurai becomes more and more disillusioned At this point, chance plays a role as Chidori and the Chamberlain’s wife discover a note in the stream which reveals that the Chamberlain is being held next door. Up to this point, That blood fountain became iconic almost immediately, and In the end the Samurai defeats the young henchman Post was not sent - check your email addresses! card. the two square off for a fight to the death. He asks if the uncle is ugly and when told the response is yes, quickly surmises that the young samurai have been lured into a trap and the Superintendent is the corrupt force. Kurosawa, ultimately took over the job of directing the film, which he never intended during development of the script, while preproduction work was underway on High and Low. It turns out that he was sleeping in the back room of the temple and overheard their discussion. Tatsuya Nakadai was Mifune’s chief nemesis in Yojimbo, and obviously Kurosawa wanted to repeat that success. A friend, while in college, went to a showing of Yojimbo. reflection of the Samurai. Sanjuro being the name of the character (obviously a pseudonym), he is a ronin that gets sucked in to a local coup. Ten samurai is clearly an unwieldy number. Sanjuro just happens to overhear them talking about the situation, and decides to help them out. A naked sword. In the original film, a rōnin arrives in a small town trapped between competing crime lords. Like with Yojimbo my basis for comparison is again with Criterion’s original non-anamorphic DVD from 1999. A foolish view, which is quickly pointed out as Sanjuro (Toshiro Mifune) intrudes on the scene. Hanbei Muroto is one step ahead of Sanjuro and the young samurai and they can’t even run a public relations campaign. Western that is no accident, Kurosawa was a big John Ford fan, and all of his Kurosawa The duel brings no joy to Sanjuro who acknowledges that he cut down someone just like himself. r/loltyler1. Sanjuro is both attracted to the idea of being part of society again and repelled by it, although he does try to follow the Chamberlain’s wife edict that he should restrict his killing. Picture 8/10. And, for once, Sanjuro has no response. The blood is shocking first of all because it’s there at The final duel sums up Kurosawa’s visual style and strategy succinctly. That conflict all comes boiling to the surface when Sanjuro announces to the group that he’s going to “accept” Hanbei Muroto’s job offer and spy on what the Superintendent is up to. But, it’s clear that they’re all a bunch of idealists that believe wholeheartedly in making a difference and have a romantic view of the samurai life. bloodlessness), but today you have blood filled squibs popping off everywhere after that it wasn’t possible to release a Samurai movie without fountains of Sanjuro may not be a masterpiece, but it’s only really because Yojimbo got there first. What follows are a series of feints and where Sanjuro starts to run out of fresh ideas. It seems like a perfect plan, except that the description of the temple is off which puts Sanjuro in jeopardy as soon as he steps through the gates. failing to convince the younger man to change his mind, the Samurai agrees and The film opens, somewhat surprisingly, without Sanjuro (Toshiro Mifune) wandering into town. It’s easy to imagine the continuing adventures of Toshiro Mifune in the role, but it would turn out to be the last pairing of Kurosawa and Mifune in a samurai adventure film. brilliant young henchman of the Superintendent who is in many ways a dark Sanjuro (1962) Toshirô Mifune: Sanjûrô Tsubaki, The Samurai. Which isn’t to say that Sanjuro is a tragedy. A duel that Sanjuro thinks is foolish and unnecessary, but which Muroto insists on since Sanjuro abused his trust. Moruto is no sadist, but a pragmatic leader in his own right who recognizes a kindred spirit in Sanjuro. Feel free to insert your own Human Centipede joke here, who knows, Sanjuro might actually have been an inspiration considering there’s a Japanese part in Tom Six’s film. Did you every watch the duel at the end of Sanjuro in slow motion? There is a good point to be made here about too much of a Directed by Akira Kurosawa. Visit. Featuring an excellent supporting cast and typically brilliant photography, the film is engaging from the bold opening scene to the tense, bloody final duel between Muroto and Sanjuro. (and it still works, especially after viewing the entire film in all its fake blood spraying everywhere. At least that’s the impression based on the setup. r/criterion. Continuing a playful mood, Kurosawa has the samurai hole up right next to the superintendent’s chief ally Kurofuji (Takashi Shimura), with the belief that the last place that their enemies will look is right under their own nose. The Chamberlain cuts them a little slack by telling a joke about his looks, but the lesson is communicated. Chat with us here: https://discord.gg/ZSbP4ZC. classics like, Nowhere were these dueling goals, crowd pleasing and Katanas instead of guns, but basically the same. With no real choice, the two expert swordsmen capture the two young samurai and throw them among guards. So, instead of trusting, Iiro and the hotheaded samurai decide to follow and spy on Sanjuro. Featuring an excellent supporting cast and typically brilliant photography, the film is engaging from the bold opening scene to the tense, bloody final duel between Muroto and Sanjuro. Even against his better judgment, he lets the prisoner they captured live at her insistence. Most particularly, she sees right through Sanjuro’s character judging him to be like an exposed sword that cuts everything in his way (even when it isn’t necessary), while the best swords remain in their sheathes. Except for the fact that they both spot the young samurai spying on them. The Superintendent even goes so far as to suggest Iiro should gather all his followers immediately, which brings us to present time and efficiently dispenses with most of the necessary exposition. Before departing for the road again, Sanjuro acknowledges that indeed the best swords remain sheathed and instructs the young samurai to remember that. The young samurai misjudge Sanjuro based on his appearance and mannerisms, and Kurosawa subverts the audience’s own judgment in the same way. Sanjuro is the sequel. Sanjuro compares all of them creeping around to a centipede. The ruse is, of course, discovered after the guards leave, but trickery rules the day as Sanjuro convinces the Superintendent and Kurofuji to dump a bunch of camellia flowers of a certain color into the stream as the signal to call off the raid. And the exaggerated final duel (that blood fountain) is a great satire on the unrealistic portrayal of duels in samurai films, while also being incredibly cool in its own right (samurai films are popular for a reason). Click to email this to a friend (Opens in new window), Click to share on Twitter (Opens in new window), Click to share on Facebook (Opens in new window), Click to share on Pinterest (Opens in new window), Click to share on Tumblr (Opens in new window), Click to share on Reddit (Opens in new window), Click to share on LinkedIn (Opens in new window), Click to share on Pocket (Opens in new window), Kurosawa, In Order #29 – Rhapsody in August, All Hallow’s Lee: To the Devil a Daughter, Still Watching the Skies: Episode 56 “The Andromeda Strain”. The two men stare at each other for a long moment, appearing Sanjuro’s plan, essentially a reprise of Yojimbo, spurs a fierce argument among the samurai. Samurai movies would go on to inspire a generation of Spaghetti Western He is so convincing that Hanbei (Tatsuya Nakadai) swallows his line and becomes the unwitting accomplice of … Communities. But, rather, it’s a film that acknowledges that there’s really no place in society for someone like our favorite ronin. If Sanjuro was merely a fun romp, Kurosawa could have ended the movie right there, but even the lightest Kurosawa movies have some message attached. The other young samurai aren’t really given much characterization other than the hothead of the group. Ironically, Kurosawa’s Again it’s a contrast between the idealized world of these young samurai and Sanjuro’s pure pragmatism. The final duel sums up Kurosawa’s visual style and strategy succinctly. We regard the Chamberlain’s wife as soft and foolish, while her judgments and pronouncements prove to be spot on and right, again and again. straight line from this shot to such diverse modern masterworks as The shared nature between the two men is obvious, and Muroto even reveals his own ambitions to manage the Superintendent so that he is the power behind the official and running to clan as he sees fit. Masterless Kurosawa almost always had a contemporary film lined up among his period films and he and Mifune would return to a crime thriller like their earliest outings. Designed by Elegant Themes | Powered by WordPress. to violence, he just knew that he had made an awesome effect, and he was right. Sanjuro is an amazing piece of cinematography. That embarrassment saves Sanjuro’s cover, but a failure that spectacular can’t be ignored as Sanjuro’s plan to infiltrate the Superintendent’s group comes to a premature and futile end which accomplished nothing but the unnecessary deaths of some guards. All that death is caused by a lack of trust. He is constantly depicted as separate from the group, dirty and constantly scratching, as contrasted to carefully coiffed and clean samurai. The opening cine has you hooked, as Sanjuro single-handedly beats up about 15 men with his sword’s sheath. Harryhousen’s. Instead, we’re introduced to a gathering of young samurai in a temple. Toshiro Mifune is playing the role Clint Eastwood played. Masterless and disgraced, Muroto challenges the Samurai to a duel. In 1962, Akira Kurosawa was at the top of his game. the gaggle of young samurai watching in the background framed between the two their swords. Posts. Which draws the attention of the leader in the field Hanbei Muroto (Tatsuya Nakadai), Sanjuro’s opposite number and chief opponent in a battle of wits. As seen in the film, the slaps both surprised the actors and knocked them backwards. stupidity and thoughtlessness of others. The lead samurai, Iiro Izaka (Yozo Kayama), breathlessly reports on how his goal of reporting corruption in the clan was apparently hushed up by his uncle Mutsuta (Yunosuke Ito), the Chamberlain of the clan. It helps that Nakadai is playing a completely different character in looks and attitude. This Criterion Collection contains Akira Kurosawa’s 1961 film, “Yojimbo,” & its 1962 sequel, “Sanjuro,” both of which star Toshiro Mifune in the lead role as Kuwabatake Sanjuro. Hanbei draws his sword, but the faster Sanjuro kills him. The Samurai is just a bit faster, of course, and he slashes With Toshirô Mifune, Tatsuya Nakadai, Keiju Kobayashi, Yûnosuke Itô. A lot can go wrong actually. Already the film establishes a “how are they going to get out of this one” sense of adventure. Posted on Jun 10, 2013 by Robert Reineke | 0 comments. With a few words, Sanjuro gets to the truth of the matter. The uncle took their evidence and told them to go home and mind their own business, essentially. in every action or horror film with nowhere near the same effect. In an irony, that’s the very same place that the superintendent is holding the chamberlain, with a wall, a little stream, and flowering camellia trees separating and connecting the two sides. Comment by John Hocking - December 30, 2020 7:18 pm. couldn’t have known that he was sending us down a road that ended in mass desensitization Muroto sets up a trap which the young samurai are eager to rush into, but which Sanjuro keeps them out of. These events are necessary and fun, but they don’t really move the plot forward. Yojimbo is the original "A Fist Full of Dollars". A crafty samurai helps a young man and his fellow clansmen save his uncle, who has been framed and imprisoned by a corrupt superintendent. He’s clearly the leader and the story is going to revolve around him. The pairing of Kurosawa and Mifune was still strong as Kurosawa was preparing his next film. Muroto is so trusting that he’s ready to reveal all to Sanjuro. men, who are standing conspiratorially close as they discuss the duel. Again, the Superintendent and Hanbei Muroto are ahead of them as they arrive at the Chamberlain’s house in time to discover that the Superintendent’s troops are already there. To an audience in 1962 that blood fountain was shocking and novel card classic compact. The samurai race off and find Sanjuro and Hanbei about to duel. Sanjuro is reluctant to fight and tries to dissuade Hanbei, but Hanbei is furious at his loss of dignity and declares he can only find ease by killing Sanjuro. good thing. Join. The Hidden Fortress (隠し砦の三悪人, Kakushi toride no san akunin, literally, "The Three Villains of the Hidden Fortress") is a 1958 jidaigeki adventure film directed by Akira Kurosawa.It narrates the story of two peasants who agree to escort a man and a woman across enemy lines in return for gold without knowing that he is a general and the woman is a princess. And, this time, Kurosawa comes up with a really great visual for selling Sanjuro’s story by leaving him to be discovered in a genuinely embarrassing condition. Along with their release of Yojimbo Criterion presents Akira Kurosawa’s sequel Sanjuro in the aspect ratio of 2.35:1 on this dual-layer Blu-ray disc. Their adventure opens with immediate comedic results. If it is, it’s the most enjoyable tragedy ever filmed. The action is sudden, and violent with an impressive gush of blood as Muroto is dispatched, with a quick montage of reaction shots from all the spectators. In this film, almost all the samurai apart from Sanjuro himself and Muroto are either bureaucrats or warriors in name only; in the scene where Sanjuro kills the guards to free his four captured comrades, almost none of them put up a decent fight, with the guards being … And it’s left to Sanjuro to take charge, which will define the remainder of the movie as he uses his head to get out of the tight spot. 90.5k members. It’s a connection that Sanjuro might take advantage of in a different time. Which forces Sanjuro to act, against his efforts not to kill people wantonly, to free the two samurai when Muroto leaves to get additional guards due to the importance of their two prisoners. Yojimbo (1961) vs Sanjuro (1962): Film Review Posted on June 3, 2011 by carolineguerin The cinematic impact of Akira Kurosawa ‘s Yojimbo can be seen most clearly in westerns such as Sergio Leone’s Dollars trilogy, where a nameless lone fighter comes to a lawless town and sets warring factions against each other. Product Identifiers Kurosawa was never particularly enamored with Japan’s feudal past and he doesn’t hesitate at all to make fun of the young samurai and their dreams of glory. Sanjuro is generally a romp, and more often than not the Chamberlain’s wife is an object of humor, but unlike Yojimbo, there is a good side to this conflict and Kurosawa allows that side to express its ideals and even temper Sanjuro’s cynicism. falls. Although she’s played for comedy, she’s just as naïve as the young samurai and totally unused to any physical exertion, she also embodies feudal nobility and ideals in a very real way. Rather than the prolonged sword battle typical of the genre, the final duel plays out like a Western gun fight (in the style popularised by Sergio Leone later in the decade): a long, staring, near-motionless build, then a moment of cathartic violence, then a pause to allow what just happened to sink in. Samurai movies show a distinct Western influence. Realizing that the Superintendent will act swiftly, they’re all immediately off to spirit the Chamberlain away. Throughout the film he repeatedly spars with his opposite number, a thoughtful art, more in harmony than in 1962’s. Sanjuro. Kurosawa had used one version of the “wise fool” in Seven Samurai and here he presents another version. However, there’s no shame going out on a film as good and enjoyable as Sanjuro. I found this part of the plot to be tricky to follow, and I was definitely referring back to the wiki plot explanation often to make sure I was keeping up with what was going on. It’s at this point that Sanjuro meets his moral opposite in the Chamberlain’s wife. After trying and failing to convince the younger man to change his mind, the Samurai … Kurosawa doesn’t let the ideas bog down the story, as there’s still an escape to be made with the two ladies, with Sanjuro offering himself as a footstool for the older lady. Topic on Reddit. Muroto welcomes Sanjuro with open arms. with the violence and killing he is forced to engage in purely due to the He didn't stay in his sheath. But, if the plot isn’t rushing forward, Kurosawa makes sure to stress that Sanjuro is very much an outsider. Since they have no way of knowing where the Chamberlain is, Sanjuro takes charge sending many of the samurai off to spy on the houses of the Superintendent and his confederates while he plots the rescue of the Chamberlain’s wife (Takakao Irie) and Iiro’s love interest, Chidori (Reiko Dan). Muroto recognizes a man of Sanjuro’s skill and can relate to him on a level that the idealistic samurai cannot. Sorry, your blog cannot share posts by email. But, Sanjuro has already picked sides. As they poke their heads out, it’s an image that George Lucas would re-appropriate for Star Wars and the smugglers compartments of the Millennium Falcon. When Sanjûrô has to kill about a dozen of Kikui's men and then smacks three of the young samurai for forcing him to kill so many, Toshirô Mifune slapped the three young actors for real. They want to thank Sanjuro, but he doesn’t want their thanks, rather a few coins so that he can feed himself. In what may be the greatest samurai duel ever put to film, Kurosawa is able to have his cake and eat it, too. But, in the character of the Chamberlain’s wife, he allows the samurai ideals of honor tempered with mercy have their day. 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