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191
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The Butterfly
Tornado Alley
Această recenzie poate conține spoilere
Aren't you tired of being stupid yet?
Director Kurosawa and Mifune Toshiro brought back the iconic samurai character, Sanjuro, for this sequel to Yojimbo. Once again turning the genre on its ear, Kurosawa questioned the violence and death of the samurai code and the genre and asked his characters to distinguish between reality and appearances, duty and wisdom.
Nine young samurai are in a quandary after the Chamberlain has rejected their report on corruption, thinking he must be the problem. The Chamberlain had warned them that appearances can be deceiving. People are not what they seem. And with that we are giving the central theme to this film. And Mifune's introduction as he walks into the temple room stretching from an undetected nap in the back. Scruffy, scratching, with a beard and unshaved head, the young stoic samurai were not impressed with the man in front of them. But this Sanjuro, more controlled in demeanor and wiser than in Yojimbo immediately sizes up the problem. The Chamberlain is unattractive, and the Superintendent looks the part, thus causing people to distrust the one and trust the other simply by appearances. He immediately grasps that the young samurai are about to be attacked and saves them.
This casual ronin has grown since his last adventure. Where he conned the locals for money in Yojimbo, here he takes only what he needs. The 9 act as one and think as one, trailing after Sanjuro like a centipede. Again and again, he has to calm their foolish headstrong ways, questioning their rules and conformity which is leading them into a dangerous pit. This Sanjuro is a mentor and altruistic, constantly putting himself in danger to keep the young ones out of it.
Whereas Yojimbo was a dirty, dilapidated town, this film is all clean with neat lines. The characters are rigid and vertical, while Sanjuro is loose and often found reclining. Not that Mifune forgot how to swagger, he still had that virile swagger set to music on several occasions. In most of the shots with The 9 he is set apart somehow, a loner who likes to be alone and doesn't play by the samurai rules.
When they rescue the Chamberlain's wife we hear the second theme of this film. The wife tells Sanjuro, "You are like a sword without a sheath. You cut well, but the best sword is kept in its sheath." While this film does have several fights and deaths, the message that violence is not always the answer comes through loud and clear. The wife's mercy for a guard they capture became one of my favorite comic parts of the film. Stashed in a closet he would come out and give words of wisdom as he discovered the Superintendent was the corrupt person and not the Chamberlain. The captured guard was a good man, saved from death and wrong living by not being cut down for honor's sake.
This was a gently comic film as Sanjuro worked to keep the young samurai alive and rescue their leader. Just as he did in Yojimbo, Nakadai Tatsuya played Mifune's nemesis. Nakadai's Muroto, like Sanjuro, was a warrior from the old school. The two recognized the tiger in each other, both unsheathed swords.
So great was the message of sheathing swords that the main climax came with cut camellias instead of pools of blood. Only at the end when the inevitable duel between Sanjuro and Muroto could no longer be avoided, did the blood fall. Kurosawa gave us 35 seconds of silence as the two samurai sized each other up. His use of silence in film is one of the things I enjoy. It builds tension and slows the action so that we have time to process what is about to happen.
My love for Kurosawa's shots is great. His frame-within-a-frame shots were stunning in this film. A night scene in gauzy smoky light wafting about Mifune and Nakadai was striking. His use of wide-angle shots, boom shots, low shots all brought this story to life in the most vivid way.
Mifune had this scratching, confident, at times vulgar, character down. With his cat-like speed he perfectly played the samurai who hated to draw his sword, but when called upon was proficient. Going against the grain, no longer a ronin because he couldn't find a master, now one by choice as he wandered alone. A rugged individual, he could not be an obedient servant confined to the rules of bushido. Though only a year had passed in the real world, Mifune's Sanjuro had matured immeasurably in film time.
There were some repetitive moments and places where the plot and action slowed uncomfortably for me, but overall, I found this film entertaining. Mifune's Sanjuro was fun to catch up with again, a samurai like no other, one that broke the mold. It was with sadness that I watched that scruffy, wiser, warrior walk off into the sunset.
10/17/22
Nine young samurai are in a quandary after the Chamberlain has rejected their report on corruption, thinking he must be the problem. The Chamberlain had warned them that appearances can be deceiving. People are not what they seem. And with that we are giving the central theme to this film. And Mifune's introduction as he walks into the temple room stretching from an undetected nap in the back. Scruffy, scratching, with a beard and unshaved head, the young stoic samurai were not impressed with the man in front of them. But this Sanjuro, more controlled in demeanor and wiser than in Yojimbo immediately sizes up the problem. The Chamberlain is unattractive, and the Superintendent looks the part, thus causing people to distrust the one and trust the other simply by appearances. He immediately grasps that the young samurai are about to be attacked and saves them.
This casual ronin has grown since his last adventure. Where he conned the locals for money in Yojimbo, here he takes only what he needs. The 9 act as one and think as one, trailing after Sanjuro like a centipede. Again and again, he has to calm their foolish headstrong ways, questioning their rules and conformity which is leading them into a dangerous pit. This Sanjuro is a mentor and altruistic, constantly putting himself in danger to keep the young ones out of it.
Whereas Yojimbo was a dirty, dilapidated town, this film is all clean with neat lines. The characters are rigid and vertical, while Sanjuro is loose and often found reclining. Not that Mifune forgot how to swagger, he still had that virile swagger set to music on several occasions. In most of the shots with The 9 he is set apart somehow, a loner who likes to be alone and doesn't play by the samurai rules.
When they rescue the Chamberlain's wife we hear the second theme of this film. The wife tells Sanjuro, "You are like a sword without a sheath. You cut well, but the best sword is kept in its sheath." While this film does have several fights and deaths, the message that violence is not always the answer comes through loud and clear. The wife's mercy for a guard they capture became one of my favorite comic parts of the film. Stashed in a closet he would come out and give words of wisdom as he discovered the Superintendent was the corrupt person and not the Chamberlain. The captured guard was a good man, saved from death and wrong living by not being cut down for honor's sake.
This was a gently comic film as Sanjuro worked to keep the young samurai alive and rescue their leader. Just as he did in Yojimbo, Nakadai Tatsuya played Mifune's nemesis. Nakadai's Muroto, like Sanjuro, was a warrior from the old school. The two recognized the tiger in each other, both unsheathed swords.
So great was the message of sheathing swords that the main climax came with cut camellias instead of pools of blood. Only at the end when the inevitable duel between Sanjuro and Muroto could no longer be avoided, did the blood fall. Kurosawa gave us 35 seconds of silence as the two samurai sized each other up. His use of silence in film is one of the things I enjoy. It builds tension and slows the action so that we have time to process what is about to happen.
My love for Kurosawa's shots is great. His frame-within-a-frame shots were stunning in this film. A night scene in gauzy smoky light wafting about Mifune and Nakadai was striking. His use of wide-angle shots, boom shots, low shots all brought this story to life in the most vivid way.
Mifune had this scratching, confident, at times vulgar, character down. With his cat-like speed he perfectly played the samurai who hated to draw his sword, but when called upon was proficient. Going against the grain, no longer a ronin because he couldn't find a master, now one by choice as he wandered alone. A rugged individual, he could not be an obedient servant confined to the rules of bushido. Though only a year had passed in the real world, Mifune's Sanjuro had matured immeasurably in film time.
There were some repetitive moments and places where the plot and action slowed uncomfortably for me, but overall, I found this film entertaining. Mifune's Sanjuro was fun to catch up with again, a samurai like no other, one that broke the mold. It was with sadness that I watched that scruffy, wiser, warrior walk off into the sunset.
10/17/22
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