Film Review: Yojimbo (1961)
The grandness of Japanese film director Akira Kurosawa's legacy reflects in countless careers, popular film franchises, and even a genre that was, directly or indirectly, inspired by his works. One such genre is the "spaghetti Western," which traditionally began in 1964 with Sergio Leone's A Fistful of Dollars, an obvious remake of Kurosawa's own "jidai geki" classic Yojimbo, released three years earlier and later celebrated as one of the most popular and acclaimed of all Kurosawa's works.
The origins of Yojimbo are somewhat contentious, with scholars debating the true inspirations behind its narrative. Kurosawa himself attributed the film's conception to his collaboration with Ryūzō Kikushima and Hideo Oguni, claiming that they were inspired by the 1942 Hollywood film The Glass Key, which is based on Dashiell Hammett's 1931 novel. However, many critics and film scholars argue that the more significant influence came from Hammett’s earlier work, Red Harvest, published in 1929 and partially inspired by the violent labour disputes in America during the 1920s.
Set against the backdrop of 1860s Japan during the decline of the Tokugawa Shogunate, Yojimbo introduces viewers to a world rife with conflict and moral ambiguity. The title itself translates to "bodyguard," which aptly describes the unnamed protagonist portrayed by Toshiro Mifune. Throughout the film, he adopts the name "Kuwabatake Sanjuro." Sanjuro is a ronin—a masterless samurai—who wanders into a small town devastated by an ongoing feud between two rival yakuza clans.
The plot unfolds as Sanjuro arrives in this beleaguered town, where he finds himself amidst a violent struggle between two factions led by former businessmen turned gangsters: Seibei, a brothel owner (played by Seizaburo Kawazu), and Ushitora (played by Kyu Sazanka), his former lieutenant. Each clan employs numerous thugs who engage in daily street battles without any clear victor emerging. Recognising an opportunity, Sanjuro decides against merely offering his sword for hire; instead, he cunningly manipulates both sides against each other. His goal is not just personal gain but also to restore peace for the innocent townsfolk, such as tavern keeper Gonji (played by Eijiro Tono).
Notably, Yojimbo was considered quite violent for its time. The film opens with a strikingly unsettling scene where Sanjuro encounters a dog carrying a severed human hand—an image that sets the tone for the brutal reality within this lawless town. Despite its graphic violence, Kurosawa employs black-and-white cinematography by Kazuo Miyagawa that softens the impact of bloodshed; it often renders it less conspicuous while maintaining an air of realism through rapid action sequences. The film balances this violence with dark humour, accentuated by Masaru Sato’s musical score, which incorporates modern jazz elements that lend an ironic flair to the unfolding drama.
Kurosawa's direction exhibits remarkable skill, particularly in his use of widescreen format to pay homage to American Westerns. This influence is most evident during the climactic showdown but also manifests in characterisation—most notably through Unosuke (played by Tatsuya Nakadai), young gangster who wields a revolver, presenting a formidable challenge to Sanjuro’s swordsmanship. This juxtaposition of weaponry highlights not only Sanjuro's prowess but also underscores the shifting dynamics between traditional samurai values and modernity.
The character of Sanjuro is pivotal to Yojimbo's success; Mifune delivers one of his most iconic performances as this complex anti-hero. Departing from conventional portrayals of noble samurai, Sanjuro embodies a morally ambiguous figure who prioritises survival over honour. He speaks little but acts with decisiveness, often employing intellect alongside physical strength to achieve his goals. His actions may initially appear self-serving or even immoral; however, they ultimately reveal a deeper sense of morality when he chooses to aid those in distress—a move that almost costs him his life.
Mifune’s portrayal has inspired numerous subsequent anti-heroes in cinema, most notably Clint Eastwood’s Man With No Name character from Leone’s A Fistful of Dollars. Upon witnessing Leone's film, Kurosawa was less than pleased; this led to protracted legal disputes over copyright infringement due to their striking similarities. Any trace of the debate ended in 1996 with Walter Hill’s period action film Last Man Standing naming both films as their official remake.
The film achieved immense success in Japan upon its release and garnered international acclaim over time. Its popularity prompted Mifune to reprise his role in Kurosawa’s sequel Sanjuro (1962). Over subsequent decades, Yojimbo has inspired numerous indirect adaptations and reimaginings across diverse settings—from fantasy realms to science fiction narratives—demonstrating its lasting impact on global cinema.
As such, Yojimbo should be recommended not only as one of the most influential but actually one of the most entertaining and audience-friendly classics of Japanese and world cinema.
RATING: 9/10 (++++)
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