Review of Yojimbo (1961) by Jason J — 13 Sep 2011

A scruffy, mysterious stranger with no name and no past enters a town ruled by feuding gangs. Joining one faction, then the other, he plays the two sides off each other, leading to a violent confrontation in which both are utterly destroyed. And when the dust settles, he gathers the spoils and rides on. No, this isn't a rip-off of Sergio Leone's Fistful of Dollars, this was Leone's inspiration. And as wonderful as 'Dollars' was, Yojimbo is even better.

In this movie, Kurosawa isn't trying to be deep or highbrow, he only wants to entertain. On second thought, that's not entirely true. For some time, Kurosawa's critics had derided his work as 'too western,' a charge that I as an American am not qualified to comment on. Well Kurosawa decided to show them just how western he could be, drawing heavily from those most American of genres, the western and the gangster movie. And the results were brilliant. It may not have the grandeur of Seven Samurai, the emotional depth of Ikuru, or the complexity of Rashoman, but what it lacks in these qualities it makes up for in wit, style, and action.

Sanjuro (the name the mysterious samurai gives himself) is one of Kurosawa's most interesting characters, despite, or perhaps because, he is among the least realistic. Quite simply, he's too good to be true. He fights like a whirlwind, effortlessly slicing his way through his opponents like the villain in a mad slasher movie, minus the gore. And he's cleverer than any man has a right to be. He strategizes like a chess master, pitting his enemies against each other without their knowledge, so that he can pick off the winner. And if the desired confrontation doesn't materialize, he creates a new plan, finds a new center of leverage to send them clawing at each other again.

He's almost reminiscent of Blofeld in From Russia with Love- which brings up the point that he's not exactly the traditional hero. He's no villain; more than once he takes great personal risks to help those in need. But at the same time, he gives no thought to honor, serves no master but himself, and even when he commits the aforementioned kind acts it serves his own ends. Of course he's a saint compared to the bad guys. The crime lords, bandits, and gamblers who run the town are ruthless, double timing cowards, men without any redeeming value, in short, caricatures. But much like a Bond movie, this only adds to the fun. After all, you wouldn't want the audience feeling sorry for them when they're slaughtered.

And leaving out believable characters helps turn the drama to comedy, which Yojimbo is, at least in part. Though the visuals are bleak and the bodies pile up at an alarming rate, the chief reaction is one of amusement, even humor. The comical supporting characters of the barkeep and the carpenter don't hurt either, nor do Toshiro Mifune's quips and one-liners. He really does a bang up job of acting here. As incredible as his character is, he really brings him to life, showing wit to rival Roger Moore and a sense of ironic detachment that would make Steve McQueen proud. Clint Eastwood's screen persona surely owes a lot Mifune's work here.

Yojimbo is an absolutely wonderful blend of genres and styles that will leave you entertained from beginning to end. It's got laughs, great action, wit and charm aplenty, and all the polish and production values one would expect from a perfectionist like Kurosawa. This may not be his best film, but it's still the kind that most directors only wish they could make. Unless you're one of those poor souls who can't stand to read through a movie, find a copy of Yojimbo. You'll be glad you did.