Rashomon (1950) and Sanjuro (1962) are movies directed by Akiro Kurosawa. Each work focuses on the idea of perspective and features legendary actor Toshiro Mifune.
Sanjuro tells the story of an aging, wandering Samurai who encounters a group of warriors trying to rid their clan of corruption. The warriors are skeptical of Sanjuro’s appearance and unorthodox actions but come to rely on him in their quest. Rashomon tells the story of a murder in the forest from four different perspectives. Each version of the story adds different layers to the events and exposes its participants’ basic human flaws.
Mifune is dynamic in each movie. He plays the title role of Sanjuro as an aloof, almost bored outsider – his years of experience have cultivated a zen-like ease and wisdom that stands as a fun contrast to the young warriors’ impulsiveness. His appearance is unkempt and tattered and he clearly doesn’t fit the classic Samurai archetype.
The role features both comedic and physical elements: Mifune’s Sanjuro is constantly in search of a nap and something to eat. He is continually yawning and scratching at his beard while his group of proteges eagerly await his direction. Their movements are dictated by his actions. As the story progresses, the warriors form a plan and spring into action. Sanjuro calmly offers his advice and the group again orbits around him.
Physically, Mifune presents as a skilled Samurai. His economy of words and action translates to battle scenes, where nothing is wasted. He is a presence both in terms of size and strength – his movements are efficient and clearly more measured than his opponents. Here, his weathered look adds another layer to the character – he knows the impact of his sword and the lingering effects it creates. He will continue to carry this baggage and warns the others not to follow him.
There is a clear Western quality to Sanjuro. Mifune’s reserved energy, pace and idiomatic expressions – “a stupid man’s sword is deadlier than an enemy” is a throwback to Gary Cooper and John Wayne. The long pauses that preface the battle scenes are remnants of classic 1950’s American Westerns and previews of the exaggerations later found in Italian versions. The above scene in particular is reminiscent of the final stand off in The Good, The Bad and The Ugly. The lead-up feels endless while the payoff battle is brief and ferocious.
Mifune’s character in Rashomon has a wildly divergent feel. Tajomaru is a famed bandit accused of murdering a Samurai and raping his wife. Throughout the movie, he appears almost feral – he howls wildly, his body leaping and contorting. He interrupts the trial with manic laughter. His movements are unpredictable and scattered – his energy is everywhere.
The beauty of Rashomon is found in its storytelling. The events of the story are told from the perspectives of a wandering monk, a woodcutter, Tajomaru, the wife and the samurai (through a medium). Because the stories vary, Mifune is given the chance to add layers to Tajomaru. In the early versions of the story, he’s a menacing, dangerous bandit. From the wife’s perspective, he’s a clumsy, cowardly mess. In his own telling, he’s forceful and displays a misguided sort of honor.
During the Samurai’s telling of events – through a medium – Tajomaru essentially captures the wife, but then does her bidding. We see a more restrained character here, although the intensity permeates every scene. It’s an impressive performance, especially when contrasted with his laconic role in Sanjuro.
While Mifune steals the show, the heart of Rashomon are the exchanges between the monk, woodcutter and peasant. Their views regarding the trial represent an allegory of truth and justice. The monk is slowly losing his faith in his fellow man. The peasant senses this and pounces on both the monk and woodcutter – especially when the former admits that he was not entirely truthful during his testimony. Clearly, the three parties involved in the forest – the bandit, wife and samurai – have differing agendas. However, it takes an extraordinary final event for the monk to regain his faith.
The BEST – The Medium
Rashomon begins to drag before the medium tells the Samarui’s version of events. It’s a wild visual that wakes up the movie and the voice she channels has a cold, eerie feel. Outside of Mifune, it’s the highlight of the movie.
The BEST Part 2 – Sanjuro Just Wants a Nap
We’ve all been there.
The WORST – The Element of Surprise
Much of Sanjuro’s intrigue is built on the rival clans scheming to attack each other. However, the movie is shot within such enclosed spaces, it’s hard to envision such huge movements of men occurring. It’s a minor complaint though.
FOX FORCE FIVE RATING – Sanjuro 4.5/5, Rashomon 4.5/5
Both are outstanding movies. Rashomon holds the greater legacy and makes deep statements regarding honor and truth. There’s likely less prestige associated with the comedic Sanjuro, but its main character is unforgettable.
