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.
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