Stellead Don't listen to the Hype. It's awful

Contentar Best movie of this year hands down!

Fairaher The film makes a home in your brain and the only cure is to see it again.

Suman Roberson It's a movie as timely as it is provocative and amazingly, for much of its running time, it is weirdly funny.

WILLIAM FLANIGAN SANJURO / CAMELLIA'S SANJURO (Lit.) / (TSUBAKI SANJÛRÔ). Viewed on Streaming. Restoration/preservation = ten (10) stars; cinematography = ten (10) stars; choreography = four (4) stars; subtitles = four (4) stars; "music" = one (1) star. Director Akira Kurosawa (who is also credited as a screen play co-writer) provides a comical and flowery (literally) addition to movie samurai myth and make believe in a sound-stage-entombed photo play about a wandering samurai (Ronin) with a sense of humor who turns up to provide adult sanity and guidance for local amateurs bent on going after their corrupt clan leaders but clueless as to how to proceed (and survive). Kurosawa fills his film with lots and lots and lots of dialog (especially funny one liners) and humorous nonsense including having the rebels living (anonymously?) in a mansion right next door to the corrupt clan leader's estate with the properties connected by a stream used to secretly communicate (with spies in the leadership's household) by means of floating camellia blossoms--I kind you not! Unrealistic, poorly- choreographed sword swinging (even the allusion of reality is left far behind!) briefly occurs here and there with the film suddenly ending in a fire-hose blast of blood from a samurai with EXTREMELY high blood pressure! This is first and last (and everywhere in between) lead-actor Toshiro Mifune's film (to the point of embarrassment). Kurosawa's reverential direction can be dispensed with along with the genuflecting cast. (But not the satirical script writers, cinematographer or lighting department personnel!) Cinematography (2.35 : 1, black and white) is always careful to photograph Mifune placed closest to the camera so as to make the actor look much bigger than all others in the frame (lighting is also employed to enhance this bigger-than-life effect). There are some unique photo angles and cleaver tracking shots (made through phony studio bushes). The wide-screen format is usually fully filled. As for "music," there isn't much beyond the use of sound effects especially that of a cracking whip. When subtitles are visible (white lettering on white backgrounds makes for guessing here and there), they appear to be close enough to the dialog. Enjoyable live-action cartoon movie. WILLIAM FLANIGAN, PhD.

sandnair87 In Akira Kurosawa's highly underrated sequel to the much revered Yojimbo, Toshiro Mifune reprises his role as the titular master-less samurai, this time having the arduous task of cleaning up the mess created by the younger generation of a ruling clan, whose misplaced trust leaves them vulnerable to the clan's true enemy. Set in 19th century Japan, a gruff, disheveled, footloose samurai turns up in a deserted shrine where a cabal of nine young progressives is plotting to overthrow a corrupt regime. Boldly and brashly he appears among them while they have been fumbling for a plan and haughtily takes over the ticklish task of directing them. Consistently decrying the fledgling samurai as "idiots," expert strategist Sanjuro seemingly can't help himself from getting involved with the fallout of their political meddling, as the hapless bunch is desperately in need of saving. Starting with his chivalrous rescue of the chamberlain's wife and daughter from the corrupt warlord, Sanjuro leads the army of warriors on a wild goose chase so the nine inept samurais can free the chamberlain. All the action soon leads us to a dark, rug-yanking conclusion, as our eponymous samurai waves goodbye to those he helped and walks off into the sunset heroic and alone. The fact that Sanjuro is played by none other than the grunting, swashbuckling Toshiro Mifune makes the movie thoroughly enjoyable from beginning to end. The movie largely gyrates around the marvelously eccentric mannerisms of Mifune's performance, who swaggers through the entire film with a bemused expression - grimacing, scratching, yawning, and stretching in an ironic counterpoint to his character's phenomenal skill as a swordsman. The film's humor arises from Sanjuro's weary irritation and the contrast between his slovenly behavior and the phony ceremonial propriety of others. But while Mifune's satiric portrayal is a delight, Akira Kurosawa sets it in a more recognizably Japanese milieu, with a complicated plot involving political and historical intrigue. Kurosawa applies the full force of his cinematic genius, with brilliant widescreen composition that tells the story in visual terms as clear as the verbal ones. He guides the narrative mostly for laughs, but when the action kicks in the sword fighting is brutal and memorable.Sanjuro may not be Akira Kurosawa's most celebrated work, but you will find his witty paw prints all over the snappy dialogue, unique characters and intriguing plot – an effort that I personally rank higher than Yojimbo!

George Roots (GeorgeRoots) Originally its own thing, but due to the success of Kurosawa's "Yojimbo" (1961) the script was reworked to feature the return of "Kuwabatake Sanjuro" (Toshiro Mifune). With that in mind, "Sanjuro" is a pleasant follow up to his adventures and contains enough substance to also stand as its own thing.Nine young Samurai believe that their lord has fallen under corruption, after one of his superintendents claim to have caught him tearing up a petition against organised crime. Out of the dark corner of the room appears a resting Ronin (Toshiro Mifune), who overheard the story and suggests something otherwise. Though insulted, it appears the wandering Ronin was correct as he decides to aid them in finding their missing lord, while they still have doubts about their new companion who gives them his name "Tsubaki Sanjūrō" (Camellia thirty-year-old man).Given its origins, it holds up surprisingly well. Toshiro Mifune is up against Tatsuya Nakadi (Again), and Nakadai disappears into his stern henchmen effortlessly whilst Mifune returns with all the quirks of this gruff character. The absence of harsh weather from other Kurosawa pictures in noticeable, yet hiding around the compound and the many streams of water present is all captured beautifully.Final Verdict: The style had already been done (The main title music is the exact same theme of "Yojimbo" with different instruments), but "Sanjuro" easily entertains throughout its 1 hour 30 minutes. 9/10.

Tweekums This sequel to 'Yojimbo' sees the ronin samurai helping a group of men. One of them took their concerns about local corruption to his uncle, the chamberlain, but was rebuffed; he then went to the superintendent to tell him he believed his uncle was part of the problem. The Superintendent agrees and tells those concerned to get together for a meeting. It is as the group are being told this that the mysterious samurai walks in on them and explains why their conclusions are wrong and that it is the superintendent who is corrupt and that by coming together they have made it easy for him to kill them all. As the superintendent's men approach to attack he manages to save them. He now has to help them rescue the chamberlain in order to prove who is really guilty. It won't be easy though as those he is trying to help don't fully trust him and many of their actions end up making matters worse for them all.It was good to see Toshirô Mifune return as the lone samurai; he is great in the roll as he brings an enjoyable mix of humour and roughness to the part. The story itself is fairly simple; the opening scenes set things up and after that there are no real twists… that doesn't matter though as the story is well told and enjoyable to watch; this is largely down to Akira Kurosawa's expert direction. Who the most part the fight scenes are fairly bloodless which makes the final scene somewhat shocking as here there is a huge burst of blood! There some amusing moments too; I liked how the samurai was either resting or asking for food much of the time while all around him were keen to get on and do something. Overall this film is well worth watching and if you are a fan of Kurosawa's other films it is must see.