Even if you've not seen the films cited above, you should know the basic story. There's a stranger in town, and he gets mixed up in a bloody feud between local gangs (silk and saké are the trading commodities at risk in a gambling dispute), changing his loyalties in true mercenary fashion, and playing one side off against the other with escalating degrees of violence until a final slice 'n' dice showdown.

Yojimbo (trans: 'The Bodyguard') is an outstanding classic of the samurai genre, and Mifune plays the heroic 'ronin' of the title with such deadpan chutzpah he could probably have liposuction on his balls - and not lose an ounce of his character's arrogant machismo. With every shrug of his shoulders, he defies the logic of his precarious situation. He strides up to the assembled thugs (keen to drum up new business for the coffin-making cooper) and responds to such smug provocation as: "Go on, try to kill me." With the brilliantly timed comic line:

"It'll hurt..." And yet the brutality and carnage of Yojimbo is never disturbing, because the script's macabre sense of humour, and Akira Kurosawa's highly proficient direction, are constantly surprising us with amusingly original twists on the long established conventions of America's wild westerns...

REVIEW:
This is undoubtedly Akira Kurosawa's most famous film in the West. In fact, the film was based upon an American Western novel and consciously parodies the genre. It also happens to be a brilliant film featuring a ludicrous collection of genre caricatures, a grim and tense plot, and a terrific performance by Toshiro Mifune who scratches and chews his way through the scenery while oozing charisma.

The story begins with your classic Western motif of a heroic stranger who comes to a town overrun with criminals while the townspeople hide behind closed doors. The proper tone is set with the ominous site of a dog carrying the remains of someone's hand. The accompanying soundtrack pounds and claps out a playful tune that belies the grim reality of the town's predicament. This is also where the traditional Western motif takes a back seat to Kurosawa's deft interpretation of a men bent on each other's destruction, where morality is blurred and only the opportunist prevails. Despite this, the film is not particularly deep or sweeping. Unlike "The Seven Samurai" and "Rashoman," Kurosawa's "Yojimbo" is content to provide a simpler story where a skilled and intelligent warrior is pitted against a mob of increasingly undesirable and unintelligent thugs. In the hands of others, the story could have suffered. Yet, Kurosawa intentionally creates caricatures of the villains who earn their fate. Likewise, Sanjuro is portrayed as the consummate samurai who can take on any number of warriors and emerge victorious. And in Mifune's performance we find the lynch pin that makes it all work. Mifune dominates the screen. His rough-around-the-edges and coy manner became a model for the raging anti-hero of 60's and 70's film. You can't help but root for him as he cuts his way through the mass of thugs despite his backstabbing ways.

The action, while frequent enough is not the end all. Kurosawa himself has staged grander battles. Its what leads up to the fights that make "Yojimbo" so entertaining. How can Sanjuro establish his reputation in the shortest amount of time? How long can he play both sides before they turn on him? How can he take on a pistol wielding thug, armed only with a sword? The film presents these and other situations that draw the viewer in, enhancing struggles that otherwise would be considered too short to satisfy. It should be known that these elements proved irresistible to Western audiences. In 1964 Italian filmmaker, Sergio Leone responded with a "spaghetti" Western called A "Fistful of Dollars" starring Clint Eastwood who assumed Mifune's persona. Bruce Willis took on the role in another interpretation in "Last Man Standing" (1996).

The premise of "Yojimbo" has remained popular all these years simply because its so entertaining. In Kurosawa's version, the visuals snare the viewer, Mifune charms you and the visceral thrill of watching a non-apologetic warrior in his element will keep you coming back for more. Don't miss this classic!

The success of Yojimbo bred imitations in the west. The first was A Fistful of Dollars (1964), the initial entry in Clint Eastwood's western trilogy with Italian director Sergio Leone. Less notable was Last Man Standing (1996), the remake starring Bruce Willis.

It is the year 1860. The fall of the Japanese Shogunate dynasty has led to the unemployment of samurai. One of them is Sanjuro (Toshiro Mifune), who wanders poor and hungry into a small town. He learns from bitter but compassionate Gonji (Eijiro Tono) that the town is divided by two rival families, who each have hired criminal gangs to do the other in. This arrangement is for the benefit of both Sanjuro and the local coffin maker (Atsushi Watanabe).

Learning that both sides are equally despicable, Sanjuro decides to play them off against each other. After killing three of Ushi-Tora's men to demonstrate his worth, he is hired by Seibei (Seizaburo Kawazu) for 50 ryo. A battle is planned against Ushi-Tora (Kyu Sazanka). Seibei's wife Orin (Isuzu Yamada) plots to murder Sanjuro after the battle to recover the payment. Sanjuro overhears this, and quits on the day of the battle.

The impending arrival of a government official prevents a bloodbath between the two factions. Sanjuro learns that a beautiful woman, Nui (Yoko Tsukasa), has been kidnapped by Tokuemon (Takashi Shimura). Tokuemon is a sake brewer in league with Ushi-Tora. Nui has a husband (Yoshio Tsuchiya) and a young son (Yosuke Natsuki). Sanjuro schemes to free Nui, which rouses the suspicions of treacherous, gun-wielding Unosuke (Tatsuya Nakadai). Unosuke is Ushi-Tora's brother, as is rotund, jovial Ino (Daisuke Kato).

Kurosawa, of course, is one of the greatest directors of all time. His films are consistently of very high quality. Yojimbo is a very good film, but it is not up to the standards of his best films. Sanjuro's swordsmanship, survival ability, and heroism take on mythic proportions, losing some credibility along the way. The supporting characters lack the depth found in The Seven Samurai (1954) or Ran (1985). Yojimbo also varies between drama and comedy, betraying some indecision on the part of Kurosawa. Compare with Throne of Blood (1957), where the humor is strictly ironical.

But Yojimbo does have excellent cinematography, a unique, interesting score, and an entertaining story. And perhaps no film better showcases the talents of Toshiro Mifune, who may be the greatest of all Japanese actors. (71/100)