Yojimbo and Sanjuro (2007 release)
Studio: The Criterion Collection #52 (Yojimbo); #53 (Sanjuro)
Rated: No rating noted
Aspect Ratios: 2.35:1
Audio: Japanese DD 3.0 Perspecta, DD 1.0
Subtitles: English
Time: Yojimbo:110 minutes; Sanjuro: 96 minutes
Disc Formats: 1 DVD-9 each
Case Style: Keepcases in cardboard slipcase
Theatrical Release Dates: Yojimbo: 1961; Sanjuro: 1962
DVD Release Date: January 23, 2007
Criterion has once again delved back into the Akira Kurosawa archives to bring us new editions of Yojimbo and Sanjuro. Both titles are being released individually or together in a cardboard slipcase. Since both titles share the same main character, thematic links, director, packaging and similar supplements, I have decided to combine the title reviews.
While I would say Yojimbo (or “bodyguard”) sometimes gets lost in the grandeur and spectacle of director Akira Kurosawa’s Seven Samurai, it is by no means deserved. Yojimbo is a much leaner and focused picture about the samurai Sanjuro (Toshiro Mifune), possible his real name, and his encounter with a town beset by a war between rival gangs. When Sanjuro arrives in town, he sees how this gang war has impacted the town and he decides he will use his skills to settle it to his own advantage. While doing so, he finds he cannot submit to his selfishness and he must do what he can to end the vicious conflict. But matters such as this cannot end without violence, and Sanjuro must shed blood once more so that no more will come.
Yojimbo scales back the scope of Kurosawa’s previous samurai epic in terms of cast and length, but certainly not in topics to be covered. The picture addresses the oncoming rise of industrialism, changes to how we fight (transitioning from swords to guns), the evolution of the samurais and the gangs into the more formidable yakuza, and the ability of the few to empower the many. It is also a picture that shows a master of film making in prime form in terms of shot composition, staging, editing and music. Kurosawa delivers what could be considered THE lone samurai picture.
Not to be outdone, Kurosawa quickly brought Sanjuro back one year later (in a script originally finished prior to Yojimbo) in the aptly titled Sanjuro. Since we already know who Sanjuro is and what he is about, Kurosawa jumps right into the story at the beginning of the picture by having the supporting cast of young samurai trying to figure out what to do with a supposedly corrupt chamberlain. This chamberlain, while not truly corrupt, is about to present his proof of corruption within the clan when the local superintendent kidnaps him and his wife and daughter. Sanjuro shows up to help the aimless samurai to get their chamberlain back, while at the same time, teaching them how to do it on their own. This being a Kurosawa samurai picture featuring Mifune, there are several scenes of Sanjuro shedding the necessary blood to aid himself and the other samurai.
Sanjuro when coupled with Yojimbo make for a very satisfying and exciting samurai story that together give Seven Samurai some very stiff competition. The movies are often referred to as black comedies and this distinction should be kept in mind to understand the intent of Kurosawa and the scriptwriters. While Sanjuro may seem somewhat more tame overall, it still has some of the best sword fights leading up to the tense and brutal climax. Mifune adds much to his role as the wandering ronin by incorporating little physical actions, grunts and expressions to make Sanjuro a believable character. When the time for fighting arises, Mifune attacks with great prowess and savageness while remaining efficient in his sword strokes. This aside, he is shown as a thinking man who can analyze the angles of the problem to teach others to help themselves. He does not like what the life he leads, but it is the road he’s chosen.
Video:
Both pictures finally feature an anamorphic transfer that is correctly framed at 2.35:1. Criterion is good enough to provide us with more information about the transfers themselves, so I will pass this along: “This new high-definition digital transfer was created on a Spirit Datacine from a 35mm fine-grain master positive, made from the original negative. Thousands of instances of dirt, debris, and scratches were removed using the MTI Digital Restoration System.” The black and white pictures exhibit excellent contrast and very good shadow detail. Grey scale was accurate as well. Both foreground and background detail is good and sharp. Edge enhancement was very minimal and there were no compression artifacts or video noise.
As was the case with Criterion’s recent reissue of Seven Samurai, the video on these new editions is a tremendous improvement. First of all, we are given anamorphic images that replace the poor window boxed images of the original editions. The previous editions suffer from a less clean master and they have very noticeable video compression noise and artifacts. Edge enhancement comes through on the previous releases in the form of very noticeable jagged video lines surrounding every object on the screen. Detail on the originals is muddy and blurry at times. The opposite is true for these new releases, as they are free from the video noise and compression issues suffered by their predecessors. Detail and sharpness is superb and the pictures are free from the shimmering and flicker seen in the originals, although there was a quick instance of this about 1/3 of the way into Sanjuro. Black levels on the originals did not get much above grey, but now they are deep and rich. One great example of the quality of this new edition can be seen in the opening minutes of Yojimbo where Sanjuro is walking among the tall brush: in the original edition, the brush melds together into a mess of compression artifacts and noise. In this new edition, this scene shows significantly reduced noise and compression where you can almost make out the individual reeds.
Audio:
I watched the discs with the Dolby Digital 3.0 track engaged. This remastered Perspecta sound displayed an excellent dispersion of sound over the three channels producing a great and enveloping sound field. I clicked on the mono tracks for a minute to check for their quality, but I quickly switched back to the other track. The mono track on these editions appears to be the same one as the previous editions. The tracks are free of any damage and they are very smooth and natural. Bass effects, while not part of a dedicated channel, are integrated well into the 3.0 sound field. As with the video, Criterion notes the following about both soundtracks: “The soundtrack was mastered at 24-bit from the 35mm optical soundtrack print, and audio restoration tools were used to reduce clicks, pops, hiss, and crackle. The restored Perspecta Stereophonic sound was decoded through a Perspecta decoder and re-encoded as a Dolby 3.0 soundtrack.”
Bonus Material:
Audio commentary on both discs by film historian and Kurosawa scholar Stephen Prince: These are brand new, non-stop commentaries where Prince makes comments about different parts of the picture. Prince’s engaging and fact filled commentary details information about the making of the pictures, the history of the time period, information about the technical aspects of the shoots, and behind the scenes happenings. This is an exceptional commentary that added significantly to my enjoyment of both features, both separate and as parts of a whole. Since Criterion also had Prince do the commentary for Sanjuro at the same time he didYojimbo[/i], and with this in mind, he is able to compare and contrast the two pictures to make assessments of the two pictures as one grand story.
Documentary from the Toho Masterworks series, Akira Kurosawa: It is Wonderful to Create (Yojimbo: 45:15; Sanjuro: 34:44 ): This is an excellent doc featuring cast and crew members as they delve into the making of the pictures. For the Yojimbo disc, there is an extensive discussion about how the picture was shot and the use of various lenses. The Sanjuro part of this series deals with the problems to get the flowers Kurosawa wanted, the swordplay, the final duel and how the cast and crew dealt with the sometimes explosive Kurosawa. Unlike the edition of this used on the Seven Samurai re-release, Kurosawa is barely featured.
Theatrical Trailer and teaser: Both items seem to have been remastered and I believe we see a bit of an alternate ending in the trailer for Yojimbo. Since I don’t want to spoil it for anyone at this point, it may bear follow-up in future posts. The Sanjuro trailer has some comical music that gives you the impression of a much different picture, or a dead on one depending on how you interpret it.
Stills gallery of behind-the-scenes photos: A handful of behind the scenes photos of the shoot.
Yojimbo has a booklet featuring an essay by critic Alexander Sesonske and notes from Kurosawa and his cast and crew; Sanjuro has a booklet with an essay by critic Michael Sragow and similar notes from Kurosawa and his cast and crew.
Conclusions:
Two excellent films are well represented with great new transfers and plentiful extras. Once you finish the Seven Samurai discs, jump right over to these two titles!
