Written by Ryuzo Kikushima, Hideo Oguni, and Akira Kurosawa and directed by Kurosawa, “Sanjuro” is the sequel to Kurosawa’s earlier Samurai Ronin feature “Yojimbo” also starring Toshiro Mifune in the lead role. After “Yojimbo”‘s success Kurosawa’s producers pushed him to craft a sequel to the wandering Samurai’s debut. “Sanjuro” is a lighter affair than the first film, often playing off of well established expectations within the sub-genre so often associated with the Kurosawa ‘Western‘ Samurai flick. When asked for a name, the Ronin simply observes his surroundings and gives a random title (Sanjuro) just as he did in “Yojimbo”, seemingly only to appease whoever asked.

We’re quickly introduced to a group of young Samurai in a clan trying to rescue their uncle (Yûnosuke Itô) from the corrupt Superintendent of the clan. Luckily for them they stumble upon the disheveled and aloof Sanjuro who overhears their opening assessment of the clan’s situation, he chooses to interject, and tell them how wrong he thinks they are about the facts of the matter. “Sanjuro” has an excellent balance that keeps the film’s tension intact, and the scenes investing, even though the base story is fairly simple overall. As the nine young Samurai keep switching back and forth from trusting Sanjuro to being skeptical of his intent throughout the film, the dynamism of the large cast keeps the momentum high throughout the film. There’s also the fact that at any given moment Mifune can overshadow an entire screen filled with dozens of people and then disappear into the background within seconds if needed.

With the deft hand of Kurosawa behind the camera the simplicity of the story bleeds into the background of consciousness. Every cut, every use of movement onscreen, and every choice regarding spatial design keeps the seams of the theater curtain from tearing and revealing the secrets behind the illusion of film-making. For having a core cast of ten characters, solely regarding the protagonists, Kurosawa layers the space with them masterfully. He knows how to fill the field visually and uses the geometry of blocking to great effect in every scene, not to mention the ingenious camera movements that clue the audience in on story elements with ease. Most of the film takes place with Sanjuro and the rebel Samurais planning out how they will rescue their uncle and his wife (Takako Irie) and daughter (Reiko Dan). When Sanjuro’s clever conniving fails due to the rebel Samaurais’ incompetence, he finally resorts to the sword. It’s a thing of beauty to watch Sanjuro take stock when he is strategically cornered and plainly frees his fellow Samurai in a room full of guards and then proceeds to slaughter the dozen or so opponents single-handedly.

If you’re looking for a fun Samurai flick but don’t necessarily want the self-seriousness ingrained within the genre, then “Sanjuro” is for you. The sequel is actually pretty funny, and there’s no greater on-screen Ronin than Toshiro Mifune! You can’t go wrong with this one, plus, the very end scene has one of the very best Samurai stand-offs in cinema history.

Final Score: 1 Ronin