Movie “Yojimbo”. Reviews and Movie Trailer.

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Movie Yojimbo Description
A anonymous ronin, or samurai with out a grasp, enters a minute village in feudal Japan the keep two rival businessmen are struggling for control of the native gambling trade. Taking the title Sanjuro Kuwabatake, the ronin convinces each silk provider provider Tazaemon and sake provider provider Tokuemon to hire him as a personal bodyguard, then artfully items in motion a elephantine-scale gang battle between the 2 mettlesome and unscrupulous males.






  • Sanjuro Kuwabatake / The Samurai: Toshirō Mifune
  • Unosuke, gunfighter: Tatsuya Nakadai
  • Nui: Yōko Tsukasa
  • Orin: Isuzu Yamada
  • Inokichi: Daisuke Katō
  • Seibê – brothel operator: Seizaburō Kawazu
  • Tokuemon, sake brewer: Takashi Shimura
  • Yoichiro: Hiroshi Tachikawa
  • Kohei’s Son: Yōsuke Natsuki
  • Gonji, Tavern Keeper: Eijirō Tōno
  • Tazaemon: Kamatari Fujiwara
  • Hansuke: Ikio Sawamura
  • The Cooper (Coffin-Maker): Atsushi Watanabe
  • Homma, Teacher Who Skips Town: Susumu Fujita
  • Ushitora: Kyū Sazanka
  • Kuma: Kō Nishimura
  • Ronin Kobuhachi: Takeshi Katō
  • First Samurai: Ichirō Nakatani
  • First Foot Soldier: Sachio Sakai
  • Kame: Akira Tani
  • Kannuki the Huge: Namigoro Rashomon
  • Kohei: Yoshio Tsuchiya
  • Magotaro: Gen Shimizu
  • Roku – Samurai Whose Arm is Lower: Jerry Fujio
  • Matsukichi: Yutaka Sada
  • Kumosuke: Shin Ōtomo
  • Ushitora Follower: Shōichi Hirose
  • Yahachi: Hideyo Amamoto
  • Sukeju: Shōji Ōki
  • Second Samurai: Fuminori Ōhashi
  • Farmer: Hiroshi Kiyama
  • Traveler: Senkichi Ōmura
  • Farmer’s Ex-wife: Noriko Honma
  • Seibei Follower: Ryusuke Nishio
  • Seibei Follower: Naoya Kusakawa
  • Seibei Follower: Nadao Kirino
  • …: Mitsuo Tsuda
  • Ushitora Follower: Shinpei Takagi
  • Seibei Follower: Jun Ōtomo
  • Ushitora Follower: Akio Kusama
  • Ushitora Follower: Yasuzō Ogawa
  • Ushitora Follower: Hiroshi Takagi
  • Seibei Follower: Jun’ichirō Mukai
  • …: Takuzō Kumagai
  • Second Foot Soldier: Ichirō Chiba
  • Ushitora Follower: Haruya Sakamoto
  • Seibei Follower: Rinsaku Ogata
  • Ushitora Follower: Takeo Ogushi
  • Woman at Seibei’s Apartment: Yoko Terui
  • Woman at Seibei’s Apartment: Hiromi Mineoka
  • Woman at Seibei’s Apartment: Michiko Kawa
ALSO REVIEW: Slow for a Greenback


  • Producer: Akira Kurosawa
  • Director of Photography: Kazuo Miyagawa
  • Unique Track Composer: Masaru Satō
  • Govt Producer: Tomoyuki Tanaka
  • Assistant Director: Shirō Moritani
  • Focus Puller: Daisaku Kimura
  • Costume Compose: Yoshirō Muraki
  • Govt Producer: Ryūzō Kikushima
  • First Assistant Camera: Takao Saitō
  • Script Supervisor: Teruyo Nogami
  • Choreographer: Ryū Kuze
  • Sound Recordist: Chôshichirô Mikami
  • Editorial Production Assistant: Reiko Kaneko
  • Sound Recordist: Hisashi Shimonaga
  • Lights Technician: Chōshirō Ishii
  • Sound Mixer: Masanobu Miyazaki
  • Assistant Director: Masanobu Deme
  • Assistant Art work Director: Yoshifumi Honda
  • Production Supervisor: Hiroshi Nezu
  • Sound Outcomes Editor: Ichirô Minawa
  • Property Grasp: Kôichi Hamamura
  • Hairstylist: Yoshiko Matsumoto
  • Hairstylist: Junjirō Yamada

Credits: TheMovieDb


  1. Akira Kurosawa’s 1961 film YOJIMBO is a Eastern duration drama where wily draw is worth aesthetic as unprecedented as prowess with a sword. Within the leisurely Edo generation (some a few years sooner than its slay in 1868) a community is tormented by two opposing gangs who hold constructed up a criminal empire of prostitution and gambling. Even the local officials are on the take. Into this city steps a nameless samurai (Toshiro Mifune). When they get a form of his swordsmanship, each sides must always rent him, however he decides to play them off against each various and free the innocent voters from this execrable.

    In past motion pictures Kurosawa had taken encourage of Mifune’s ability to create exaggerated facial expressions of laughter and danger. Right here, nonetheless, the nameless samurai is entirely unflappable, while it is the criminal bosses and low officials who play the clowns. Ikio Sawamura is a city constable continuously toadying to the gangsters, as an illustration, while Isuzu Yamada provides a memorably sassy performance because the madame of a brothel. In what would change into a convention of the Eastern duration drama, the an unlimited amount of henchmen within the gangs had been apparently chosen from the most grotesque males that Kurosawa would per chance gain (each furthermore has distinctively ratty apparel), and one thug is played by an actor affected by gigantism.

    That darkly comedic drama between the characters coexists with brutal violence. Yet, while audiences would per chance need been worried in 1961 by the samurai dispatching his opponents with life like slashing sound outcomes and a hacked off limb, there are very top a handful of fights here, and so that they’re true by in a flash. (Indeed, with no doubt one of the indispensable indispensable striking facets of Mifune’s performing is his hurry in executing the sword strikes.) Whereas Kurosawa delights in gangsters getting their comeuppance, he would now not expertise gore.

    Unheard of has been said about how this Eastern film would encourage Westerns made in America and Europe (Sergio Leone’s A FISTFUL OF DOLLARS modified into a straight-up remake). On the assorted hand, the film will more than likely be attention-grabbing for how it draws so unprecedented on influences from the West. Kurosawa’s inspiration modified into an American crime caper by Dashiell Hammett, the samurai’s stroll down the critical avenue is drawn from the Westerns of John Ford and others, the soundtrack mixes Eastern music with Western instruments corresponding to harpsichord, and Tatsuya Nakadai’s swish-boy looks to be are clearly modeled on Hollywood.

    All in all, I modified into very impressed by this film. Every thing here – from the script and facet to small issues like the wind and dust and the small decorations on the position – looks to be the final result of expansive effort and talent, all coming together to ticket the viewer. And like Kurosawa’s RASHOMON, it stays contemporary even as its parts had been repeatedly reused by various film and tv productions for half of a century now.

  2. I modified into vastly surprised when I noticed this, how leisurely it modified into position – nineteenth Century – as I would per chance continuously imagined it to be of a more historical nature. That would now not remotely detract from the myth despite the indisputable truth that – as over again Kurosawa casts Yoshirô Mifune (“Sanjûrô”) within the leading position. Right here he is a wandering samurai who arrives in a village torn by strife. His talents are sought by the two opposing headmen and he fairly successfully manages to play them off against each various – and possess the peace – till one the their sons arrives, armed with a pistol, and entirely alters the stability of vitality. Mifune is unprecedented because the maverick, completely honourable and at cases fairly fun ronin – I modified into reminded a small of the characterisation by Clint Eastwood within the Sergio Leone motion pictures – with a ruthless, violent fade: however one plot or the other very top towards these meritorious of their destiny. It takes it be time, this – there is an efficient diploma of persona vogue and as such, I felt fairly invested in each Mifune and in his friend the innkeeper (Eijirô Tôno) as their peril gradually will increase. The leisure of the solid adds to the stress properly as does the frequent employ of the climate in helping carry out the spicy atmosphere making this a corker of a film, very unprecedented worth watching.

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