What impressed me the most about this film was not the critically acclaimed Final Strike Heart Sword, but the mother and daughter who seemed incompatible with everyone. This is the first time I saw such a female character in a tough guy film. Although there are very few scenes like other films, it is not a vase at all, but has its own powerful and irreplaceable sense of existence.
Just after running out of the tiger's mouth, the lady slowly fanned and said, "I'm too tired, I want to rest and rest. It's more indifferent than delicate."
Then the mother and daughter fell asleep sweetly in the soft haystack together in the hut where they had escaped. The scent of straw was amazing, and the leisurely self-confidence that emerged on their faces was so wonderful.
When Tsubakiro caught the enemy and threatened to kill him, his wife just stopped him with a smile, and then said softly, you are like an unsheathed knife, and a good knife is to be hidden in the sheath.
Such gentle power and unhurried aura, just a few clips, give such a tough guy a very special romantic temperament. It also makes people feel that Kurosawa Akira's love and respect for women is restrained and sincere, and even gives women a meaning of healing and salvation.
The name Tsubaki Sanjuro is also very romantic. Tsubaki means camellia in Japanese. The image of camellia appears many times throughout the film. When finally replacing arson as a signal of action. Even black and white films seem to be able to feel the beauty and even the aroma of camellia. Very romantic.
Should I use red camellia or white camellia? When arguing about this issue, the mother and daughter did not put the current critical situation in their eyes at all. Also consider what to do with the camellia that naturally falls from the tree. Sanjuro waved his hand, forget it, let me put a lot of camellia! He revealed a very lovely tenderness, which was consistent with the unspoken tenderness when he bent over and let his wife step on his back to climb the wall.
The photography is too beautiful, as always, Kurosawa's stage sense. Exquisite and elegant, with a stretch. It is a very standard classical aesthetic.
Anyway, everything is good, but the male lead halo is too strong! All men except the hero are too stupid to bear. Fortunately, he is Mifune Minmin, who makes him so cute! That indifferent energy, and the back figure that finally hid his merit and fame, can only be supported by the broad shoulders of Mifune's hanhan. Kurosawa really loves Mifune too much, and he loves this kind of heroism too much. This made him, like Mifune, with a lovely sillyness outside of chivalry, a kind of pure yearning and yearning for a little boy, which is probably the Bushido and Ronin spirit in Akira Kurosawa's mind. It is combined with the gentle flowing water of camellia, which is both opposition and contrast, but also has the same innocence and romance. Although this makes the film lose its authenticity, it is closer to a legend passed by word of mouth. From this perspective, Kurosawa has the same temperament as Westerns.
View more about Sanjuro reviews
