Sanbiki no samurai

Hideo Gosha got his start on television. His biggest hit was Three Outlaw Samurai, and in 1964 he got the chance to direct a prequel to that series with this, his first theatrical film. Tetsuro Tanba plays a wandering samurai who comes upon a hostage situation involving three peasants who have kidnapped the daughter of the local magistrate. The peasants of the district are being treated very poorly and are starving. Tanba sees that these guys aren't bad (the girl, Miyuki Kuwano, is unharmed) and decides to help them stand up to the magistrate. Among the men the magistrate hires to dispatch of the samurai and the peasants are Isamu Nagato and Mikijiro Hira, who will both switch sides and join up with Tanba eventually. Gosha's direction is impressive and the black and white cinematography is gorgeous. Occasionally the story is confusing and could be communicated a bit better, but for the most part it's not difficult to follow. The ending in particular is fantastic. I'd love to see some of the original series, but unfortunately it's lost.

This debut from Gosha is a masterpiece. It features all the tropes of the samurai stories. It has familiar film tropes as well (think westerns, for instance.) It has humor in spades.

As the camerawork goes, you see in these movies where the John Wick films may have gotten some of their inspiration. Longer shots with minimal edits allow the audience to enjoy swordplay between multiple attackers WHILE running. Wide shots of the rural landscape as well as the scenes by the river could be taken as stills for a photography class.

I am a big fan of samurai films. There are many out there that do not feature Toshiro Mifune that are of equal or higher caliber.

This film is one of those. See it the first chance you get!

Gosha was the Don Siegel of Japan, an artist of action, a poet of mêlée. So it is with this newly restored early picture of his, now available from Criterion in blazing black and white. Typical sam fare: clunky plot, great sword work, cool flourishes (like blowing dust giving mythic quality to climactic duel, or the use of blood to punctuate kills, never overdone but extremely dramatic.) Extremely enjoyable, it turns out to be an "origins" tale in which we learn how the three outlaws (if Japanese TV fame) came together. Briefly, seems wandering ronin decides to throw in with peasant reformers who've kidnapped magistrate's daughter for leverage on tax reform, and one way or other, the two others come to his side and ultimately they face off in duels and battles with magistrate's own ronin, soldiers, various thugs and creeps. Lots of racing, slicking, sword fighting in flip-flops and bathrobes. What did somewhat shock me was the utter disregard the movie shows for women. They are used up and tossed aside like Kleenex, with no regret or mourning or much in the way of grief. At least three are murdered or commit suicide, and two more dumped. I know this is emblematic of Japanese society in early '60s, but even so, it seems a little overdone here. I don't like to judge then by the standards of now, but even if gals were objects in '64, by those standards Gosha goes a bit overboard.

Excellent black and white cinematography, solid acting, well done action and a reasonably good story make this a satisfying film. The story of wandering samurai coming to the aid of impoverished farmers is not new and the characters are stock but this isn't a real problem if you are looking for something to sit back and enjoy easily. The direction is very assured and it's remarkable that this is a first directorial effort. The actors are appealing and the film never gets bogged down in long exposition or beauty shots. The comparison to a spaghetti western is apt.

The film seems like it was intended to start a series based on the three characters. Too bad that didn't happen.

Hideo Gosha's first in a series of great movies leading up to his double triumph of Hitokiri and Goyokin in 1969, is a simple but engaging chambara with a sociopolitical angle that has more in common with Kurosawa's work than the stylistic flourishes and visual grammar the director developed later in his career.

Very similar to Seven Samurai in terms of style and themes, this is another take on the familiar story of cynical samurais helping out poor peasants in their fight against the oppression of the rich and powerful. Three lowly peasants kidnap a daimyo's daughter and demand a tax reform that will ease the economic burden for all the peasants in the nearby villages. It's all well plotted and interesting for the duration with great performances all around and near superb swordplay action. Gosha's two Samurai Wolf films as well as Sword of the Beast would make ideal companion pieces as an entry point to the director's output. Fans of Kurosawa's jidaigeki work are likely to appreciate it just as well.