Tuesday, May 26, 2009
Friday, May 22, 2009
Yojimbo
Yojimbo, directed by Akira Kurosawa, take on Western-style film adapted to Japanense culture. The setting almost identically resembles the set of a Western; a small, desolate town with a main road down the center surrounded by open wilderness and mountains in the background. The Japanese influence is maintained with costumes, props, such as weaponry, and interior decoration.
The characters are reminiscent of Kurosawa's own The Seven Samurai and have become western archetypes. The cinematography also mimics conventional shots in western films, such as that of the lone hero in a wide shot, facing an enemy or enemies from a distance while the wind kicks up dust between the two.
The opening scene emphasis the protagonist, Sanjuro, only his backside is displayed as he paces through the wildness. Sanjuro's odd stance combined with his arms tucked inside his kimono, and posture reveal a sense of ardent self-confidence. This confidence is also seen in his first major confrontation with the villagers.
The music used in this film also advances the samurai as he is choreographed to the beat of the percussion through the field and village. Little conversations leads to swift action and a minor fight scene causing the death of troublesome villages ( meant to be seen as minor antagonist) and also sets the tone for the film.
The characters are reminiscent of Kurosawa's own The Seven Samurai and have become western archetypes. The cinematography also mimics conventional shots in western films, such as that of the lone hero in a wide shot, facing an enemy or enemies from a distance while the wind kicks up dust between the two.
The opening scene emphasis the protagonist, Sanjuro, only his backside is displayed as he paces through the wildness. Sanjuro's odd stance combined with his arms tucked inside his kimono, and posture reveal a sense of ardent self-confidence. This confidence is also seen in his first major confrontation with the villagers.
The music used in this film also advances the samurai as he is choreographed to the beat of the percussion through the field and village. Little conversations leads to swift action and a minor fight scene causing the death of troublesome villages ( meant to be seen as minor antagonist) and also sets the tone for the film.
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