Techniques In Yojimbo

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In Tanaka and Kurosawa’s (1961) Yojimbo, I like how the cinematography and the editing work together in showing the dark comedy behind humanity’s inhumanity. I appreciate the camerawork’s use of shots and angles that expose the pitiful characteristics of corrupted human identities. When Sanjuro Kuwabatake meets the Ushitora’s goons, the contrast between the true warrior and the superficial ones makes me laugh and feel disgusted at the same time. As a samurai, Sanjuro is confident in his sword fighting skills, whereas the bandits have to brag about their tattoo and criminal histories. The medium long shot reveals the forced swagger of the goons, clearly trying hard to hide their true nature, their cowardice, in comparison to Sanjuro, who is calm and assured of his abilities. Furthermore, Kurosawa uses the swipe to depict transitions between scenes. I like the swipe because it feels like a storybook, and turning one page after another prepares the audience for the next scene.
Besides the cinematography, I approve of the music chosen to portray the characters’ emotions in the
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Sanjuro offers an example of good acting. Toshiro Mifune is Kuwabatake Sanjuro in the sense that he does not act anymore. I like how he walks, moves, and talks like a Samurai, peaceful yet wise, noble, and strong. He moves swiftly and talks sparsely. His face reveals what he wants to say inside. For example, when Orin, Seibei’s wife, talks about killing a man like it is as simple as peeling a banana, Sanjuro looks appalled but not thoroughly surprised. In fact, instead of killing the family outright, he smiles and stays composed because he already has a plan. He remains focused on the plan and it is seen in his composure. The antagonist Isuzu Yamada as Orin is also extraordinary. I believe she can make a great wife for Satan himself. A great film has excellent actors that the audience can learn to love or
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