Sanjuro (1962) 720p YIFY Movie

Sanjuro (1962)

A crafty samurai helps a young man and his fellow clansmen save his uncle, who has been framed and imprisoned by a corrupt superintendent.

IMDB: 8.26 Likes

  • Genre: Action | Crime
  • Quality: 720p
  • Size: 789.57M
  • Resolution: 1280*800 / 23.976 fpsfps
  • Language: English
  • Run Time: 96
  • IMDB Rating: 8.2/10 
  • MPR: Normal
  • Peers/Seeds: 1 / 26

The Synopsis for Sanjuro (1962) 720p

A wandering samurai, Sanjuro, is drawn into local politics. The Superintendent of a clan is plotting to take over the clan by implicating the Chamberlain in corrupt activities (activities the Superintendent is actually responsible for). Part of the plan involves killing off the Chamberlain's staff and, in protecting them, Sanjuro sides with them. The supporters are massively outnumbered so it will require all of Sanjuro's cunning and swordcraft to ensure the Superintendent does not succeed in his evil plan.


The Director and Players for Sanjuro (1962) 720p

[Director]Akira Kurosawa
[Role:]Tatsuya Nakadai
[Role:]Toshir? Mifune
[Role:]Keiju Kobayashi


The Reviews for Sanjuro (1962) 720p


The righteous sequel to YojimboReviewed bySourav RoyVote: 10/10

Sanjuro is the righteous sequel to Yojimbo, but unfortunately, not as popular- probably because it was never copied to become a western. Mifune is as smart as he was in Yojimbo. In-fact, he has improved! He has developed leadership skills and is more polished. Has has respect for women! Although there are many noticeable differences as well. Yojimbo retains its indebtedness to the sword with heavy doses of ruthless action. There is certainly action in Sanjuro, but it rarely gets truly ruthless- another symbol of maturity in Sanjuro's character. If Kurosawa wanted, he could have included action and made the film more commercial. Instead, he did what was the right thing to do. He had his protagonist claim in the end- "I am just like him (the dead antagonist), he was like a sword that should have a sheath" Yojimbo and Sanjuro are both essentially comedies, but they evoke different senses of humor. The black comedy of Yojimbo is nowhere in evidence here. Sanjuro is more or less slapstick humor. Unlike most Kurosawa films, this film is mostly indoor. Nature comes into play only in the final scene of the film, which the audience knows, is justified once they watch the film!

it's by Kurosawa--what else do you want?Reviewed byjehruVote: 10/10

Sanjuro is another in a long line of purely classic films by Akira Kurosawa. This movie was made on a whim on the heels of the wildly successful Yojimbo, but Kurosawa doesn't simply whip out a movie to satisfy the audience; he creates another film masterpiece. This is a farcical comedy shot with the same brilliance as Ran--take a minute and notice how perfectly the image on the screen portrays what Kurosawa wants us to see. Nothing about this film is a mistake, something that he would want to do over. Watch this film!

Kurosawa Plays Himself.Reviewed byOttoVonBVote: 7/10

With a near clean lineup of masterpieces under his belt, nobody could fault Kurosawa for wanting to make a simple piece of entertainment. This simple aspiration did not stop him from making another hugely influential success.

Sanjuro is a loose sequel to the classic Yojimbo. The character is back, as is, confusingly, Tatsuya Nakadai as a completely different character. The landscape and tone are entirely new, lighter, jollier. It is almost a spoof of its predecessor,as Mifune's nonchalant and perpetually unwashed antihero helps a group of goody- two-shoes samurai save their framed master. This is also the first on-screen collaboration between Toshiro Mifune and the young Yuzo Kayama, before they costared to such memorable effect on Redbeard.

Nobody spoofs Kurosawa better than the man himself: this is without a doubt his funniest film, yet he never treats it as a second-class product. No slouch, the director peppers this light romp with unforgettable visual flourishes, enraptured homages to the American Westerns that so inspired him, and an end-note of surprising violence, the likes of which Tarantino could only dream of.

At a fast-paced 96 minutes, this is probably a great entry point into the cinema of Akira Kurosawa, and a film that would be much more highly regarded had it not come from such an established filmmaker.

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