User reviews

There's a great small scene about ten to fifteen minutes into Sanshiro Sugata where the young and inexperienced Sugata, who has just gotten into a turbulent street-fight, is told by a judo instructor- the one he wants to be his instructor- that he has no humanity, at least not to be fighting Judo, and that giving judo skills to one without humanity is "like giving a knife to a lunatic." Did Akira Kurosawa know that one of his paramount concerns as a filmmaker would be to tell stories where characters were faced with this problem, of either gaining appropriate humanity, or losing it, or having the difficult but rewarding task of embracing it for him/herself? Probably not exactly, at the least that his other end of the career spectrum- Madadayo- would be precisely concerned with this ideal, of a man having to deal with self worth, and the skills that one's been given in life properly and with humility (and, in essence, Kurosawa himself as a director). But it's of interesting note, at least in the scope of his first film, Sanshiro Sugata (Judo Saga), which contains many of the trademarks of a Kurosawa film, and at the same time the fiery passion, if only in big spurts, of a filmmaker right on the edge of a career for Toho studios.

There are little notes to take for Kurosawa fans, little things that will give many a grin and even a laugh at what pops up: the classic "wipes" as means of scene transitions; the usage of slow-motion during an action/fight sequence, in this case at the end of a fight as the opponent conks out and the flag (this part in slow-motion) falls to the ground; Takashi Shimura, who appeared in more Kurosawa films than Mifune, as one of Sugata's opponents, who's a tough cookie but a fair fight who at the end gives Sugata praise as a great fighter; symbolism in usage of the sky, flowers, and other Earthly means as a way to communicate the environment of a scene, and a specific nature about it, as much as the characters in it. All the same, this is not to say that Sanshiro Sugata is exactly a masterwork right off the bat for the 32 year old filmmaker; the use of certain symbols, like when Sugata is in the mucky pond trying to have his own form of penance and snaps out of it once seeing a flower right in front of his face, isn't really as effective as intended and comes off as more of a cliché than anything else. The subplot with Sugata and the daughter is undercooked as romance, even as brief as it is. And the fact that the film now stands as missing 17 minutes is a hindrance; one has to comment on what remains as opposed to what could have been a complete work from Kurosawa (not as detrimental as the Idiot, but still bothersome all the same as in the title-card transitions).

But as an act of passionate action film-making, it stands its ground some 60+ years later in containing some intense scenes involving Sugata's training (I liked seeing Sugata coming face to face with a man who wants to challenge his boss, and dressed in more Western garb than anyone else in the film), and more specifically the actual fight scenes. While its a given that Kurosawa is a pro at getting down stubborn men- and professional traditionalist men for that matter- getting down and dirty and violent, it's impressive in hindsight from the rest of his career that he could add tension just by tilting the camera up during the street-fight, or in staying on the faces of the fighters, and numerous reaction shots, during the fights in the arena area. The Shimura fight especially has an aura of being as thrilling as a modern fight sequence, with aforementioned humanity coming through with every pummel and thrust and toss-up of one character over another. This all leads up to the climax, which is not only a highlight of the film but a highlight in the history of classic Japanese action sequences, as we see Kurosawa already relying on the sky, the grass pushed and pulled by wind, and the compassion of the others around the two opponents (the old man and the girl) as a fight to the death, seen mostly out of sight through the grass, proceeds intensely more due to the intent and emotion of the characters than traditional stunts and fast-pace editing.

Sanshiro Sugata is a worthy production in the cinematic cannon of Kurosawa, acting as a very good stand-alone effort for genre fans while speaking to his practically intuitive cinematic strengths at controlling the pace of a scene and meaning via certain visual cues and enjoyable performances garnered by the pro actors. It does show some of its age, and along with the cuts made in the only version available today (in a print, by the way, that is rather horrid considering who the director is) it had to face some given restrictions due to Japan's censorship laws, but it's also a cunning display of a debut showcasing the talents of a confident director in a film that was meant to be seen by a mass audience, if only for diversion during the war.

The modernization of Japan began with the Meiji era in 1867. Mutsuhito, who proclaimed himself Emperor Meiji (loyalty to the rule) to ascend the throne, began a series of significant changes included the abolition of privileges, granted the right to wear a name (hitherto exclusive to samurai and the nobility) and opened the voting for the election of governors, among other measures that began the decline of more than 250 years of feudalism, to make way for the Meiji democracy would go until 1912, and that would open the way for Japan to begin to become a society, certainly more balanced.

Sugata Sanshiro proudly carries his name. Man of the people, attending a school of Jiu Jitsu, a martial art which derive Judo, a risky way to debug the techniques, paradoxically, called "art of softness". But when he meets the skill of the master judoka Yano, Sanshiro decides to become his student and then faced the challenges that will give him a place in the new institute.

What follows then are the circumstances of life that prove the man to his ideals and give opportunity to specify the strength of their inclinations. For it is with chiselases which are polished gems and it is with fire that demonstrates the strength of the metal. But there are things that weigh in man, as love is born and who never wants to hurt, and then, when man is forced to the difficult choice between self- interest or what benefits the group.

I think, "Sugata Sanshiro", was a good start for the master Kurosawa. The film denotes human sense, defending the rules and the collective interest, as it should be, but also understands the meaning of love and compassion, and rejoices as they deserve. The director shows fairly distanced with the scenes of violence, and although I'm sure weighed and weighed now more than ever, this gives a clear account of its central goal was the feeling and no physical force. After all, is in being and not in the domination, as a man can know himself, and as the teacher Yano says:"The way is the search for truth that governs the nature of man, as this is what will give us a peaceful death."

It must have been that this first film was well received at the box office since, two years later, the third Akira Kurosawa film, continue the story with the title "Soku Sugata Sanshiro". There is only regrettable that so valuable a work, with moments of undeniable beauty plastic, and is committed to a positive outlook on life, Japan's clumsy censorship of the time (¿perhaps there will not be clumsy censorship?), has cut about 600 feet, which may never recover and leave the film in some way unfinished.

Against all, I think any fan of the great Japanese filmmaker, should be deprived of seeing this remarkable debut.

Before you seek this out, know that it is an incomplete restoration. Bits are missing. Some edits are inexplicable and some scenes are muddy.

Having said that, you will find this to be one of Kurasawa's most interesting projects. Two things...

One is that this was made by the bad guys during the war. Incredible atrocities were being committed in the name of racial superiority and the supposition of a refined nobility. Japanese, German and American films (even Italian ones) turned to reinforcing the national character. In the Japanese case, that was linked to matters of honor refracted through Shinto spirituality, honor of a past ideal that never really existed, which in US terms means what "conservatives" tout.

It was a terrible exercise, more obvious in looking at it from the outside and knowing the context. Kurosawa's story was every bit as engineered for this purpose as any Reifenstahl project. Oddly, this film is fragmented because the sensors thought it not ennobling enough. One presumes that Kurosawa's moments of reflection, and possibly a whole love story, were among the half of the movie that was removed. So just on the level of the story itself (a modernized samurai tale), its of interest.

But it IS Kurasawa, so we have to pay attention to the way the camera engages with the space. This is his very first film as director, though he had written before. In all his films he registers the camera first in a space and then allows action to happen in that space. He has three periods of different types of spatial identity, each illuminating, each inventing new language. But this is before all that and what we have is clear, overt experimentation with space. Some of it is quite thrilling, quite independent of the fascist movement of the story proper.

Even here, he is breaking the rules of flat Japanese composition from eons of painting. He was considered unJapanese in his native country and never very popular. So at the same time that those censors were chopping story and posture they must have been shaking their heads at this three dimensional art, and wondering if they had already lost the war — and if they won, what for?

Ted's Evaluation -- 3 of 3: Worth watching.

Though the story presented in Sugata Sanshiro might not be the most appealing one, it's still a considerably enjoyable tale about the beginnings of Judo and its most prominent representative, the titular Sugata (played by Susumu Fujita, in a role that earned him a notable spot in the Japanese cinematic history). It's a simple and modest, but a truly elaborate and serious tale of one man's difficult journey to martial arts stardom. In order to find peace in life and achieve perfection in the craft that he's been practicing for some time, Sanshiro needs to come to terms with his own emotions and find a right path, which might eventually lead him to the desired golden mean.

Based on a best-selling novel, Sugata Sanshiro established the reputation of Kurosawa, and made him a prominent figure in the filmmaking business. Though it's far from being a genuine masterpiece, the film still shows the director's steady hand and is the admirable proof of his awe-inspiring versatility.

To become the master of martial arts is an uneasy task, and Sanshiro learns the lesson in the first minutes of the picture. Trying to join a clan of Jujitsu fanatics, he quickly realizes that they're just a bunch of up to no good coxcombs. Seeing how easily Yano (Denjirô Ôkôchi), the originator and master of Judo, defeated the group, Sanshiro decides to become his student. To become a proficient Judo technician the young, strong-willed, yet somehow reckless Sugata must overcome many of his weaknesses and find out the meaning of a warrior's way, thus learning the true meaning of life. The student, struggling to accustom himself to the situation, is constantly tested by his master, in many more or less laborious ways. And when the time comes, Sanshiro is finally able to take part in tournaments, in order to prove his indisputable technique and unrestrained power. On his way Sanshiro meets a mysterious, elegant, devilish man by the name of Hagaki (Ryûnosuke Tsukigata), who's like a shadow that's been following Sugata everywhere that he goes. Ironically so, the man - with his familiar look and specifically evil attitude - comes as a typical dark character, taken straight out of a superhero movie. In the film's most climatic and disquieting sequence, the two rivals participate in a duel that will determine who's the strongest living martial artist.

For all the lovers of Japanese culture, and for all the adepts of Asian martial arts, Sugata Sanshiro will definitely be a worthy film experience. For the rest it might be an insightful, valuable, and well-crafted period drama that's not only full of perfectly choreographed action scenes, but also full of humane qualities that prove to have an authentic meaning even in the modern times.

You would never know watching Akira Kurosawa's directorial debut (he did some uncredited work in Uma) that it was supposed to be a war propaganda film. The censors supposedly removed quite a bit as they did not feel that it was strong enough in pushing spirituality.

The story, while not Samurai, as we are used to, is basically the same that Kurosawa uses later in The Samurai Trilogy, especially the first part. It could be called modern samurai.

We are all familiar with the old school vs the modern way of thinking and acting. This is the central theme. Yano (Denjirô Ôkôchi) has developed Judo as a replacement for Jujitsu. The old school followers are very upset. It was interesting to see Kurosawa's camera work as the frantic fighters ambush Yano. he stands strong and stoic and throws them one by one into the river.

Here is where Sugata (Susumu Fujita) is captivated and joins Yano to learn Judo. He is similar to Mifume in Musashi Miyamoto. He has skills, but he is raw and lacks the proper spirit. He learns to be pure and represents Yano against the leading jujitsu school for the police training contract. he has to fight the father of the girl he has fallen in love with.

Everything seems well, but this is a propaganda film so the evil West in the form of a jujitsu fighter wearing western clothing and smoking cigarettes comes in accompanied by blowing wind. Of course, Judo can beat Jujitsu with the proper dose of spirituality, but can it beat the West? I leave that to you to discover.

It is fortunate to have the opportunity to see these films in the United States. It would have been even greater if we could see the version that wasn't chopped up; but even the Japanese didn't get to see that.

After watching "Sanshiro Sugata", it is just as if the immersion of the eponymous Sanshiro (played by Susumu Fujita) into the new art of judo and Akira Kurosawa's own initiation with film-making blended together in an osmosis that would make a tear run down the sensei's cheek. The film isn't devoid of imperfections but they reflect a certain idealism, a faith in hidden human virtues, a conviction that skills aren't all it takes to make the individual, that quest for wise humility is the essence of Kurosawa's film-making. He never took his style and his directorial flair for granted.

Indeed, watching the film is like following the evolution of an idealistic young man amidst the Meiji era to a fearless fighter until it turns out that's not even the preferred achievement in martial arts, as it requires a dedication that confines to self-abandonment, a humility that Sanshiro needs to nurture in his body. He achieves it after spending hours and hours hanging to a pole in the middle of muddy pool, a self-inflicted punishment in order to reach an unknown truth. Quite a gambit, but you know what they say about the destinations and the journeys?

In fact, that pool scene reminded me of Kurosawa's attempted suicide after the failure of "Dodes'Kaden" in 1970. The master had already changed the face of modern cinema and yet he felt worthless after one fail. His 'debut' film shows a similar dedication to the art, Kurosawa wasn't a newcomer, he had actually worked as an assistant and writer but in a society where hierarchy means something, any man given full reins on a project could get easily carried away. But Kurosawa uses the camera with such delicacy and naturalness, not like toys but storytelling devices, despite a few clumsy bits of experimentalism, you'd think it's John Ford directing the film.

The cruel irony is that the film was made in the midst of the war against America and Kurosawa was asked to go full propaganda with it, he had the right material; the rivalry between the traditional Sanshiro and Higaki (Ryunosuke Tsukigata) who spots a Mephiso-like mustache and Occidental clothes. Kurosawa could go the easy way but chose to deprive the film from any patriotic hubris and make it a character study of Sanshiro and his path toward the mastery of the art of judo. And it was the safe way, the film is set in 1882, turn-of-the-century clothes mixed with kimonos and the Occidental lifestyle was the subject of a selective imitation.

When the film opens, anew rivalry opposes the jiu-jitsu school and the new art of judo and both are willing to obtain the licences to train the new police force. Sugata joins the jiu-jitsu school lead by Master Kodama (Yoshio Kosugi) and is put in a corner by a bunch of laid-back men who look at judo with patronizing suspicion... anyone familiar with Kurosawa understands we're not supposed to sympathize with them. And rightfully so, the same night, they confront Shogoro Yano (Denjiro Okoshi) from the Shudokan Judo school. The fight is reminiscent of these Bruce Lee scenes where he neutralizes the bad guys one by one. Each opponent is thrown to the river and the last to be defeated is Kodama who demands to be killed, to be spared the humiliation.

Sanshiro understands he chose the wrong school. We then follow his initiation that foreshadowed all the films of the genre with three fights (the eternal rule of three) representing one step of Sanshiro's evolution.

The first is merely a test of credibility as it opposes him to Kodama and its consequences show that Kurosawa was more concerned with the drama than the competition. The second is even more interesting, it opposes Sanshiro to Kurosawa's old partner: Takashi Shimura as Hansuke Murai. The fight is spiced up by the growing romance with Murai's daughter (Yukiko Todoroki). This is an adversary Sanshiro will learn to respect, and even like. I loved the eye contact between the two and one can even look at them as potential mentor/disciples friends à la Myagi and Daniel in "Karate Kid". Notice before the fight when Murai sees his shredded kimono and smiles at him, Sanshiro smiles back respectfully. He had already won him before defeating him.

The final fight is standard good vs. Evil climax but it beats all the others with the extraordinary use of the natural scenery which is like a lyrical combination of German expressionism and Oriental poetry. Kurosawa's eye with nature was already foreshadowed by the magnificent blossoming lotus moment that marked Sanshiro's epiphany. And one can't ignore the use of slow-motion and stylistically choreographed fights probably inspired by their use in Riefenstahl's documentary "Olympia" and that make the film certainly the pioneer of all the "Rocky", and"Karate Kid" underdog movies and Bruce Lee film. Kurosawa has always been a genre moulder... and I wouldn't be surprised if the lost footage contained a sport montage. But only God knows what kind of masterpiece it could have been with that missing reel.

But there's so much to appreciate, the drama, the action, the thrills, the melodrama and even the comedy with the running-gag of the three women singing songs that updates us on Sanshiro's reputation. The film is far from perfection but one should look at the talent that made it possible as a lotus at the verge of blossoming and waiting for the right time to improve, how about one without a war.... And maybe the right face. Fujita was good but he was no Mifune.

Speaking of faces, it's interesting to look at the cast of the film when they were young in the 20s or 30s, and see them all dressed in Occidental clothes that contrast with their more traditional fashion in the film. That might give you an idea about how serious the Meiji was.

"Sugata Sanshirô" (1943) is a masterpiece that inspired countless sequels and imitations glorifying martial arts practitioners and their quest for inner and outer perfection. The 91-minute restored film we know today is still missing important scenes. Here is a short history of that censorship.

According to a very interesting online article by Walter Klinger, the film was submitted to two distinct forms of censorship. First of all, during production, from government censors urging Kurosawa to make a film glorifying Japanese warriors and their spirit of devotion to "chuukou", i.e. "loyalty and devotion" understood as an infallible principle requiring absolute loyalty to one's superiors and blind obedience to orders (a principle that made Kamikaze pilots possible). In the pond scene, Sanshirô's master urges him to follow "chuukou" and after his nighttime revelation, Sanshirô bows obediently to his master.

In the post-war period, all references to this principle were outlawed by the General Headquarters of the Supreme Commander for the Allied Forces (SCAF - the occupying Americans) as an anti-social remnant of Japanese feudalism which was perceived as the root cause of Japan's stubborn refusal to surrender. Not only was the "chuukou" word excised from that scene in mid-sentence (and never put back in, even in the "restored" version) but all subsequent editions of the novel the film was based on, even in animé or manga form or in film remakes and sequels, were also excised for the same reason, which means that the hero was reduced to finding "satori" in other more universal Zen sources or nuanced feelings, such as the love of his beloved, the realization of his own selfishness or respect for his master.

As post-war young Japanese people weren't particularly fond of "chuukou" to begin with, especially as it concerned blind devotion to tradition and unconditional loyalty to one's parents (or employers), this was not seen as a major problem.

The SCAF, however, also outlawed scenes of feudal loyalty, cruel violence and the "undemocratic idea of revenge", "feudal" commodities for which the Japanese public never really lost its tremendous appetite, and which eventually became the main themes of Yakuza, samurai and martial arts films. Furthermore, martial arts, including judo, with their stigma of "warrior's ways" and "blind obeisance", were also banned from government-sponsored settings like schools and police departments, until 1950, at the very time when they were conquering the rest of the civilized world, including America.

This film was Kurasawa's big splash. The story based on the legends of Shiro Sakata, Jigoro Kano's (the founder of Kodokan Judo) bad boy is told with the art that only Kurasawa could muster. Fantastic camera work, tense and controlled action and done when Japan was losing the war. The film was competently remade in the early 60's with Mifune and Koyama. But, Koyama could not capture the simple intensity of Fujita in the original title role. A great monument to one of the greatest directors of all times, this film must be seen more than once to be thoroughly enjoyed.

Akira Kurosawa is widely known as one of the twentieth century's greatest directors, responsible for masterpieces like Rashoman, Ikiru, and The Seven Samurai. But every director must begin somewhere. John Ford got his start on B-westerns. Steven Spielberg began with Duel, the story of a man being chased down a desolate stretch of highway by a homicidal big-rig trucker. And Kurosawa started with that most Asian of genre films, the martial arts movie.

Sanshiro Sugata (subtitled Judo Saga) tells the story of a young man who seeks to learn jujitsu, but upon seeing his prospective sensei thwarted in an attack on a rival instructor chooses to follow this man and his new art of judo. Don't expect any nefarious plots by criminal syndicates with innocent lives hanging in the balance. Sanshiro Sugata is more like an American boxing film in that it focuses mainly on the hero's personal development and his rise to become a great fighter.

And rather than the flying kicks and fists of fury that characterize modern entries in the genre, this movie uses pure judo and jujitsu, which consists of the combatants struggling shoulder to shoulder seeking to throw the other, with only the occasional block or leg-sweep. The fighting here is simple but authentic, and fairly well staged. In between the fights, we see Sanshiro train, develop a budding romance, and learn that a warrior's spirit is as important as his skill. There is of course a villain, instantly recognizable as such because of his resemblance to Snidely Whiplash, and of course they fight before it's all over.

I must confess that the villain is never given much characterization, nor is his hatred for Sanshiro explained. More interesting is Murai, an aging jujitsu master who faces Sanshiro in the annual police tournament. He is fighting for the honor of his dojo, and to make his daughter proud. Their match, pitting Murai's skill and experience against Sanshiro's strength and agility was the movie's high point for me.

The film's low budget does show at times, mainly in the set pieces and the low quality of the night shooting. More seriously, the significance of some scenes isn't clear, and others felt like they should have been developed further, such as when the daughter of a fallen rival seeks vengeance on the hero. However, this may be due to the fact that wartime authorities cut a great deal of footage, most of which was never recovered.

Sanshiro Sugata is a long way from the kind of movies Kurosawa would be making just a few short years later, but it's not bad for a debut film, and there are signs of the greatness he would later achieve.

Sugata Sanshirô is recognised as a cult classic, it spawned a sequel and more than one remake but I fail to see the mass appeal of this one.

It tells the story of a man who finds himself through Judo. He trains and becomes a sensation but he finds conflicts between his passion and his heart.

It's an odd little tale, light hearted compared to many of the early Tojo films but still has the recurring theme of honour above all else. In a modern age the concept being taken to this degree doesn't translate well, in fact it comes across really quite daft.

The judo sequences are oddly over the top, the plot is thin and though it's hardly terrible I certainly don't "Get it".

The Good:

Charming

The Bad:

Certainly niche

More over the top than you'd expect

Things I Learnt From This Movie:

Slow dancing is customary before a judo competition

30ft throws are normal in Judo

Judo bouts are often to the death

Judo duels are a thing

Sugata sanshiro is a wonderful feel-good film. It's tough to say that about a movie with martial arts where violence abounds, but Kurosawa's subtle approach to character development and mood carry this film above and beyond. Even those who don't look for the art in films will see the beauty of this direction. The definition of characters is difficult to follow in the early scenes, but Susumu Fujita does a marvelous job with his portrayal of an-unsure judo student. Definitely a film that deserves your full attention.

This is understandably one of his first works, the movie is a little unrefined and raw. But it is quite good nonetheless.

Although there is a certain cliché and lack of depth in the plot (typical-i-am-destined-to-fight kind of plot), many things are already outstanding in this first piece of work by the legendary Kurosawa. The camera angles, the style, and the small moments, like the shy behaviour in those scenes prelude to romantic endeavours, are some of the things people will remember about this film.

At least people will also remember that this was one of the films that elevated Kurosawa to be a top-notch director in the later part of this career

Akira Kurosawa's first credited film as director (he said he had as much control over his last few films as assistant director as he had over this) is missing about seventeen minutes of footage from its original release. Cut for various reasons by the censors in wartime Imperial Japan shortly after its release, the lost footage has never been recovered and the end result is incomplete. It's not so incomplete as I can't make heads or tails of it, but I'm pretty sure the film suffers for the lost footage. There are rather jarring cuts here and there as well as sections that get summarized through intertitles that most likely were actually filmed that the restoration effort in the early 1950s did what they could to give the audience the idea of what was missing. Based on those descriptions, I feel like the film would offer a deeper, more satisfying journey for the main, titular character, but those scenes are simply not there now, creating what is most likely a lesser, more fractured film.

The film follows Sanshiro (Susumu Fujita), a strong young man who wishes to learn jujitsu from a school in the city. The opening shot is from his point of view, tracking down a city street, viewing the mishmash of old and modern Japan in the late 19th century, and then down an alley where he finds the first jujitsu school he comes across. There's a cut (where I presume something was removed) and he's suddenly the lowliest student of the school. They receive word that the head of a competing school, one proposing the new form of jujitsu called judo, is returning to the city. They come upon the teacher, Mr. Yano (Denjiro Okochi), and we get one of the best sequences in the film. The eight or so adherents to the school, minus Sanshiro who is too new, inexperienced, and awed at what he witnesses, go up against Mr. Yano who throws each and every one of them in the water. It's a remarkably tense moment as the school realizes that it's outmatched but can't back down, each student growing less confident as the unofficial match plays out. Sanshiro decides that the old school isn't for him, and he joins Mr. Yano to his school.

The problem is that Sanshiro is a rash young man who gets into fights outside the school without provocation. When he comes home one night after a brawl, Mr. Yano talks of Sanshiro's unworthiness for the school, and Sanshiro jumps into the natural pool of water at the center of the school, dedicated to the idea that he will die for his shame, clinging to a steak in the water. Mr. Yano tells him to die and chooses to ignore Sanshiro until Sanshiro decides himself to get out of the water. It's here where the film demonstrates its greatest asset: It is oftentimes simply beautiful to look at. Kurosawa was originally trained as a painter, and that painterly approach to framing subjects in front of the camera creates many wonderful compositions. This became most obvious to me here, with Sanshiro in the pool of water. There's a pan up where Sanshiro, clinging to the wooden stake, is the focus to bringing in the figure of the Buddhist monk (Kokuten Kodo) looming over him, ready to talk some good, Buddhist sense into him. There's a reconciliation, but Sanshiro must still be punished for his behavior.

When Mr. Yano leaves town, an adherent to another style, Higaki (Ryunosuke Tsukigata) arrives to challenge the school. Sanshiro is forbidden to fight, per his punishment, and Higaki knows that the only challenge he could truly face would be Sanshiro. At a competition later, Sanshiro faces against the leader of the school he left and accidentally kills him in the match, leaving the leader's young adult daughter, Osumi (Ranko Hanai) an orphan, and she tries to assassinate him for it. It's about here where the intertitles happen twice, giving us summaries of Sanshiro's personal efforts to overcome his guilt and grow as a person. That a lot of this gets skipped because of censorship cuts is really unfortunate, because what we end up with instead is a staccato journey instead of a smooth one.

There's an important jujitsu match scheduled to determine a contract on which school will train the police. Sanshiro goes up against Murai (Takashi Shimura). Beset by his guilt for killing before (an act memorialized in song by the local children), and taken by Murai's daughter Sayo (Yukiko Todoroki). He fights cautiously, easily throwing Murai several times, and leaving him battered but alive, giving him his well wishes as Murai gets carried out. The two form a friendship with Sayo gaining affection for the increasingly sober-minded strong fighter in Sanshiro.

Higaki shows up again, demanding a match with Sanshiro, and the two meet in the hills where Sanshiro proves his worth by defeating Higaki, maiming him but not killing him. It's another great to look at sequence, by the way. The swaying tall grass, the tall peaks behind them, and the precise framing, especially when Higaki slides down the side of the hill, are just wonderful to observe independent from their connection to the story at play.

And that story doesn't hold together quite as well as I think it could. The cuts haven't helped the film at all, and I do think that restoring the lost footage would, more likely than not, help to smooth over Sanshiro's journey in a positive way. However, there's more. The self-importance of the jujitsu schools feels underdeveloped, like the film is dipping a toe into a sub-culture that it doesn't quite understand. In addition, I feel like the opponents that Sanshiro faces is overbalanced towards the back end of the film without a clear enough effort to integrate them into his personal emotional journey. The cuts would have likely addressed this most clearly.

As the movie stands, it's most remarkable for Kurosawa's camera work. The roving camera is present in several key sequences like the opening shot down the street as well as the first big fight with Mr. Yano as the camera inspects the small battlefield back and forth. The painterly compositions are the single greatest strength of the film, though. I've said it before, and I'll say it again, but this film is very frequently just great to observe. In its original form, I imagine a fair number of my narrative critiques would be addressed, but until that version is found, we're left with this. It's an interesting and aesthetically beautiful effort.

Kurosawa's debut features a few cinematic flourishes which hint at things to come in his later works, including the confident use of symbolism and of the forces of nature (particularly wind and rain). For a first-time director, it's clear there is an artistic vision and creative talent at work here.

Despite this, the plot does feel rather slight and even conventional, probably due to the influence Western cinema had on Kurosawa at the time. Wartime budget constraints and heavy governmental censoring didn't help this film, and as such, it doesn't feel completely satisfying, particularly when seen next to the works of fellow Japanese contemporary Ozu Yasujiro, or indeed Kurosawa's later career.

First and foremost, in order to appreciate this film, one must face the fact that it is largely incomplete, due to the censorship of the time. Having that into consideration, you will most likely enjoy the film for what it is. Besides, if you are acquainted with Kurosawa's work, then you should not doubt giving this a try.

The outstanding, mind-blowing camera-work that Kurosawa is known for is in a huge development process here, on account of this being his first work; however, even though not yet in a full-fledged form, everything that is meant to be portrayed comes through wonderfully. The story is another factor that definitely enhances the representation taking place in the film, as it matches perfectly with the cinematic techniques Kurosawa puts to work. If there are any inconveniences to be encountered throughout the course of the film, it would all obviously be as a result of the cut-off already mentioned.

The conspicuous acting goes without saying; everyone in the film fits into their roll perfectly. The main character may probably come as overacted to an audience not familiarized with Kurosawa's work, or Japanese cinema for that matter; Susuma Fujita would not be as well-known as Toshiro Mifune would later become, but he undoubtedly does his best here.

The film, despite the cut-off, works perfectly. One can just wonder how much better this could be if it were in its full form, as first conceived by the director.

A movie which gets better as it goes along, this is essentially a story about judo matches and honor. The fight scenes are good, they have a good level of tension. You see some elements to Kurosawa's film making here, like pointing the camera up at the sky, that he has used to even greater effect since. There is a love story here too, in the character Cree's opponents daughter, Siu. My copy of this film left some to be desired, in that the subtitles are not perfect, and it is not a great transfer, but this film has been on IFC, and that is the more recommended way I suggest you see this film. Not perfect, but it holds your interest, and it is Kurosawa, which is enough of an endorsement to watch any film.

There were many reasons I was unimpressed by this film, though one had was certainly not the fault of anyone connected with the movie. Because this and its sequel are rarely seen, they are hard to come by. I finally found them as an import from MEI AH Laser Disc Company--and boy did THAT leave a lot to be desired. The quality of the print was very poor (though MUCH worse on the sequel) and the captioning was beyond abominable! When my daughter saw part of it, she immediately recognized the problem. It seems that many Japanese movies are released by Chinese companies, so the movie is translated from Japanese to Chinese and finally to English--and so much was lost in the translation it practically ruined the experience. For example, "JUDO" is translated as either "Karate" or "Kung Fu" in the movie. If you don't know much about martial arts, there is a world of difference between them. For two movies about Judo, the word NEVER appears in the subtitled version! Also, countless sentences simply make no sense--it's as if the words are almost random at times.

Now, as far as the movie itself goes, this is a purely ordinary film with very little of the magic of later Kurasawa films. It is a not particularly involving movie about a judo master. Some of the cinematography and acting is very good and at other times it isn't--it's obvious Kurasawa is still learning his craft. Also, part one is ruined by the fact that part two is a worse film in most ways-- so the viewer never really gets a payoff for seeing the conclusion.

I had never heard of Akira Kurosava. I didn't know anything about Japanese B/W films at all!.

And it proved a blessing for me as I watched this movie without even so much as battling an eyelid. Growing amazed an appreciative at the same time.

There is a strange kind of stillness in Kurosava's direction. Not the stillness to make you impatient but the stillness to make you feel the beauty of the moment, to get inside the character's mind.

It's a story about a lad who is headstrong but learns the truth of life along the way.

It's a movie about Judo and Jujitsu. It's a movie about budding love. It's a movie about a student and a great master. And it's a movie about Kurosava's greatness.

You can watch it for any reason and you'll not be disappointed. I wish all those movie makers of senseless violence, learn something from this one... while I find ways to get my hands on another of Kurosava's master pieces.

For 1942 (before the Pacific war actually started for Japan) one is struck by the modernity of technique, the adventurous way the film is visually narrated. The story is admittedly pretty creaky, but not unenjoyable. Interestingly, the evil characters are in Western clothes, whereas the wholesome good guys are salt-of-the-earth Japanese style, portending the coming war of values with the West.