The Enduring Legacy of “Sanshiro Sugata”: A Masterpiece That Shaped Cinema
“Sanshiro Sugata” holds a special place in the hearts of older Chinese audiences as one of the first Japanese dramas they were exposed to. While the TV series might be the entry point for some, the story’s cinematic journey began much earlier.
Adapted from the novel of the same name, the TV series first aired in Japan in the 1970s. In 1981, it was dubbed and introduced to mainland China, marking a significant moment as the first Japanese drama to be imported.
Initially met with skepticism, the series became a sensation in Shanghai upon its release, captivating audiences and even leading to a decrease in crime rates as everyone tuned in to watch “Sanshiro Sugata.”
Kurosawa’s Vision: From Novel to Film
However, “Sanshiro Sugata” first graced the silver screen and gained widespread recognition thanks to the legendary Akira Kurosawa.
Kurosawa stumbled upon the novel “Sanshiro Sugata” and, captivated by its story, decided to make it the foundation of his film career.
At the time, several film companies were vying for the rights to adapt the novel, leaving its author, Tsuneo Tomita, in a dilemma.
Ultimately, it was Tomita’s wife who swayed the decision. Impressed by Kurosawa’s script, she believed in his ability to bring “Sanshiro Sugata” to life, leading to the creation of Kurosawa’s directorial debut.
Overcoming Obstacles: A Helping Hand from Ozu
The film’s journey wasn’t without its challenges. The script faced scrutiny during the review process.
Fortunately, Yasujiro Ozu intervened, smoothing the path for Kurosawa’s “Sanshiro Sugata” to begin production.
Upon its release, Ozu praised the film highly, stating, “If 100 points is a perfect score, this is 120 points,” highlighting his admiration for Kurosawa’s work.
The Enduring Influence of “Sanshiro Sugata”
Despite its age, which has resulted in degraded picture and sound quality, “Sanshiro Sugata” continues to inspire filmmakers.
Echoes in Later Works: From Stephen Chow to Jet Li
Stephen Chow and Jet Li have both drawn inspiration from “Sanshiro Sugata,” incorporating elements of its story and scenes into their own films.
The film’s opening, where the protagonist seeks to learn Jujutsu but mistakenly joins the Shimyo Living Killing School, only to be tasked with assassinating Judo master Shogoro Yano, is a key plot point.
Impressed by Yano’s integrity and skill, Sanshiro is won over and becomes his student, fighting on his behalf in competitions.
This narrative structure is mirrored in Stephen Chow’s “Fist of Fury 1991,” serving as the catalyst for the protagonist’s growth through competition.
The film’s climax, a duel between Sanshiro and Higaki of the Jujutsu school in a vast wilderness, is both grand and poetic.
This scene finds its echo in Jet Li’s “Fist of Legend,” where Li’s character’s fight against Funakoshi Fumio draws inspiration from it, although Li’s blindfolded design arguably surpasses the original.
Kurosawa’s Early Mastery: Techniques and Vision
Beyond its influence on later works, “Sanshiro Sugata” showcases Kurosawa’s early mastery, revealing the hallmarks of a cinematic genius even in his debut.
Kurosawa uses a wooden sandal to symbolize the passage of time and changing seasons, and a lotus flower as a recurring visual motif, highlighting the film’s theme of purity and resilience.
Composition and Action: Foreshadowing Future Brilliance
While the film’s composition suffers from the degradation of the original film stock, with the original 97-minute runtime reduced to 79 minutes, Kurosawa’s signature use of triangular composition to emphasize relationships and drive the narrative is still evident.
In terms of action choreography, the film foreshadows Kurosawa’s later masterpiece, “Seven Samurai.”
Breaking away from the traditional long takes used in Japanese fight scenes, Kurosawa incorporates multi-camera editing to create dynamic and impactful fight sequences.
Masterful Scene Direction: A Textbook Example
Kurosawa’s mastery of scene direction is evident in the latter part of the film, during the rainy encounter between Sanshiro and Sayo, the daughter of his upcoming opponent, Murai.
The scene begins with a level shot, transitioning to a close-up as Sanshiro ties Sayo’s sandal, followed by a low-angle shot that doesn’t feel imposing but rather captures Sanshiro’s furtive glances.
As Sayo hides her face with an umbrella, the camera pans to the lower right, revealing Sanshiro’s closed umbrella. Without a single line of dialogue, the audience can sense their mutual shyness through the visual language.
Sanshiro finishes tying the sandal, and the camera follows him as he rises, capturing a moment of eye contact between him and Sayo. The scene then shifts to a long shot, showing them standing motionless, leaving the audience to imagine what might happen next.
The scene then cuts from a long shot to a close-up, followed by a side shot, satisfying the audience’s curiosity.
They remain still until Sanshiro breaks the silence, grabbing his umbrella and running off. The camera switches back to a long shot.
Kurosawa deliberately withholds their expressions and any explicit declaration of their feelings, creating suspense and piquing the audience’s interest in what’s to come.
A Master’s Humility and the Essence of Cinema
This is Kurosawa, a master who stood apart from the very beginning.
“Sanshiro Sugata” has a sequel, the only one Kurosawa ever directed, but it never achieved the same level of recognition as its predecessor.
In terms of theme and entertainment value, “Sanshiro Sugata Part II” falls short of the original, with overly obvious dramatic conflicts and character clashes.
At the time, Kurosawa was still a novice filmmaker, exploring the themes of Bushido and the structure of cinema, a sentiment he would maintain for years to come.
During his acceptance speech at the 1990 Academy Awards for Lifetime Achievement, Kurosawa said:
“I don’t think I have yet grasped the essence of cinema. Cinema is truly wonderful, but grasping its essence is incredibly difficult.”
The Key to Greatness: Writing and Perseverance
So, what is the essence of cinema?
In a conversation with Nagisa Oshima, Oshima asked Kurosawa for advice for young directors.
Kurosawa replied, “Only by writing scripts can you understand the details of film structure and the essence of cinema, but they won’t write because writing is too hard.”
The lack of this “enduring” spirit among today’s directors has led to a situation where superhero movies and sequels dominate, and there are few original films to watch.
Kurosawa didn’t just talk the talk.
In his twenties, after his brother’s suicide, he became responsible for supporting his family.
He joined Toho Film Company as a student of Kajiro Yamamoto, and after gaining some experience, Yamamoto asked Kurosawa to start writing scripts.
His first script, “The German at Daruma Temple,” was recommended by Yamamoto, and his subsequent scripts, “Quiet” and “Snow,” won screenplay awards.
Kurosawa wrote or co-wrote the screenplays for almost all of the 31 films he directed, so it’s no wonder his daughter, Kazuko Kurosawa, said that he never seemed to have writer’s block.
If today’s directors possessed Kurosawa’s dedication to crafting a script over several years, perhaps a second new wave of cinema would be on the horizon.