"The Bodyguard (1961)" Movie Review Essay & Film Analysis

Looking back at all the previous filmography of Akira Kurosawa, I clearly identifies Yojinbo third significant breakthrough director. Among the first to call the two 'Legend of genius judo' and 'Rashomon'. After tightened and heavy "Seven Samurai 'Yojinbo looks this, genuine, real samurai films. Moreover, revolutionary cinema.
Everything lies in the nuances. This is not a heroic epic, presents us with a samurai (ronin), as a man of honor, whose actions are based on certain rules and customs. Sandzyuro our protagonist - a cynical pragmatist who, as we know, in fact, has a spiritual root in the hard detective Dashiell Hammett. It may well violate the oath of allegiance, to deceive, betray and kill. At the same time, it shows a very positive light -. For his actions based on personal perceptions of good and evil, and not on any external sources, codes of honor
fact, it was an ideological explosion, because if 'Seven Samurai' Kurosawa just simply ronin showed the human side. They could scratch his feet, afraid to fall into hysterics. Now the audience was offered radically new model of anti-hero.
But this concept would not work without an ironic tone. That is why it is so successful sinister dog jogging human with a brush in his mouth. Note, this is hardly a run caused consternation rather bitter smile. By the way, how many directors then repeat this move. Immediately begs the scene of the 'Wild at Heart' Lynch.
Ironic moments perfectly complements the wonderful music Masaru Sato, for which similar work on Yojinbo was the pinnacle of a career. Dramatic moments were worked not less accurately, and as it is for me not very surprising, I would put them higher Morricone similar tunes that seem secondary.
Acting in this film is simply impeccable. For me is very revealing scene in which Mifune watching the dancing girls, realizing that he was about to be offered one of them to choose from. That soon happens. Tracked not too expressive Mifune can be seen rapid change completely different feelings and emotions, many of which do not seem obvious. But it turns out - a stroke of genius. No less brilliant sound a little tousled hair even combed Sandzyuro and the now legendary distortion shoulders in moments of doubt or before the fight.
Well, if we are talking about Mifune, it can not be deprived of attention and a small but very memorable role of villain-ganfaytera, which performed the Tatsuya Nakadai . The thing is that there was a need for Sandzyuro counterweight - a character who is equal to him in his cynicism and cruelty. The difference between them is only in the internal landmarks conditionally allowing one to carry on the good side and the other - Evil. Tatsuya played exemplary villain, do not trust your mind, and to rely entirely on their own intuition. Not by chance, later, when Mifune stopped working with Kurosawa its place in many major roles took it Nakadai.
It is between the characters Mifune and Nakadai happen at the end of the film a wonderful dialogue about waiting at the gates of hell, giving the tape taste infernality.
so, we have one of the best films of Akira, a masterpiece.
10 of 10

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