Leofwine_draca SANSHIRO SUGATA is a work of Japanese drama notable for being the first completed feature from famed director Akira Kurosawa. Seen today it's a rather dated effort, quite slow paced, that nonetheless deserves kudos for being one of the earliest martial arts films in existence. The film charts the life and times of a fictionalised martial artist and early judo proponent. It's surprising how many elements of the film later became prevalent in martial arts cinema.The protagonist must undergo basic training and learn to become a better person under the tutelage of a wise old master. There are duels with fierce and imposing rivals and even a tournament battle. The cast give typically understated performances, and Kurosawa's sense of visual dynamism is what makes this stand out; the final duel on the wind-swept hillside is excellent.

WILLIAM FLANIGAN Viewed on DVD. Restoration = eight (8) stars; score =eight (8) stars; subtitles = eight (8) stars; lighting = four (4) stars. Director Akira Kurosawa's first released film exhibits uneven inter-scene direction and an overall lack of energy and excitement. The directorial reins are often not held with a firm hand and occasionally seem to be dropped completely. The plot revolves around the fierce competition between two schools of hand-to-hand combat during the late 1800's, and, accordingly, contains the ingredients for a heavy-duty action movie. But Kurosawa's execution is generally limp (with the exception of the first street fight that kicks off the film). Interior arena (i.e., tournament) shots fail to capture much of the excitement and action the viewer might be expecting to see; the actors seem to be performing many of their own stunts; and professional stunt men seem be in very short supply. It gets worse. The climatic, grudge fight (which the film has been building up to) is all but hidden from the viewer: it takes place in a field of tall grass which pretty much obscures what is happening! The opening credits indicate that a portion of the film was removed by Japanese military authorities, and it's interesting to speculate on what may have been censored and where censorship may have occurred. But judging from the extant print (the one allowed to be exhibited circa 1943), the film could have benefited from the removal of even more footage on artistic rather than political grounds! Cinematography (narrow- screen, black and white) is fine although inter-scene lighting is startlingly uneven. The latter adds to the bumpy road encountered by the viewer: film fluidity is poor and the nuts-and-bolts of the editing process are on full, distracting display. Film score is excellent, but totally Western. Subtitles are just right and show that the writer knows her/his grammar. Restoration is quite good except it missed vertical wear lines and dirt toward the end of the movie. WILLIAM FLANIGAN, PhD

Luis Angel Gonzalez 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.

tedg 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.