The Samurai Roots of Sergio Leone’s “A Fistful of Dollars”

Generations have been introduced to the enigmatic stranger—quick to kill, quick with a quip—through Sergio Leone and Clint Eastwood’s 1964 Western, “A Fistful of Dollars,” or variations on that theme. But, the origins of this iconic character and plotline lie not in the American West, but in Akira Kurosawa’s 1961 samurai film, “Yojimbo.”

From Sake Breweries to Saloons: The Influence of “Yojimbo”

While “A Fistful of Dollars” features saloons and cattle ranching, “Yojimbo” unfolds amidst brothels, sake breweries, and silkworm farms. Despite these setting differences, both films share a core narrative: a wandering ronin (in “Yojimbo”) or gunslinger (in “A Fistful of Dollars”) arrives in a town torn apart by conflict between two warring factions and skillfully manipulates them for personal gain.

Both films are characterized by a high body count, dark humor, and memorable characters. Kurosawa’s function established many tropes of action comedies, featuring a rogue warrior who uses cunning and violence to exploit a divided town.

A Plot Echo: The Crossroads and the Town’s Fate

In “Yojimbo,” the protagonist, Sanjuro, decides his next move by tossing a stick in the air at a crossroads, leading him to the troubled town. There, he learns of the conflict between a brothel owner, Seibe, and a former lieutenant, Ushitora, and their armed factions. Similarly, the stranger in “A Fistful of Dollars” arrives in a town terrorized by two rival bandit gangs.

Both stories feature a town resigned to its fate, with characters entangled in the conflict, and a pragmatic individual who profits from the chaos. A craftsman—a coffin maker in “Yojimbo,” and implicitly a similar figure in “A Fistful of Dollars”—recognizes the financial opportunity in the ongoing violence.

Manipulation and Mayhem: A Shared Formula

The protagonists in both films are quickly recognized as formidable fighters and are approached by both sides to serve as bodyguards. However, they cleverly play both factions against each other, escalating the violence and increasing their own profits. Brawls, kidnappings, and betrayals ensue, with the outcome remaining uncertain until the climax.

Both films feature memorable supporting characters: a hulking, menacing son in “Yojimbo” and a sadistic, pistol-wielding son in “A Fistful of Dollars.” The central question in both narratives revolves around who will survive, who will die, and who will ultimately betray whom.

“Yojimbo” as a Foundation for Action Comedies

While the trope of a violent stranger manipulating others existed before, Kurosawa’s “Yojimbo” is credited with perfecting the formula for action comedies, emphasizing violence and dark humor. A line from “Yojimbo”—“Two coffins… maybe three”—is echoed in “A Fistful of Dollars” and subsequent imitations.

Toshirō Mifune’s Iconic Performance

“Yojimbo” showcased a new side of Toshirō Mifune, moving beyond the youthful energy of his earlier roles. He portrays Sanjuro with a swagger and detached coolness, delivering hard-boiled lines with a distinctly Japanese inflection. His performance established him as an iconic figure, often compared to Clint Eastwood and Steve McQueen.

Cinematography and Score: Echoes in Leone’s Work

The cinematography in “Yojimbo,” with its utilize of light and shadow, is stark and effective. The score, blending Japanese minimalism with Western orchestral elements, also foreshadowed Ennio Morricone’s work on “A Fistful of Dollars.”

A Lasting Legacy

Released in 1961, “Yojimbo” has only grown in stature over the past 65 years, influencing countless action comedies and solidifying the legacy of Toshirō Mifune as a cinematic icon. The film’s impact is a testament to Kurosawa’s masterful storytelling and its enduring appeal.

Cast: Toshirō Mifune, Tatsuya Nakadai, Eijirō Tōno, Kyū Sazanka, Seizaburō Kawazu, Yōko Tsukasa, Tsunagorō Rashōmon and Daisuke Katō

Credits: Directed by Akira Kurosawa, scripted by Ryūzō Kikushima, Akira Kurosawa and Hideo Oguni. A Toho/Criterion release on Tubi, other streamers

Running time: 1:50