-opening shot: head framed by mountains<\/p>\n
-music: combination of western\/traditional<\/p>\n
-shot of feet<\/p>\n
-howling wind (used several times)…emphasizes isolation<\/p>\n
-fork in the road; represents indecision, lack of ties\/commitments<\/p>\n
-fast-paced conflict of the men contracts with the woman’s slow, steady weaving and speech<\/p>\n
-wipe transition (total wipes in film: 7)<\/p>\n
-isolation again…camera focused on Sanjuro rather than background, which is slightly out of focus<\/p>\n
-dog with hand, cut to reaction shot<\/p>\n
-“Business is booming. Can’t make coffins fast enough.”<\/p>\n
-corrupt lawmen (just like traditional westerns!)<\/p>\n
-leaves blowing, other characters at a distance (isolation again)<\/p>\n
-“I’ve broken every law.”<\/p>\n
-“Cooper, two coffins.\u00c2\u00a0\u00c2\u00a0\u00c2\u00a0\u00c2\u00a0\u00c2\u00a0\u00c2\u00a0\u00c2\u00a0 No, maybe three.”<\/p>\n
-“There is no honor amongst gamblers.”<\/p>\n
-shot composition: Sanjuro on platform just watching fight, amused.<\/p>\n
-shot composition: two rivals with protagonist in between<\/p>\n
-effective use of shadow against wall when Sanjuro approaches<\/p>\n
-dog tattoo on criminal’s back matches dog earlier in the film (with the hand)<\/p>\n
-(and then Elvis walks in)<\/p>\n
-frequent use of the word “idiot”<\/p>\n
-night scene: Sanjuro walking in between isolated fire circles, between dark and light (never with others)<\/p>\n
-acts scornful and uncaring, is actually decent but doesn’t want others to know<\/p>\n
-“Stop it! I hate pathetic people. I’ll kill you if you cry!”<\/p>\n
-town is gradually destroyed by attack\/retaliation (setting silk on fire –> destroying supply of sake)<\/p>\n
-“No, when a fight gets too big they don’t bother with coffins.”<\/p>\n
-“You’re all right. You just act like you’re bad.” (goes along with earlier statement about Sanjuro’s contradictory nature)<\/p>\n
-shot of hand playing with bottle, covering up thank-you note<\/p>\n
-kidnapping scene almost exactly mirrors the one in The Glass Key<\/p>\n
-“Where am I?” “The gate to hell.”<\/p>\n
-“Where are you going? That’s a shortcut to hell.”<\/p>\n
-light reflecting on Sanjuro’s face…highlighting it, his expression<\/p>\n
-light and shadows under floorboards, then crawling along the edge of the shadows (between life and death)<\/p>\n
-“It’s worse when you smile.”<\/p>\n
-shot composition: hanging man in foreground, facing camera with action behind (he can’t see what’s going on behind him)<\/p>\n
-“Go home. A long life eating porridge is best.”<\/p>\n","protected":false},"excerpt":{"rendered":"
-opening shot: head framed by mountains -music: combination of western\/traditional -shot of feet -howling wind (used several times)…emphasizes isolation -fork in the road; represents indecision, lack of ties\/commitments -fast-paced conflict of the men contracts with the woman’s slow, steady weaving … Continue reading