Akira Kurosawa: a name synonymous with cinematic mastery. His debut, Sanshiro Sugata, often heralded as the first glimpse of towering genius. But strip away the reverence, look past the auteurist mythology… What are we really left with?
Released during the height of World War II, Sanshiro Sugata charts the familiar arc of a young, impetuous man seeking mastery in Judo during the Meiji era. Crucially, this historical setting allowed Kurosawa to subtly sidestep the overt ultranationalism demanded by the wartime censors – though not entirely without difficulty. The film reportedly faced initial resistance, and significant portions were later excised by authorities in 1944, leaving us with a potentially compromised version of Kurosawa’s original vision. Despite this, it found favor with audiences, proved commercially successful, and prompted the greenlighting of a sequel.
The narrative is, frankly, rudimentary melodrama. Our protagonist grapples with his own fiery temperament, learns discipline under a wise mentor, overcomes rivals in progressively challenging bouts, and ultimately secures a conventional romantic resolution after confronting the film’s big bad.
Yet, within the sphere of film appreciation, a certain Sanshiro Sugata is often discussed with a kind of retroactive awe. It garners respectable ratings – a 3.4 on Letterboxd, for instance – accompanied by descriptions lauding its supposedly fluid, poetic fight choreography or the profound spiritual journey of its hero. The assumption seems to be that genius must manifest, fully formed, even in its earliest expressions.
But, viewed objectively, Sanshiro Sugata can be a rather challenging watch. The protagonist’s arc towards self-mastery is almost a caricature of a badly written YA novel . The gestures towards spiritual depth feel tacked-on.. And the fight scenes? Far from being dynamic spectacles, they often feel protracted and stiff, far from the kinetic energy that would define Kurosawa’s later work.
Now, I’m not saying to avoid the film. While it fails as entertainment, Sanshiro Sugata offers something invaluable: a window into the nascent stages of a legendary career. We see Kurosawa wrestling, perhaps clumsily, with themes of honour, discipline, and the student-mentor relationship that would recur throughout his filmography. We know he was deeply drawn to Tsuneo Tomita’s source novel, reportedly devouring it in one sitting and immediately drafting a screenplay before even securing the rights – that passion is palpable, even if the execution is crude.
So, should you watch Sanshiro Sugata? Absolutely, if your interest lies in tracing the development of one of cinema’s greats. But approach it with clear eyes. Don’t let the weight of Kurosawa’s legacy, or the sometimes overzealous praise, set expectations the film itself cannot meet. What are your thoughts on Kurosawa’s debut?
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