Film School: Yojimbo and A Fistful of Dollars
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Not all remakes are authorized. The legendary Akira Kurosawa was confronted with this one day in 1964, when he sat down to watch the latest film from the not-yet-legendary Sergio Leone, A Fistful of Dollars. What he saw must have given him déjà vu.
A man without a name wanders into a ramshackle town. He learns, from an innkeeper who will become his greatest ally, that two rival gangs control the place. Incessant violence between them is making life unliveable for everyone else.
The stranger, a formidable gunfighter and a canny businessman, senses an opportunity. He will play the two sides off against one another; make them bid for his unparalleled services, and let them destroy each other. His profits will be through the roof—and hey, if it makes life a little easier for his new friend, well then that’s just a bonus. He puts his plan into action, and the local coffin-maker ends up profiting almost as much as he does.
See, this had already all happened in Kurosawa’s film from three years earlier, Yojimbo. Sure, his nameless man was a samurai played by Toshiro Mifune, not Clint Eastwood’s cowboy, and he used a sword, not a gun. But there were just too many similarities, too many beat-for-beat recreations, for it to be a coincidence; as Kurosawa wrote in a letter to Leone, “It is a very fine film, but it is my film.” Kurosawa sued, and a judge agreed, awarding him a handsome financial settlement and the movie’s Asian rights. Leone—who had tried to buy the rights from Kurosawa before shooting began but been turned down—admitted that to not give him a screen credit had been a mistake.
That Kurosawa’s movie was so easily reimagined in a new cultural context speaks to the shared thematic ground between Westerns and samurai films. Though they are intimately connected to the histories of America and Japan respectively, their shared preoccupation with men and their ever-present potential for violence, honor and the lack thereof, and the moral pollution caused by the promise of wealth, meant that their narratives could be more or less interchangeable. The iconography was different—one was robes and swords, the other horses and guns—but their concerns were often the same.
Leone may have stolen from Kurosawa, but Kurosawa was in turn famously inspired by the granddaddy of all the American Western directors, John Ford. Other American influences are visible throughout his career too. The second half of 1950’s Scandal is a clear riff on Frank Capra’s 1946 classic It’s a Wonderful Life (complete with emotional “Auld Lang Syne” singalong!), and he made four films—Stray Dog, Drunken Angel, The Bad Sleep Well and High and Low—that fit quite comfortably into the American tradition of film noir.