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A Century of Toshiro Mifune

The man who turned down the role of both Obi-Wan Kenobi and Darth Vader in George Lucas' Star Wars was a titan of Japanese cinema. Known best for his frenetic portrayals of sword-wielding samurai, Mifune was a dedicated actor with boundless energy and versatility. 100 years since his birth in April 1920, I celebrate his contribution to acting and cinema with a look back at his best roles.

By Dani BuckleyPublished 4 years ago 8 min read
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Titan of Japanese cinema Toshiro Mifune in a scene from 'Snow Trail' (1947).

Toshiro Mifune would have been 100 years old this year. In honour of his colossal contribution not only to Japanese cinema, but to film in general, I wanted to revisit some of his most iconic roles to celebrate this cinematic titan.

Known for his numerous collaborations with revered director Akira Kurosawa, Mifune's extraordinary ability was spotted during a casting campaign for new talent. The two would go on to work together on no less than sixteen film collaborations, but prior to this iconic partnership, having previously worked only as a cameraman, Mifune was an unsuspecting acting candidate.

Despite often appearing in films as a samurai, in their first film together, 'Drunken Angel' (1948), Kurosawa cast Mifune as the brooding Yakuza member overcome with a bout of tuberculosis, but too stubborn and proud to take proper care of himself. Acting opposite Takashi Shimura as the doctor tasked with looking after this unruly gangster, Mifune's part was originally only intended to be small. However, reportedly Kurosawa was so impressed with Mifune's performance that he altered the script, increasing the Yakuza role until it matched the doctor's in screen time.

In the film, Mifune certainly makes his mark. Moody and unpredictable, his tragic gangster is a role you cannot take your eyes off. His chemistry with Shimura is fantastic and the two play off each other brilliantly. One of the most impressive scenes comes when Mifune collapses at Shimura's practice, drunk and helpless, despite the doctor's strict orders. Mifune acts with his entire being, his physical portrayal of total and utter inebriation masterful. The film is both hilarious and solemn, and it is in this role that Mifune makes a point of showcasing all of the exciting things we can expect from him as an actor.

Stubborn - Mifune as a Yakuza member in Kurosawa's 'Drunken Angel' (1948).

In 1950, the two men collaborated once again on a piece that would place Japanese cinema on the world map - 'Rashomon' (1950). In this dark, twisted tale which epitomizes the term 'there are two sides to every story' - maybe three or four in this case - Mifune adopts the role of a wild rapist and bandit who accosts a man and his wife travelling through the woods.

While Mifune's electric onscreen presence was no doubt visible in 'Drunken Angel', 'Rashomon' is the first film where we see his full abilities revealed, and they soar to dizzying heights. Frantic, lilting and unpredictable, Mifune places his whole being into his performance. Physically, he races around the camera frame, poring every ounce of energy into this bandit's feverish desire to claim the beautiful bride of a lone traveler. But this energy does not take away from his more subtle techniques. When the camera pans for a close-up shot, his expressions are wrought across his features, stark yet utterly believable.

Decisions - Mifune's wild bandit considers his options in 'Rashomon' (1950).

This palpable energy Mifune could bring to a role was further showcased in a further Kurosawa collaboration, the critically-hailed 'Seven Samurai' (1954). Clocking in at over three hours long, this story about a group of warriors tasked with helping a measly village plagued by violent bandits flies by, and this is helped in part by Mifune's character. He appears, initially, pacing along the dirt road, watching the selected samurai almost longingly, itching to be appointed to the task also. He vanishes for some time, and we are absorbed into the efforts of the villagers to obtain a seven-strong crew of warriors worthy of their cause. Finally, Mifune bursts in, blind-drunk and recruited by some poor villagers who thought him to be a real samurai. Turns out he is simply a farmer's son with a stolen sword and scroll declaring someone else's heritage. But his determination to join the gang sees him trudging in their wake until they can no longer deny him a place among them.

Despite carrying with it the frantic energy akin to his performance in 'Rashomon', Mifune in this film manages to flip the audience invocation on its head to one of warmth. It would be easy to fall into a trap of supplying chaotic energy onscreen without direction, thus replicating the same performance over and over. This is something which many actors - even the most skilled - fall prey to. The fact that an armour-clad Mifune, while leaping vigorously about the set, is able to bring light and shade to these roles is testament to his ability. His vivacity does not dampen his performance, but rather enhances it. Persistent and passionate, he is a lovable rogue in this film by very definition. Indeed, with his eager farmer's son brimming with both action and comedy, Mifune's dedicated performance helps supply lavish helpings of both to the piece, highlighting the dual tones of Kurosawa's excellent story.

Indeed, Kurosawa's films are often tinged with wit and sarcasm, even among the most dire of situations. This is never more present than in 'Seven Samurai', and Mifune manages to deliver this blend of comedy and sensitivity with ease. Goofy but with a sensitive side, Mifune's oddball is the wildest of the bunch. But in experiencing the as a viewer, one's eyes are constantly drawn to him. His performance is explosive, hilarious and eccentric, with scene after scene delivered with such dedication, you are left totally immersed and, most importantly, caring for his character and his cause.

Oddball - Mifune's energetic performance is one of Seven Samurai's highlights.

Despite being defiant and a little abrasive at times, Mifune evokes a certain human empathy in 'Seven Samurai' which makes his character, and subsequently, his performance in this film, nothing less than legendary.

If Mifune's animated spirit defined his earlier films with Kurosawa, his next career-defining role could not be more of a divergence. 'Yojimbo' (1961) is said to be the film that heavily inspired Sergio Leone to make 'A Fistful of Dollars' (1964). Watching the film and knowing this fact, it makes a whole lot of sense. The comparison is obvious.

Effortlessly cool, Mifune's nameless samurai plays the two warring clans of a village off against one another in a bid for monetary gain and his own amusement. He surveys the scene, casually chewing a toothpick as he weighs up his options. His character, despite often being supremely cool and aloof, is nevertheless endearing, and supplies the archetype for the 'tough guy with a heart' trope. Indeed, one of the most charming scenes in 'Yojimbo' comes when Mifune's rōnin is overhearing a plot to kill him before payment for his services has to be made. A gaggle of ladies hide behind an ajar door nearby, watching him anxiously. Rather than exploding at the news that he is being enrolled into a murder plot with the cost being his own life, Mifune's samurai sticks his tongue out at the girls, rolling his eyes, seemingly at the clan leaders' idiocy at hatching such a careless plan.

Mifune's enigmatic rōnin is a complete departure from his earlier roles, which crackled with vivacity. His lonely samurai still captures moments of prowess and action, but they are more sporadic and punctuated by the slow, hawk-like observations that comprise the bulk of his role in this film. A later film for Mifune, this part seems to show a maturity that was absent in his earlier roles, yet it no doubt showcases the expressive ability of the actor. Even in this dialed-down performance, his delivery is sensational and easy. It is a performance that appears totally effortless. Cool, measured and smart, it is clear to see where Clint Eastwood got the idea for his western wanderer, likely at Leone's request.

'Yojimbo' was such a hit with audiences that it sparked an equally-revered sequel, 'Sanjuro' in which Mifune reprises his role as the meandering warrior. Not only has it garnered a huge following from film-buffs, but it undoubtedly inspired filmmakers to come. Threads of 'Yojimbo' can be found in the Spaghetti westerns of the 1960's, and testament must be given to Kurosawa. All aspects of the film are precise and expertly pitched, from plot, pacing and dialogue; each is slotted together in the most perfect form. Yet it is Mifune's performance in the central role which sets the film alight.

Standoff - Mifune's lonely samurai emerges from the smoke in Kurosawa's 'Yojimbo'.

Mifune's career is littered with what can only be regarded as cinematic gems, including Kurosawa's adaptation of Macbeth 'Throne of Blood' (1957) and another tribal tale 'The Hidden Fortress' (1958). However, the relationship between the director-actor duo sadly soured somewhat when Mifune took more westernized roles, such as that of Richard Chamberlain's mentor in the hit American TV series 'Shogun'. After this, his acting career never again reached the heights of the 1950s and '60s, despite his performances remaining strong.

Despite only appearing in highly commercialized non-Japanese films as late as 1971 with an appearance alongside Charles Bronson in the spaghetti western 'Red Sun', his extraordinary ability did not go unnoticed by filmmakers. His earlier samurai films had an enormous impact on European and U.S. directors.

Apparently, George Lucas was so enamored with his performances in Kurosawa's work, particularly 'Yojimbo', that he offered him the parts of both Obi-Wan Kenobi and Darth Vader in 'Star Wars' (1977). Some sources report Lucas wrote the part of Kenobi with Mifune in mind, but Mifune unfortunately turned down both nominated roles in the end. Upon reflection, to see Mifune take to the screen as either Jedi or Sith would have been extraordinary. Of course, while this is not to knock the legendary Sir Alec Guinness, I think it's safe to say that we missed a treat.

Wild bunch - Mifune joins Charles Bronson, Alain Delon and Ursula Andress in Terence Young's 'Red Sun' (1971).

Despite being selected to star in films by little more than chance, a single viewing of Toshiro Mifune's films are evidence enough that he bled and breathed acting charisma. His golden period of starring in Kurosawa's works is undeniably a seminal era for Japanese cinema, and denotes some of the best work ever put to celluloid. A hundred years following his birth, it is without question that his performances, as pieces of cinematic history, will continue to be heralded in the century that lies beyond.

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About the Creator

Dani Buckley

Pennings of the dark and cinematic. Phantasmagoria abound.

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