There are many ways to read the relationship between a film and its remake: in terms of fidelity, imitation, plagiarism, appropriation, or other enactments of power. For the most part, such models rely on a binary system to analyse the relationship between two films in isolation from their surroundings. In this chapter I wish to examine such a relationship in terms of a wider model of understanding, based on possibilities of dialogue with a wider film genre. Akira Kurosawa — made Yojimbo because he had always wanted to make a movie in the Western genre after the style of John Ford, whose movies he had seen as a child. Sergio Leone — was electrified by Yojimbo and made his own version starring Clint Eastwood, a relative unknown.
How Kurosawa’s ‘Yojimbo’ Became Leone’s ‘Fistful of Dollars’
A Fistful of Dollars - Wikipedia
A Fistful of Dollars Italian : Per un pugno di dollari , lit. Lukschy , S. Released in Italy in and then in the United States in , it initiated the popularity of the Spaghetti Western genre. Collectively, the films are known as the " Dollars Trilogy ", or the " Man with No Name Trilogy " after the United Artists publicity campaign referred to Eastwood's character in all three films as the "Man with No Name". All three films were later released in sequence in the United States in , catapulting Eastwood into stardom. As few Spaghetti Westerns had yet been released in the United States, many of the European cast and crew took on American-sounding stage names.
A Fistful of Yojimbo: Appropriation and Dialogue in Japanese Cinema
This delayed the American release of A Fistful of Dollars for three years. The lawsuit was eventually settled out of court for an undisclosed sum. But Yojimbo was not a truly original story, either. Kurosawa also has other characters and background stories with the gangs hiring loutish mercenaries to do their bidding. In A Fistful of Dollars the gangs are identified as two families—the Baxters who deal in guns and the Rojos who smuggle liquor.