Miyamoto Musashi

The first film in directory Hiroshi Inagaki's Samurai trilogy may seem a little workmanlike at times, but it's enlivened by the brisk pace he sets, a great cast, and the messages lying underneath the melodrama. Any discussion of the film should of course start with the immortal Toshiro Mifune, who is in great form here, whether riding a horse, brandishing a sword, or tied and hung up in a tree, kicking his legs furiously. He plays Takezo, young man who goes off to war with a buddy for the glory of it, but after their unit is routed, finds himself hunted and on the run from then on.

The film is brightened considerably by a widow (Mitsuko Miko) and her daughter (Mariko Okasa), who the pair stumble across in the country. We find out that they make their living stripping dead samurai of their belongings, and soon both of them try to seduce Mifune's character. The daughter looks up at him with adoring eyes and lips parted after they fall from a horse together, and the mother, flush with excitement after seeing him in battle, tells him "Take me ... do whatever you want with me." Takezo demurs, and the pair then run off with his friend, but not before smearing his name.

One of the interesting aspects of the film was its theme of needing to have faith and trust in a loved one's character when they're away. We see this break down when Takezo's friend believes the widow's false accusations and runs off without him, and when Takezo in turn believes that his friend has abandoned him (and the man's fiancée) out of cowardice. The villagers are ready to believe the worst about the pair, and are soon marshalled into a manhunt. Meanwhile, the fiancée character (Kaoru Yachigusa) becomes attached to Takezo, and we see her faith tested over years while he is imprisoned. It's only a pure, enlightened soul who can pass such tests, but sometimes, ironically, life can still be bitter, and the film's ending is certainly poignant.

There is also something wonderful about the transformation of this character from an unruly guy dubbed "The Lawless," to someone on the samurai path, with the discipline to know that sometimes self-restraint is necessary in life. The way to enlightenment is not to try to make a name for oneself by blindly throwing oneself into battle, it's through calmness and the harnessing of one's natural strengths. It's the priest (Kuroemon Onoe) who is actually the hero here. He's always relaxed, feeling no shame when partially clad in front of a young woman ("Human beings are born naked"), nor fear while capturing the renegade. He smiles beatifically in all situations, even when the bandit threatens him, fearless of having his head lopped off.

There is an education that thus happens in this first episode, but I liked how Inagaki did not belabor the details. In the beginning the two men leave their village and quickly we see them being routed in battle, without the filler scenes of them being assimilated into the army or its preparations. Similarly, when Takezo is imprisoned, we see him exhorted to read spiritual texts to improve his mind, but we don't see long-drawn out scenes of this happening, only the result in Mifune's demeanor a few years later. He wisely kept the film to 93 minutes, and with fewer brush strokes, painted a great picture here.

"Miyamoto Musashi" (1955): by Hiroshi Inagaki, starring Torshiro Mifune. This is an EPIC story of one man who sets out to travel far and wide throughout the land and himself in search of his identity and purpose. It has something of the feel of Herman Hesse's book "Siddhartha", but with Samurai battle scenes… (no, it is NOT a silly martial arts film). Having won the Academy Award for Best Foreign Film of 1955, this is 97 minutes of serious life dramas, with the priorities being Japanese, of course. One must think that with less than a decade having passed since Japan's defeat in WWII, this film's considerations (set in the 16th century) - about identity, goals, love, war, status, and true purpose - were nearly unavoidable. Beautiful photography, good color (considering the era), music that occasionally over-swelled the scene, believable sets, and again, a serious story line, make this one worth seeing. This will sound odd, but I found lots of parallels to the early Marlon Brando film, "The Wild One'". Feel free to disagree.

This movie doesn't take much brainpower, but is a fine tale about two friends who leave their village in a quest for glory. Its set in feudal age Japan and the scenery is beautiful! Mountains, green pastures, lakes, forests with bamboo undergrowth and the cities and villages in typical style serves as the backdrop.

Takezo (Mifune) is the strong and wild character all the woman likes, but he cant handle the attention very well so he keeps running. All the characters as well as the story is not hard to get, so this is one to bring in the kids on.

Will defo check the rest of the series out, maybe the books as well.

The importance of the Miyamo Musashi saga has been lost somewhat today, even in Japan. These were not just early high-quality color samurai movies, not just great films-- they were a nationwide event, and a milestone in Japanese social evolution. The early 50s were a time of postwar healing, and there were unsettled questions about the national character. The Miyamo Musashi saga used the past to dramatize issues of morality-- and, even more important at the time, morale. Japan had no problem westernizing and living under the rule of law under terms imposed by victors in war-- the knotty issue was, how much of the past do we keep alive in our daily thoughts and actions, and just how much of the real Japan, the one we remember, will our children and grandchildren inherit, once the aftermath of global war has subsided? Watch these films with such then-important issues in mind, and your experience will be deepened and enriched. All three episodes are directed by Hiroshi Inagaki and star Toshiro Mifune as Miyamoto-san, in a performance that is perfection. Miyamoto Musashi shows the young samurai aspirant as a hot-headed, imperfect man, neither hero nor monster-- but possessed of a fierce dark force that could impel him toward either outcome. The question of women looms large in this trilogy-- how to treat them, what kind of woman to honor and what kind to avoid, and just how the diametrically-opposite traits of women work in the world, whether at odds or in harmony with those of men. All these issues are played out without preachiness, in the actions of real people, well-drawn characters whom we meet and get to know before the episode ends in a series of parting of ways. (continued on the page for Ichijoji no Ketto)

The strengths of this movie are a simple story with wonderful characters set to a background of beautiful scenery and costumes using skillful cinematography. Unlike today's movies with emphasis on action, special effects and fast cuts to move the story along, this movie unfolds its drama at a leisurely pace and introduces us to the title characters so we feel well acquainted with them.

Samurai I sets the foundation for the story. It introduces us to Musashi, Otsu, Matahachi and his mother, and Akemi and her mother. There is also a priest named Takuan who captures a youthful Musashi in order to break his wild, free spirit. Matahachi is Musashi's friend who is set to marry Otsu, but the civil war in Japan during that time separate them and put their plans on hold. What drives the first part of the trilogy are the characters, especially the rambunctious Musashi and what he does for his friend Matahachi and his mother. Musashi is an orphan and has grown tired of his existence as a farmer in Miyamoto village. He longs to become a great warrior by joining the civil war. What impressed me was the acting of Toshiro Mifune. He portrays a young and wild Musashi in Part I and the viewer is easily drawn to believe in his portrayal. In Mifune, we can see what the young Musashi is thinking and feeling about what is happening around him. Part I ends with Musashi professing his love for Otsu, but also leaving her in order to further his warrior training.

Samurai II is again driven by its characters, but this time the cinematography opens up to show us breathtaking scenery and backgrounds. The background and costumes of Japan during medieval times make for a very Zen-like and peaceful atmosphere despite the story is about fighting and developing the warrior's skills. The love story between Musashi and Otsu as well as Akemi continue. Mifune shows us Musashi getting more mature and developing as a swordsman. Musashi is torn between his love for the sword and for Otsu. We are also introduced to another important character in Part II, Kojiro Sasaki. Kojiro is an interesting character. He's seen as an actor by people who are familiar with him. He certainly has a flair for the dramatic, but is one who has ambitions to become a great swordsman in his own right. Kojiro seeks fame and fortune, but wants to do it his way. His tastes are different from the simpler Musashi, and each character is developed to portray them as very strong individuals.

Samurai III shows us the final battle at last between Musashi and Kojiro and is easily the most artistic of the trilogy. Both characters have grown to appreciate each other in their skills with the sword, and with it they have used the other to better themselves in their skills. Each are different individuals with different goals, but their motivations to become the best fencer in Japan are the same. Musashi was about to duel Kojiro to the death early in Part III, but decided at the last minute that there were things in life he still wanted to do. He returns to his roots -- the soil and does some farming again. The best part of Part III is the duel scene at Ganryu Island. The final scenes with Musashi and Otsu and the climactic battle between Musashi and Kojiro are shot beautifully. One can see the painful detail it must took to capture the right light and color for those scenes.

Early in his career, director Hiroshi Inagaki trained as a painter. In the Samurai Trilogy, one can appreciate his use of color and composition of the scenes, e.g. the bridge scenes in Samurai I, the opening title sequences in II or the final battle scene in III. The cinematography was wonderful in framing a shot to show the artistry of those scenes. One would have to have an understanding of color, hue and texture to get all the dramatic effects the scenes achieved.

I saw the Criterion version and can accept some of the change of light and fuzziness in the film because of the age, but I do have to complain about the darkness, especially in the fight scenes of Part II. The filtering of the shots made it almost incomprehensible to see the action on the screen. I was thinking why didn't they fight in the daytime, but then it wouldn't have been as authentic I suppose. However, the quality and artistry of the finale in Part III makes up for the digression in Part II.