La Légende de Musashi

One can watch this film and learn a lot. The philosophy woven throughout, mainly by the Priest Takuan (Kuroemon Onoe), about what it means to be a man and honor your family (community) is the hidden jewel of this film.

Takezo (Toshirô Mifune) represents all the rebellious youth that only think of themselves. He cares nothing for the damage he does. To the entire village, he is a dangerous animal. But, the Priest finds that he is worthy of rehabilitation and proceeds to make him into a Samurai warrior in service to the castle.

This is a slow and thoughtful film, full of swordplay for those looking for that, but it is so much more for those who take the time to discover it.

Kaoru Yachigusa plays Otsu, who is abandoned by her fiancé (Rentaro Mikuni) and falls in love with Takezo. Unfortunately, his training, after she waits for him for three years, has only begun as he begins a journey across Japan to get in touch with the people.

I can't wait to see the next installment of this trilogy, which is cinematically brilliant, as one would expect from a Criterion disk, and features outstanding acting from all concerned.

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.

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 Samurai Trilogy is a very good work, very well worth watching. No, they aren't as great as Kurosawa's samurai masterpieces, The Seven Samurai, Yojimbo, or Sanjuro, but they are no much less worthy. My only major complaint is that they were filmed in color, which is a lot less good looking and elegant than the black and white of the Kurosawa films. In some scenes, especially those at night, it is very difficult to determine which character is which.

The Samurai Trilogy excels in several aspects. First and foremost, Toshiro Mifune may be the single best actor who ever lived. Sure, he was typecast, but he was great in his roles. There is a huge difference in his acting jobs in these films and Rashomon or The Seven Samurai or Yojimbo and Sanjuro. His character here is very complex. The second reason to watch is for the great secondary characters. They are all quite complex. There will be characters you'll love and long for, and other characters whom you will hope will be killed by Toshiro. These secondary characters are extraordinarily complex at times. Third, watch it for the novelistic unfoldings of the story. Well, it should be novelistic, since all three films were based on a single novel. Don't worry about the three movies repeating in any way. Also, it is a good idea to watch all three in a row (I watched the first two tonight, and plan to watch the third one tomorrow night; hey, it's late!). The story is constantly developing, and you don't want to forget anything. I give each segment of the samurai trilogy a solid 8/10 (unless the third installment is particularly great or awful; i will most likely post a comment for that film by itself).

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.