Zoku Miyamoto Musashi: Ichijô-ji no kettô

I've watched the entire trilogy of the Musashi Miyamoto films, of which this film is the second part. The first film, titled simply "Musashi Miyamoto," introduces us to the characters of this and the third film. Without having seen the first film and developing some interest in the welfare of the characters, I certainly wouldn't have sat through the second and third films.

"Duel at Ichijoji Temple," this film, deals with Musashi's exploits as a sort of samurai knight-errant, seeking glory in a very ambiguous and roundabout way. Two women are trailing after him, as Kurosawa films would say, "like goldfish dung." Musashi himself is a flat character on whom Toshiro Mifune's acting skills are wasted. He displays very little emotion or intellect, despite his supposed interest in one of the women and enlightening education by his monk teacher (as we saw in the first film).

If Musashi is flat, the female characters are steamrolled. Their hand wringing, collapsing, and sobbing is typical of American movies of this time period and grows tedious in a samurai film. Having seen other films from this time period set in the days of samurai, I've seen that much more can be done with female characters. The plot was likewise predictable and slow-moving.

If you don't care about characters or plot, the high points of the movie may compensate: beautiful color landscapes and Toshiro Mifune's thrilling fight scenes. Otherwise, I recommend films by Kurosawa or Mizoguchi ("Sanjuro," the mysterious "Ugetsu") over this trilogy. 5/10

The great cast that was in Musashi Miyamoto, the first part of this samurai trilogy continues in the second part with a few additions.

By this time Musashi Miyamoto has been on the road for three years and is still learning. The most important lesson as a Samurai will not be learned until the film is almost over. Another important lesson comes quickly after that, and it will interesting to see how it plays out in the final part.

In the opening Musashi Miyamoto is doing battle with a samurai similar to our buddy Hanzo. They are the only two I have ever seen use chains.

After this he heads to Kyoto to do battle with the best in the capital, and also to get himself mixed up with the two women who are in love with him.

Love, fickleness, treachery, rape, revenge, honor, and great sword fighting all have a place in this magnificent film.

The amazing cinematography and scenery also place an important part.

This is truly a samurai classic.

"Miyamoto Musashi" was already a great movie but this movie is even a better one on basically every front.

This movie is part of a real trilogy, that follows one story and one main character. It's therefore also best to watch these 3 movies in a row, to appreciate it best. All 3 movies closely follow each other, in which the first movie is being really used as a movie to set up things, while this second movie is mostly being used to build up to its climax that will occur in the third movie.

This time the movie flows better because the story gets used better as well. Like mentioned earlier, the first movie was still being mostly a setup movie for the series. In this movie we actually get to see more epic moments and fights, as it follows the further travels of Musashi Miyamoto, on his way to become a master-swordsman. Its story and different characters all work out nicely, as things also gets developed more, with its drama and romance.

There are a couple of really great fight sequences, of course mostly featuring Toshirô Mifune. It makes the movie often exciting to watch, as does the overall look for the movie. The movie benefits from its beautiful natural environments, as well as some nicely done studio work. Using color wasn't quite that common yet for '50's Japanese cinema, since it was quite costly and not as advanced yet as in the western world. However color had always worked out nicely for these three movies and it helps to make the movie a really great looking one. You also have to give credit for this to the movie its cinematography, done by Jun Yasumoto, who strangely enough worked on just the first two movies but didn't shot the third and final one.

A movie that really has everything in it.

9/10

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Samurai II picks up where the first film left off; Takezo, now Miyamoto Musashi (Toshiro Mifune) has been released by the priest and is clearly more disciplined after having absorbed his teaching. After we see him dispatch a foe swinging a wicked kusarigama, however, an old man who's witnessed the affair comments that he lacks chivalry, and taking this next step in his development is the subject of this installment in the trilogy. Mifune is wonderful and joined by many of the characters from the first film, as well as the leader of an unscrupulous samurai school (Akihiko Hirata) and another samurai, Sasaki Kojiro, who is clearly on the path to higher development (Koji Tsuruta). Unfortunately, while there are some really fine moments, narratively the film is bit tangled, which kept me from truly loving it.

For one thing, I think it was a mistake to have Musashi meet Otsu (Kaoru Yachigusa) again so early in the story, then to have another dramatic scene where he tells her he's chosen the way of the sword instead of the way of love, since this had already had been done with great effectiveness at the end of the first film. Later he's also tempted by a courtesan in a scene reminiscent of the widow and her daughter trying to seduce him, and naturally, he rebuffs her too. The main story line is Musashi and it consists mostly of him turning down women throwing themselves at his feet or being hunted by his enemies, which I didn't find all that creative.

Meanwhile, there are lots of other subplots, none of which are satisfying. There is one involving the widow's daughter (Mariko Okada), who is in part a sympathetic character because she's prostituted by her own mother, but also in part a villain, lying to Otsu by telling her that Musashi is hers, and trying to steal him as she did with Otsu's fiancé Matahachi (Sachio Sakai) in the first film. The cowardly Matahachi has fallen into ignominy, and along with his venomous mother become threats out of "honor" to the family name. A brother to the leader of the samurai school gets in the act and also wants to challenge Musashi out of honor. While there is a lot of talk about honor from these kinds of characters, what we actually see is a lot of dishonorable behavior from everyone other than Musashi, Otsu, the priest, and Sasaki. I liked the contrast formed between good and evil, but just felt the number of characters involved could have been reduced to allow for more depth on the others. I have to say, I also disliked the ending, and not just because it was predictable. It's great that Musashi knows that "no means no," and it's a contrast to the rape another man commits earlier in the film, but his response was also pretty flawed.

All of that complaining aside, this is certainly a decent samurai film and it had its moments. Even though the film didn't seem to have a terribly large budget and the scenes shot at the studio are obvious, the cinematography is excellent. The swirling scenes leading up to battle and how colors are often contrasted with dark backgrounds are wonderful. The final battle sequence out in the rice paddy was very well filmed, and the taut precision of the samurai form was beautifully brought out by Mifune. From the perspective of craftsmanship it may be better than the first film, but from the perspective of narrative, it was a step down. Still, it's worth seeing.

This comment about the "Samurai Trilogy" starts on the page for Miyamoto Musashi (Samurai I). My first viewing of the second episode was memorable because I got to take the train into town all by myself, and view it in a Tokyo theater. The first episode had just been shown on base, in a sort of cultural exchange, and my parents saw it and were pleasantly non-outraged-- I was a 9-year-old samurai-movie addict, and they believed enthusiasm beyond a certain intensity should be curbed. It was the same conflict as comic books some few years earlier. Technicolor was a big deal back then, especially in Japan, and it became the issue on which my viewing of "swordfighting movies" was decided-- the ones in color were historical films worth viewing, and even had something to teach. The black-and-white ones shown in Irumagawa and surrounding villages-- I had to sneak off to see. Ichijoji no Ketto (Duel at Ichijoji Temple) shows Miyamoto-san's achievements, while barring no holds on the issue of what they cost him. The romantic subplot continues, though its development in the western sense (toward union, wedded bliss) is thwarted at every turn. The issue is always a conflict between love and duty, and each deferment of gratification spells out a new step in the redefinition of the national character that is being mapped here. Again, some of the importance of all this is lost, even to modern Japanese audiences for whom the issues are long settled-- at the time, though, they were cliffhangers. A new character is introduced, Kojiro Sasaki who will emerge in part 3 as a rival for Musashi-- his equal except for certain features in their respective character. By the way, the score is excellent and haunting-- it extends like a symphony through all three parts, and has a leitmotif "hook" that will cause your ears to pick up in recognition, perhaps years from now, when you hear it again.