Based on the novel Musashi by Eiji Yoshikawa, Samurai III: Duel at Ganryu Island is the third and final film of a trilogy of films chronicling the life of Musashi Miyamoto. Directed by Hiroshi Inagaki and screenplay by Inagaki and Tokuhei Wakao, the film is an exploration into Miyamoto’s search for peace and meaning just as he goes into a final duel with a man who had been seeking to defeat him. With Toshiro Mifune playing the role of Miyamoto, the film also stars Koji Tsuruta, Kaoru Yaschigusa, Mariko Okada, and Takashi Shimura. Samurai III: Duel at Ganryu Island is a magnificent film from Hiroshi Inagaki.
In the course of three films that explores the life and evolution of Musashi Miyamoto, here’s a man who is on the search for something bigger than himself as he goes into a journey as he seeks to find answers on identity and spirituality. Meanwhile, another samurai warrior in Sasaki Kojiro (Koji Tsuruta) is also seeking the same things as the years passed since their first meeting as they meet again. This time around, the circumstances have changed as two men are being pursued by people wanting them to represent their houses. Of course, it only troubles the two men as Miyamoto decides to leave the samurai life to become a farmer at a village while Kojiro has become a ronin warrior as they chose to postpone their duel for a year. Eventually, the two men do meet with men of prestige watching this duel yet it would be a duel set into their own terms.
The screenplay is much more structured than in previous stories as the first act is about these two men preparing to duel as they both go on different paths but circumstances beyond their control involving those betting on the men and other issues forced the two to postpone it. The second act is about Musashi leaving the samurai life to find something with more meaning as he stays at a village ravaged by bandits as he becomes their savior while he is also being pursued by the two women in his life in Otsu (Kaoru Yaschigusa) and Akemi (Mariko Okada). The former is still anguished over Miyamoto’s abrupt departure as she goes on a journey to find him as she ponders if he really does lover. The latter, who was also with Kojiro early in the film, wants Miyamoto for herself but comes across bandits where one of them is her mother’s former lover Toji Gion (Daisuke Kato) who had become a bandit to stay alive. Yet, Akemi is conflicted over what to do as she is torn over her feelings for Miyamoto and her hatred towards Otsu.
The second act also has a sense of irony about the role that Miyamoto has chosen where he is able to find peace in this new role but the presence of bandits and the specter of this duel with Kojiro still looms. By the time he decides to get ready for his duel with Kojiro, Miyamoto tries to come to terms with everything he’s learned as well as everything he’s sacrificed along the way. The third act unveils how far these two men have come from their different journeys in life while both seeking for an element of peace before they embark on this duel.
The direction of Hiroshi Inagaki is a mixture of the two elements of the first films from the naturalist tone of the first with some of the more stylized approach in the second film. In this film, the two styles finally come together for a much richer look that mixes a bit of naturalism with an element of style. While still presented in its full-frame format, there is more scope to the presentation as it features scenes set in a world outside of cities while being mixed with a world that is changing where things are in conflict over what is right and what is wrong. For these two men, they just want to do things with honor as both Kojiro and Miyamoto do face opponents but show compassion towards them. There is also an air of melodrama as it concerns the women in their lives as Kojiro is in love with a young woman in Omitsu (Michiko Saga) as she along with Otsu and Akemi all struggle with men’s roles as samurais.
While there are action scenes that occur, it’s not as violent as the previous film while it does involve some horrifying moments that would test both Miyamoto and Kojiro. Even as they get involved in unwanted conflicts as there’s also the eventually conflict between Akemi and Otsu. The second act ends on a somber note over what Miyamoto encounters as well as the fact that the ending also features an element of redemption in a key character. Still, the film is about this duel between Miyamoto and Kojiro as it does finally come to ahead in the film’s climax. It is a moment in the film where everything comes together as it’s presented with such great beauty and intensity as these two men are aware of what they have to do. There’s no fear in either one as they both accept the fact that either one of them could die. It is truly one of the most unforgettable scenes in film as Inagaki presents it in such an understated manner. Overall, Inagaki creates a truly mesmerizing and intoxicating film about acceptance and what it takes to be a man of honor.
Cinematographer Kazuo Yamada does amazing work with the film‘s lush and colorful cinematography from the gorgeous exteriors in the day to the more low-key look of the scenes at night that includes some wonderful lighting schemes by Tsuruzo Nishikawa while the climatic duel is presented with such beauty that it‘s impossible to describe it in detail. Editor Koichi Iwashita does superb work with the editing to create some nice cuts in some of the dramatic moments while using dissolves to help display a few flashback scenes. Art directors Hiroshi Ueda and Kisaku Ito do wonderful work with the set pieces from the homes some of the characters live in to the decayed inn that Miyamoto stays in the first act.
The sound work of Masanobu Miyazaki is terrific for the calm atmosphere it creates in some of the film‘s meeting as well as the scenes involving nature. The film’s music by Ikuma Dan is brilliant for its understated orchestral music to play out the melodrama as well as some bombastic moments in the scenes involving the bandits.
The film’s cast is just outstanding as it features some notable small roles that include Kokuten Kodo as an old priest Miyamoto met in the second film who is amazed at how much progress Miyamoto has made, Haruo Tanaka as a horse thief who tries to challenge Miyamoto, Kenjin Iida as Miyamoto’s young disciple Jotaro, Minoru Chiaki as a boatman who takes Miyamoto to Ganryu Island for the final duel, Daisuke Kato as Akemi’s mother’s old lover who has turned into a selfish bandit, and Takashi Shimura in a small yet memorable role as a court official who looks over the terms of the duel that is to happen. Michiko Saga is wonderful as Kojiro’s lover Omitsu who struggles to deal with his role as well as the fact that he’s finding peace over what might happen to him. Mariko Okada is terrific as the troubled Akemi who tries to pursue Miyamoto while feeling neglected by Kojiro as she seeks to find meaning in her life.
Kaoru Yaschigusa is superb as the anguished Otsu who struggles to deal with Miyamoto’s role while goes onto her own pursuit for him where she eventually has to accept the role that she is set to play for Miyamoto. Koji Tsuruta is brilliant as Sasaki Kojiro as a man who sees Miyamoto as his equal as he tries to deal with the expectations of being a samurai as well as going into his own journey to find inner peace. Finally, there’s Toshiro Mifune in a towering performance as Musashi Miyamoto as a man who is still trying to find his role in life as both a man and as a samurai as he struggles with this duality while being aware of the mistakes he’s made as he eventually finds acceptance as well as the attributes to be a great samurai.
Samurai III: Duel at Ganryu Island is a phenomenal film from Hiroshi Inagaki that features another spellbinding performance from Toshiro Mifune. It’s a film that is definitely one of the great films of the samurai genre while elevating its predecessors in the trilogy to form one of the great trilogies in film. Notably as it this film reveals how far Musashi Miyamoto has gone from a lost man into a man who finds inner peace and reason as a samurai. In the end, Samurai III: Duel at Ganryu Island is an incredible film from Hiroshi Inagaki.
Hiroshi Inagaki Films: (Sword for Hire) - Samurai I: Musashi Miyamoto - Samurai II: Duel at Ichijoji Temple - (The Lone Journey) - (Arashi) - (Yagyu Secret Scrolls) - (Yagyu Secret Scrolls Pt. 2) - (Rickshaw Man) - (The Birth of Japan) - (Life of an Expert Swordsman) - (Chushingura: Hana no Maki, Yuki no Maki) - (Samurai Banners)
© thevoid99 2013
Based on the novel Musashi by Eiji Yoshikawa, Samurai II: Duel at Ichijoji Temple is the story of Musashi Miyamoto’s journey into finding himself and enlightenment as he later deals with warriors trying to take him down as well as the women in his life. Directed by Hiroshi Inagaki and screenplay by Inagaki and Tokuhei Wakao, the film is the second part of a trilogy that explore Miyamoto’s evolution as a samurai warrior as he’s played once again by Toshiro Mifune. Also starring Koji Tsuruta, Mariko Okada, and Kaoru Yachigusa. Samurai II: Duel at Ichijoji Temple is an incredible film from Hiroshi Inagaki.
In the second part of a trilogy that explores the life and evolution of Musashi Miyamoto, the film takes place three years later after the events of the first film where Miyamoto is a man seeking guidance in his training to become a samurai. While he has won many duels in his journey, he is still unfulfilled in his search for enlightenment as he meets an old priest in his journey who tells him exactly what he needs to do. Upon his arrival at Kyoto, Miyamoto asks to challenge a master at a school only to find himself in trouble with that master‘s many disciples. Adding to the chaos is the fact that Miyamoto is still drawn to Otsu (Kaoru Yachigusa) who is nearby while another young woman in Akemi (Mariko Okada) is also pursuing him. Meanwhile, another samurai warrior in Kojiro Sasaki (Koji Tsuruta) is watching from afar as he realizes that Miyamoto might be his greatest opponent.
The screenplay explores Miyamoto’s search for meaning in his life as he is still craving knowledge as well as someone who he feels can be a worthy opponent. Yet, he is also troubled by elements of his past as he does meet Otsu for a brief moment as he is unsure if he can be there for her. Even as Otsu starts to struggle with her own feelings as she would also meet Akemi for the first time who knows a lot about Otsu as she tries to manipulate her in order to win Miyamoto. Still, Akemi is going through her own troubles as she is in an uneasy relationship with a young samurai master in Seijuro Yoshioka (Akihiko Hirata) who is the master of a nearby samurai school whom Miyamoto wants to challenge. Once Akemi hears about Miyamoto’s challenge, she hopes to that Miyamoto will kill so she can get a chance to win Miyamoto.
Still, Miyamoto finds himself troubled by the chaos he caused at the Yoshioka house as he reluctantly hides in various places including a geisha house as a courtesan (Michiyo Kogure) falls for him. The presence of Kojiro Sasaki, whom Miyamoto has heard of, adds a unique element to the story since he is someone who is younger but more experienced in the art of the samurai as he too is still in the learning stages. He tries to intervene in order to make sure that the conflict is dealt with fairly and with honor as he sees Miyamoto and Seijuro Yoshioka as men who want to maintain that. Unfortunately, there’s people in Yoshioka’s camp who don’t believe these rules as the results not only disappoints Miyamoto but also makes him realize what he has to do to be a true samurai.
Hiroshi Inagaki’s direction is far more stylish than in the previous film as a lot of it is set in soundstages where it’s filled with forest and rivers that is part of Miyamoto’s journey as he often feels lost in his search for enlightenment. While the framing is still intimate at times including in some of the dramatic moments. There is also a lot of tension that includes a meeting between Akemi and Otsu that is about a battle of passion between the two women over Miyamoto. Inagaki does use a lot of wide shots to establish this tension even though it’s presented in its full-frame format. Notably as there are moments where it is about characters trying to figure themselves out while some like Sasaki is watching from afar though there are moments where he interacts with some of the people present in the conflict. The action is far more gripping but also psychological such as the first duel that Miyamoto has where it is about how someone can attack without getting hit as well as not making the wrong move.
Once Miyamoto starts to be ambushed by a large group of unruly men, the camera is presented with wide shots and cranes to establish the sense of chaos that Miyamoto is in. Notably as it reveals the lack of honor these men have when confronting Miyamoto as they’ve become more concerned with getting rid of him only to disgrace the name of the house they worked for. There also some bits of back stories that are involved that relates to the first film as it concerns Matahachi (Sachio Sakai) who has become a cowardly opportunist where he and his mother try to get rid of Miyamoto only for their plans to fail. The film’s climax does finally involve the duel that Miyamoto is set to take part in but the aftermath is a big step into his evolution but also a step where he once again has to walk into a path of the unknown. Overall, Inagaki creates a film that is compelling but also engaging in a man’s journey into becoming a samurai.
Cinematographer Jun Yasumoto does amazing work with the film‘s cinematography filled with colorful imagery in some of the forest scenes with some gorgeous backdrops along with some lighting schemes by Shigeru Mori in some of the film’s nighttime sequences to establish the chaos of the battle Miyamoto is in. Editor Hideshi Ohi does great work in the editing to use dissolves and other stylish cuts to play out some of the drama while using rhythmic cuts for some of the film‘s intense action scenes. Art directors Makoto Sono and Kisaku Ito do brilliant work with the set pieces from the look of the geisha house that Miyamoto hides in to some of the forest exteriors created to establish the murkiness that Miyamoto encounters
The sound work by Choshichiro Mikami is wonderful for the atmosphere created in some of the film‘s action scenes as well as some of the quieter moments involving nature. The film’s music by Ikuma Dan is superb for the calm yet evocative string-orchestral score to play up the sense of drama and action that occurs along with some quieter use of the folk-based music to express some of the emotional aspects of the film.
The film’s cast is excellent as it features some remarkable small roles from Kenjin Iida as a boy Miyamoto meets early in the film who later is taken to Priest Takuan, Yu Fujiki as Seijuro’s older brother who tries to defend the family honor against Miyamoto, Daisuke Kato as a family friend of Oko who organizes the attack on Miyamoto, Mitsuko Mito as Akemi’s mother Oko who tries to get Akemi to marry Seijuro, Eiko Miyoshi as Matahachi’s mother who plots to kill both Miyamoto and Otsu, and Sachio Sakai as the disgraced Matahachi who has become a cowardly bum filled with regret. Kuroemon Onoe is wonderful as Priest Takuan who tries to help Otsu find a path in life after being anguished over Miyamoto. Akihiko Harata is terrific as the young samurai master Seijuro Yoshioka who is eager to defend his family honor despite the actions of his disciples.
Michiyo Kogure is superb as the courtesan Lady Yoshino who is intrigued by Miyamoto as she falls for him as her words would provide some guidance for Miyamoto. Mariko Okada is great as the conniving Akemi who tries to manipulate Otsu into believing that Miyamoto doesn’t love Otsu while dealing with her own issues with Seijuro. Kaoru Yachigusa is amazing as Otsu as a woman eager to see Miyamoto again while dealing with her feelings as well as being confused about what path in life she should take. Koji Tsuruta is brilliant as the young samurai warrior Sasaki Kojiro as a man who is a skilled and experience warrior who believes that Miyamoto would be his greatest opponent while dealing with outside forces trying to stop Miyamoto. Finally, there’s Toshiro Mifune is an awesome performance as Musashi Miyamoto as a man who is eager to find peace but is becoming more troubled by his lack of direction and holding on to the past as it’s a more compassionate yet chilling performance from Mifune.
Samurai II: Duel at Ichijoji Temple is a fantastic film from Hiroshi Inagaki that features a thrilling performance from Toshiro Mifune. The film is definitely a much more exciting film than its predecessor while being balanced by its drama to establish a man trying to find himself. It’s also a film that explores the code of the samurai and how some lose sight into these rules for selfish reasons as there’s those that are trying to hold on to that ideal. Overall, Samurai II: Duel at Ichijoji Temple is a tremendous film from Hiroshi Inagaki.
Hiroshi Inagaki Films: (Sword for Hire) - Samurai I: Musashi Miyamoto - (The Lone Journey) - Samurai III: Duel at Ganryu Island - (Arashi) - (Yagyu Secret Scrolls) - (Yagyu Secret Scrolls Pt. 2) - (Rickshaw Man) - (The Birth of Japan) - (Life of an Expert Swordsman) - (Chushingura: Hana no Maki, Yuki no Maki) - (Samurai Banners)
© thevoid99 2013
Based on the novel Musashi by Eiji Yoshikawa, Samurai I: Musashi Miyamoto is the first of a three-part story about the adventures of a lone samurai who starts out as a soldier only to become a skilled samurai warrior who is defined by his introspection. Directed by Hiroshi Inagaki and screenplay by Inagaki and Tokuhei Wakao, the first part is about a warrior’s growth as he becomes a fugitive during a civil war as he seeks to find redemption. In the lead role of the samurai warrior Musashi Miyamoto, he is played by the iconic Japanese actor Toshiro Mifune. Also starring Rentaro Mikuni and Kaoru Yachigusa. Samurai I: Musashi Miyamoto is an incredible film from Hiroshi Inagaki.
In the first part of this trilogy that chronicles the journey of Musashi Miyamoto in his search for enlightenment and a reason to become a true samurai warrior. The first part is about how he would go into this journey that would take him all over Japan as he starts out as a soldier seeking fortune and fame. Instead, he becomes deserted by his best friend and eventually a fugitive where a Buddhist priest captures him where he would later guide the man that would become Musashi Miyamoto into a path of self-discovery. In the course of this journey, the man who was then called Takezo would encounter all sorts of things as he is this wild warrior who has a lot of spirit but no sense of direction.
The screenplay does have a traditional structure as it plays into Takezo’s development from warrior to enlightened samurai. It starts off with a sense of innocence where Takezo and his friend Matahachi (Rentaro Mikuni) having dreams of being part of this civil war that is happening in the early 17th Century in the hopes they become war heroes. Instead, they lose the war as they seek shelter in the home of a woman and her daughter where something happens that leaves Takezo disappointed and deserted prompting him to return home. The experience of being disillusioned and deserted by his own friend would cause Takezo to act out as he becomes this fugitive with no direction as if he feels the world had abandoned him. After attacking some men, he gets into trouble as a lord from his village seeks a bounty on him where Takezo does endure more betrayal and disappointment.
The first half is about Takezo’s descent into disillusionment and his desire to die until he is captured by the Buddhist priest Takuan Soho (Kuroemon Onoe) and Matahachi’s fiancee Otsu (Kaoru Yachigusa) in the film‘s second half. Soho would use tricks to get into Takezo’s head while he would offer him guidance into a life where Takezo could find redemption as well as a reason to live. While the tormented Otsu would also help Takezo as she had already felt betrayed by the people in her life where Soho would do something that would play to their fate. Notably as its aftermath would force Takezo to ponder everything he had been through where he would make a sacrifice in order to go into this journey to find out who he is as Musashi Miyamoto.
The direction of Hiroshi Inagaki is quite epic in scale though it is presented in a full-frame aspect ratio. Still, Inagaki does create something that is entrancing in the direction from the way some of the battles are presented to scenes where people are searching for Takezo with these wide shots to cover the landscape. Inagaki also uses a lot of stylistic shots to help present some dramatic moments including a scene of Takezo being hung on a tree as punishment for his actions. Inagaki’s framing of these intimate moments with this backdrop of nature allow him to create something that is touching but also engrossing in the way Takezo seems to find a sense of humanity in a brutish savage like Takezo.
Some of the film’s actions are quite intense such as this very rainy, muddy battle scene early in the film as well as scenes where Takezo fights off bandits and those who are trying to pursue him. While Inagaki’s approach is more low-key, he does create something that is still thrilling in what Takezo is all about as a man as well as someone who is lost. By the third act where Soho does play into the fates of Takezo and Otsu, there comes a moment where Takezo and Otsu realize what they have to do in a new place but in very different ways. The third act also has a moment where Inagaki looks at what happens to Matahachi that reveals his fate and how it compares to the fate of Takezo just as he’s about to take on this journey as a new man. Overall, Inagaki creates a very captivating and mesmerizing film about a man’s journey to find himself.
Cinematographer Jun Yasumoto does brilliant work with the film‘s very colorful cinematography from the gorgeous colors of the film‘s landscapes to the some of the nighttime interior and exterior scenes that features some unique lighting schemes with help from Shigeru Mori. Editor Eiji Ooi does wonderful work with the editing as it‘s quite stylized with its use of dissolves and suspenseful cuts to play out the drama and intensity of the action. Art directors Kisaku Ito and Makoto Sato do fantastic work with the set pieces from the home of the women that Takezo and Matahachi meet to the temple where the priest lives.
The sound work of Choshichiro Mikami is terrific for the atmosphere is created in some of the film‘s intimate moments including some of the exterior scenes with nature as the backdrop. The film’s music by Ikuma Dan is great for the mixture of intense orchestral score with a mix of Japanese folk as well as serene string pieces to play up the drama that unfolds in the film.
The film’s cast is remarkable as it features some notable small roles from Akihiko Hirata as a village official putting the bounty on Takezo’s head, Kusuo Abe as a bandit Takezo confronts, Eiko Miyoshi as Matahachi’s mother, Mitsuko Moki as a widow Mitahachi and Takezo meets, and Mariko Okada as the widow’s daughter Akemi. Rentaro Mikuni is excellent as Takezo’s friend Matahachi who later deserts him in favor of a widow and her daughter as he later has regrets over what he did. Kaoru Yachigusa is wonderful as Otsu who felt betrayed by Matahachi while dealing with her own anguish as she later tries to help out Takezo. Kureomon Onoe is great as the priest Takuan Soho who captures Takezo as he later tries to steer him into a path that would be helpful for Takezo to find redemption and reason. Finally, there’s Toshiro Mifune in a magnificent performance as Takezo/Musashi Miyamoto where Mifune displays a fierce intensity to a man lost in the world as well as a sensitivity in the way he deals with people as it’s definitely one of his most defining performances.
Samurai I: Musashi Miyamoto is an incredible film from Hiroshi Inagaki that features a towering performance from Toshiro Mifune. The film is definitely one of the most entrancing studies of a man seeking to find a place in a world where he feels rejected. It’s also a film that deviates a bit from most samurai films in order to explore a man’s evolution as he learns what it takes to be both a man and as a samurai. In the end, Samurai I: Musashi Miyamoto is an extraordinary film from Hiroshi Inagaki.
Hiroshi Inagaki Films: (Sword for Hire) - Samurai II: Duel at Ichijoji Temple - (The Lone Journey) - Samurai III: Duel at Ganryu Island - (Arashi) - (Yagyu Secret Scrolls) - (Yagyu Secret Scrolls Pt. 2) - (Rickshaw Man) - (The Birth of Japan) - (Life of an Expert Swordsman) - (Chushingura: Hana no Maki, Yuki no Maki) - (Samurai Banners)
© thevoid99 2013
