Directed by Akira Kurosawa and written by Kurosawa and Keinosuke Uegusa, Yoidore tenshi (Drunken Angel) is the story about an alcoholic doctor who tries to help a yakuza boss suffering from tuberculosis. The film is an exploration into how a man tries to help a much more troubled individual to find redemption just as his old crime boss is returning to their turf. Starring Takashi Shimura, Toshiro Mifune, and Reisaburo Yakamoto. Yoidore tenshi is a harrowing yet engrossing film from Akira Kurosawa.
When someone is in trouble and has no one to go to, there is always someone there to try and help out. In this film, it is about a young yakuza boss who runs a small town near a polluted swamp as he finds himself feeling ill. By going to this local doctor, the boss known as Matsunaga (Toshiro Mifune) learns that he is suffering from tuberculosis as he has no idea how to cope with the news as he continues to drink and party against the doctor’s orders. Adding to Matsunaga’s troubles is the return of his old crime boss Okada (Reisaburo Yakamoto) who regains his position as yakuza head while trying to pursue the doctor’s young nurse whom she was once an acquaintance of his. With his illness worsening where Okada would take advantage of that for his own gain, it would allow Matsunaga to try and gain some redemption.
The screenplay by Akira Kurosawa and Keinosuke Uegusa explores a young man succumbing to illness and how he’s unable to cope with it where he goes into a death wish as he believes there’s no hope for him. Yet, the film begins with Matsunaga going to Dr. Sanada (Takashi Shimura) to treat a bullet would he got on his hand after a fight with a rival gang. Dr. Sanada is a very blunt individual who always has something to say whether people like it or not yet he’s also an alcoholic. Despite Dr. Sanada’s urge to drink and living in a nearby slum with a polluted swamp where he could’ve taken a job at prestigious clinic. He is someone that is eager to help out people no matter how impatient or unruly they can be. In Matsunaga, here is someone Dr. Sanada knows that might die and not seem to care about it. At first, the two men don’t seem to need each other but Matsunaga’s illness worsens while Dr. Sanada starts to become increasingly concerned.
While there are elements of film noir in not just its setting but also in some of the dialogue that Kurosawa and Uegusa writes as it features some very crass language where characters call themselves “assholes” and “bitch” to each other. It’s mostly a drama about a man dealing with his own demons and trying to find redemption in the harsh world of crime that he’s been in for years. The film’s third act is about Okada’s return and how he manages to take over this small town that he used to run where the locals shun Matsunaga. Only Dr. Sanada would take him in as he would face off against Okada to protect his nurse while Matsunaga tries to intervene. A face-off between Matsunaga and Okada does eventually happen as it is more about Matsunaga seeking redemption for his wrongdoings.
Kurosawa’s direction is very stylish for the way he presents the film as a lot of it’s nighttime scenes are very eerie while there’s plaintive guitar music playing in the background to establish a landscape that is quite drab and filled with mosquitoes. It’s all part of Kurosawa’s approach to film noir although it’s a much more different film as he maintains some intimacy in his framing and how he places actors into the frame. The direction is also quite satirical in some respects as it is set in post-war Japan where young Japanese are in an area where there’s people living in a state of decadence unaware of some of the dreariness in their environment that includes this polluted swamp. While Matsunaga used to be a man that runs this dreary yet active slum where he can get a drink for free or take a flower. All of that changes once Okada returns where he makes his return by playing the guitar to a song from his past.
The direction also contains that air of death as it does loom in the film since it relates to Matsunaga’s deteriorating condition that includes a chilling dream sequence. It’s definitely a sequence that really plays to the sense of terror that Matsunaga is facing if he doesn’t stray from his self-destructive behavior as it does play into the third act. The confrontation between Matsunaga and Okada is quite elaborate not just in its suspense and action but also what Matsunaga is trying to gain in this eventual fight. Yet, the aftermath is quite somber as it returns to Dr. Sanada and his view of how everything had happened. Overall, Kurosawa creates a truly engaging yet haunting film about redemption and death.
Cinematographer Takeo Ito does brilliant work with the film‘s black-and-white photography to set a chilling atmosphere for the scenes at night with some lighting schemes by Kinzo Yoshizawa while the daytime interior and exterior scenes are presented in a more natural setting. Editor Akikazu Kono does excellent work with the editing as it‘s very stylized from its use of wipes and dissolves for transitions along with rhythmic cuts for some of the film‘s dramatic moments. Production designer Takashi Matsuyama does terrific work with the look of the town from the polluted swamp to the bar that Dr. Sanada and Matsunaga frequent to.
The sound work of Wataru Konuma is wonderful for the atmosphere it creates from the intimate moments at Dr. Sanada‘s home to the bars and dance halls Matsunaga goes to. The film’s music by Ryoichi Hattori and Fumio Hayasaka is amazing for its somber yet lush orchestral music to capture the drama along with the plaintive classical guitar to set the mood along with some upbeat jazz music for the scenes in the dance halls.
The film’s cast is superb as it features some notable small roles from Eitaro Shindo as the bar waitress Takahama, Michiyo Kogure as Matsunaga’s girlfriend Nanae, and Chieko Nakakita as the nurse who assists Dr. Sanada. Reisaburo Yamamoto is excellent as just-released crime boss Okada who decides to take control of the town and take advantage of Matsunaga’s illness. Takashi Shimura is brilliant as Dr. Sanada as a man who is quite helpful to the people around him despite his reputation as an alcoholic as he tries to help out Matsunaga while being very upfront with him about his condition. Finally, there’s Toshiro Mifune in an incredible performance as the yakuza boss Matsunaga as Mifune brings a true sense of power to his role as a man who means business but also a chilling vulnerability over the fact that he’s facing death as it’s definitely a real breakthrough for Mifune early in his career.
Yoidore Tenshi is a marvelous film from Akira Kurosawa that features phenomenal performances from Takashi Shimura and Toshiro Mifune. The film is definitely one of Kurosawa’s early triumphs in the way he explores humanity at its most troubled as well as setting it in a noir presentation. It’s also a film that unveils the beginning one of the great director-actor collaborations in Kurosawa and Mifune where the film serves as a breakthrough for the legendary Japanese actor. In the end, Yoidore Tenshi is a remarkable film from Akira Kurosawa.
Akira Kurosawa Films: (Sanshiro Sugata) - (The Most Beautiful) - (Sanshiro Sugata Pt. 2) - (The Men Who Tread on the Tiger’s Tail) - No Regrets for Our Youth - (Those Who Make Tomorrow) - (One Wonderful Sunday) - (The Quiet Duel) - Stray Dog - Scandal (1950 film) - Rashomon - The Idiot (1951 film) - Ikiru - The Seven Samurai - (I Live in Fear) - Throne of Blood - (The Lower Depths (1957 film)) - The Hidden Fortress - The Bad Sleep Well - Yojimbo - Sanjuro - High and Low - Red Beard - Dodesukaden - Dersu Uzala - Kagemusha - Ran - Dreams (1990 film) - (Rhapsody in August) - (Madadayo)
© 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
