Samurai I: Musashi Miyamoto (1954) User Reviews

Very entertaining

[Atavisten · 8/10 · 7 April 2005]

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.

A house without love is a living death.

[lastliberal · 8/10 · 4 October 2008]

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.

A careless teenager warrior becomes a careful adult ronin

[kluseba · 8/10 · 30 April 2019]

Samurai I: Musashi Miyamoto is the first part of the Samurai trilogy by director Inagaki Hiroshi featuring lead actor Mifune Toshiro based upon based the novel by Yoshikawa Eiji about the famous philospher, duelist and author of The Book of Five Rings. This movie won the 1955 Academy Award for Best Foreign Language Film.

It tells story of teenager Takezo who dreams of fame and glory in battle but fails miserably along with his unstable childhood friend Matahachi. Manipulated by beautiful Akemi and her egoistic mother Oko on an isolated farm, the two men are separated as Matahachi follows the two women and ends up marrying Oko while Takezo attempts to go back to his village where he is perceived as a criminal and rejected by distant family members. He attempts to inform Matahachi's mother Osugi and fiancee Otsu that his friend is still alive but they plot against him and Takezo ends up being a fugitive.

The most fascinating thing about the movie is the development of the main character from careless teenage warrior Takezo to careful adult ronin Miyamoto Musashi. Mifune Toshiro plays this role very emotionally and energetically as if the character had been specifically created for him. He has often incarnated quite emotional characters and is a war veteran himself which helped him empathize with the historical figure he portrays.

Despite a few inaccuracies in relation to the source material and actual historic events, the movie convinces with a detailed plot filled with intrigues, jealousy, love, redemption and revenge. The motives of the different characters aren't always clear and might sometimes even change which makes the movie entertaining and unpredictable. The manipulative Akemi and the unstable Otsu are memorable characters that are going to play important roles in the two sequels as well. Priest Takuan also plays an essential role and provides philosophical depth to the movie that is equally action film and period drama.

One must also point out the movie's stunning cinematography. The movie was shot in Eastmancolor and is one of the first Japanese colour movies. This technique gives the film an epic touch and accentuates the gorgeous Japanese landscapes, villages and temples seen throughout the movie. The film manages to bring the late sixteenth and early sevententh century to life which makes it timeless despite its age.

Even though the movie has aged very well, some elements are somehwat antiquated by today's standards. The portrayal of Japanese women in particular isn't very flattering as they are all shown as being very egoistic, manipulative and unstable. The fight sequences are choreographed with care but look somewhat stiff at times.

Still, Samurai I: Musashi Miyamoto is one of the very best jidaigeki or samurai films ever made. The settings are breathtaking, the plot is intriguing and the characters are increasingly fascinating. Anyone who likes action movies, period dramas or Asian cinema in general should watch this film as well as its two sequels that tell the most important events in the life of a legendary figure.

Excellent film, deserves all accolades

[mtwmtw · 25 April 2003]

The first of a trilogy that really should be viewed as a whole. This elegant film tells of the very humble beginnings of Miyamoto Mushashi, who has become a paragon of Bushido and Giri. A Samurai's Samurai.

However, you have no inkling of this at the beginning of the movie. What we see is dirt and squalor and a desperate chance to get out from beneath the mud. It all goes wrong and things look desperate.

As the movie progresses in the slow, methodical, often obtuse, Japanese fashion we become engrossed in the plot and the lives of our protagonists. Toshiro Mifune shows a vast range of emotion, power and character growth in these this movie. To get the full flavour of the story you must also watch the next two movies in this trilogy (2) "Duel at Ichijoji Temple"(1955) (USA)and (3) "Duel on Ganryu Island" (1956)(USA.

The Trilogy Gets Better with Each Part

[jasonbourneagain · 10/10 · 23 June 2005]

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.

A milestone in Japanese postwar social development.

[foxfirebrand · 9/10 · 29 June 2009]

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)

A Nutshell Review: Miyamoto Musashi

[DICK STEEL · 7/10 · 11 July 2009]

I've finally gotten down to the first in the trilogy of films based on a story that has been touted as the Japanese's equivalent of Gone with the Wind. The Samurai Trilogy, directed by Hiroshi Inagaki, is based on the novel by Eiji Yoshikawa, which tells of the story of the famous samurai Miyamoto Musashi, and an intriguing character who has authored The Book of Five Rings.

What more, the titular character is played by the legendary Toshiro Mifune, and that itself is a major treat and a draw for more contemporary audiences. Sadly to say, as with most first films in a series, this one sets out to establish the baseline character of Mushashi, or Takezo as he's better known in his early days, an orphan brought up by relatives and who possesses great strength, but is brash and ill-disciplined. Together with his best friend Honiden Matahachi (Rentaro Mikuni), who had to leave behind his fiancé Otsu (Kaoru Yachigusa), they sign up for war in the hopes of being samurai warriors at the end of battle, only to discover they're fighting on the losing end, and become fugitives.

What transpires later involves their flight from the dark, a couple of seduction scenes by a mother-daughter pair of grave-diggers whose fancies for Takezo gets turned toward Honiden, therein splitting the two best friends up, and Takezo being persecuted by his village folk for deserting his best friend since he returned to the village as the sole survivor. But the shrewd monk Takuan (Kuroemon Onoe) sees a diamond in the rough in Takezo, and therefore sets him up to fall under his tutelage, while at the same time Takezo has to decide for himself how to deal with some new found love in Otsu.

There's romance, there's battle scenes, there's the obligatory hero who's still unsure of his destiny. By the time the film ends, it leaves you with a lot of subplots still hanging in the air, but I'm crossing my fingers that all these will be addressed in the next two installments.

It's a mid 50s film, so fight scenes aren't that polished to perfection. Instead we see Takezo's rather rough and unfanciful swordplay, in part being the gruff character that he is, knowing no finesse in the art of a duel, and also being a foil for realism, where enemies get cut down ruthlessly without wasting time. Technically one should pass over some of the shortcomings such as abrupt camera angle changes, cuts and edits, and it's indeed a pity that the film is not presented in a widescreen format, which would have been quite a spectacle given the vast landscapes that the film was shot in.

Perhaps another indication of how dated this period drama is, is in the treatment of the women characters. I guess given socio-unequalness then, the women folk are seen to be terribly in need of a manly figure to be head of their household, and more than willing to be submissive, and obedient, just so to be at the side of their men. It's a far cry from today's world really, where women are far from the weaker sex they are portrayed in the film. Sure a key female character here is as conniving can be, and future installments (I've taken a look at the cast list) seem to demonstrate that there's still more to it all than meets the eye.

In short, Samurai I has set the stage, transforming Takezo from nobody, to a ready warrior yet to be tested in the real world. As he sets out for some reality based education, it would prove all the more interesting as he is likely to chance upon old friends and foes, and this time, being skilled and more refined in his ways, would prove to be engaging material for the subsequent films to deal with. Already those two film titles have "Duels" in them, so they should fill for a climatic finale battle each, given the obvious lack of a crescendo this one turned out to be.

a good start to an excellent trilogy

[planktonrules · 9/10 · 28 June 2005]

Toshiro Mifune stars as a foolish young man who longs to run off to war to make his fortune and prove he is a man. When a battle looms, he runs off to volunteer and his friend, showing some initial reluctance, follows. Instead of glory, they barely escape with their lives. Their paths leads them to two women--an incredibly evil sociopathic mother and her daughter who is not yet as jaded and selfish as the mother. Mifune resists temptation and runs from them, while his friend succumbs to their pleas to stay--and in essence throws away his life and honor. Where Mifune's path takes him I'll leave for you to discover when you watch the film.

Despite having Mifune in the lead, this is NOT an Akira Kurasawa film and some may be disappointed that it is a little more stodgy than one of his films. Instead, I just see it as different but certainly worthwhile. The movie does have tremendous scope and is a very effective opening film to the Samurai Trilogy.

It is important to note that these movies were made nearly 50 years ago and existing copies on DVD are in poor condition--with fading and sepia tones instead of the vibrant original. This became VERY apparent when I saw the beginning of the 3rd film. The color was nearly perfect for the initial scene and that is great, as it's a beautiful and extremely artistic shot. At times throughout the movie, some of the scenes are once again vivid while others are faded and lose their impact. You can't blame the film for that, but you wish Criterion would try to digitally enhance the prints they've got to improve the colors and get rid of some scratchy cels.

good vast sword wielding epic

[SnoopyStyle · 7/10 · 20 August 2022]

It's 1600 Japan. Musashi Miyamoto convinces his friend to follow the passing army and join the battle. He's eager for adventure and become a Samurai. Instead, they are left digging trenches. Their side loses and he is forced to run. It's a long winding road from banditry to celebrated warrior.

It's a historical drama of the legendary Samurai. It has the epic nature. It's a bit of old school Japanese film which is a mix of swashbuckling and darker character work. The story can be a meandering affair as he travels his winding path. It's the first of a trilogy.

Excellent

[chuuzetsu · 9/10 · 26 November 2004]

Toshiro Mifune (of Akira Kurosawa fame) stars as Takezo. A young man who seeks fame as a warrior. He and his friend Matahachi join to fight in a civil war. When their "platoon" (for lack of a better term due to my lack of Japanese warfare knowledge) is wiped out, the two young men confide in the help of two women.

The two women rob the dead bodies of Samurai. When a group of bandits wants to cash in on their treasure, Takezo fights off and kills the bandits. When Oko (the mother of the two women) observes this, she falls for Takezo. When he refuses and runs off, she tells Akemi and Matahachi that Takezo forced himself, and she refused. So, Akemi, Oko, and Matahachi leave. Only for Takezo to return to an empty home.

Takezo tries to return to his home village to let Matahachi's fiancé and mother know that he is still alive. When he is accused of leaving Matahachi for dead he is pursued by the town in a manhunt. Otsu, Matahachi's fiancé, learns of Matahachi's marriage to Oko. She eventually falls for Takezo. During all this, Takezo is capturd by a Buddhist monk. Only part of the monk's larger scale plan of eventually moralizing and training Takezo. Thus, Takezo becomes the film title, Miyamoto Musashi.

An excellent and colorful film. Toshiro Mifune excels as Takezo. He proves that he is up to play any type of character. His character is somewhat similar to that of his character in Seven Samurai. Ambitious, but not as strong and mature as he should be for a samurai.

If you don't know too much about classic samurai cinema, this is a good place to start (this is part one in a trilogy of three films). With his short running time and color film, it may help you break into the other samurai classics that are in B&W (Kurosawa's Seven Samurai, Yojimbo/Sanjuro, etc.,).

As a note, this won of the Academy Award for Best Foreign Language Film in 1955.

Enveloping and Intriguing, it Leaves Much to be Resolved

[drqshadow-reviews · 7/10 · 15 February 2012]

Kurosawa regular Toshiro Mifune stars as an unfocused ball of furious youthful energy in this first installment of the famed Samurai Trilogy. As Takezo, the adopted black sheep of a small feudal village, Mifune is wild, passionate and unfocused in his quest for adventure and respect. Seeking a romanticized status as samurai, he rushes off to join the losing side of a civil war, enticing his best friend to tag along in search of similar fame and fortune. What follows is a broad adventure across the landscapes of Japan, chance encounters with a colorful batch of faces, and an awful lot of unresolved plot threads. As can be expected with the first act of any saga, there isn't much finality to be found here; it really seems as though we're only beginning to scratch the surface when the curtain drops, and that compete lack of closure left me feeling a touch jilted, justifiably or not. Later chapters have a wealth of storytelling riches to expand upon, though, with two rebellious youths beginning to come of age in vastly different ways, a fistful of foils closing in on each, an unresolved love triangle muddying the waters and a clear-cut destination on the horizon. On its own, this is little more than an incomplete tease. In the context of a three-film arc, though, it's much more digestible as a rich, diverse pin-setter. I want more.

This review is for at least the first two films of the Samurai Trilogy, and for the third installment unless my opinion of that is different

[zetes · 8/10 · 1 January 2001]

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).

Origin story of a folk hero

[ArtVandelayImporterExporter · 7/10 · 13 March 2023]

Mifune is a local juvenile delinquent who wanders off with his buddy to attain some war hero cred. It doesn't go so well and before you know it they've stumbled into the clutches of a devious woman and her daughter who strip dead Samurai of their belongings in order to survive.

Shortly thereafter Mifune and his buddy are split up, with buddy going along with the devious woman and her daughter. Mifune left to wander back to his home village where the welcoming committee consists of about a thousand people wanting to put him in jail.

Finally, a Buddhist priest, Takuan, captures him. Mifune escapes with the help of his buddy's ex-girlfriend. He's captured again by the priest and forced this time to read a bunch of enlightening texts to become a better man, ready for samurai work. The girl, meanwhile, waits for him.

This is one of the more American-style movies you're gonna see out of 1950s Japan. Beautiful technicolor. Wide open vistas. Lots of fighting. Manly men. Beautiful dames. Boy finds girl, boy loses girl (repeatedly). Soaring music. Simple, straightforward story-telling.

It's all very accessible.

There are nothing but loose ends when the credits roll. So if you're gonna rent/buy/stream this one, you might as well get all 3 at the same time.

Masterful rendition

[ebiros2 · 5/10 · 27 August 2011]

Although this is a samurai movie, story is far more than just sword fights. Musashi Miyamoto is perhaps the most famous swordsman in Japan. He starts from a humble beginning to become the best sword fighter in Japanese history.

Based on a novel by Eiji Yoshikawa, the first chapter of Musashi trilogy focuses on seminal years of Musashi as he grows up as Takezo Shinmen in the village of Miyamoto. He's rambunctious youth that needs discipline and education. He receives his first lessons from monk Takuan. He also meets the love of his life Otsu, his childhood friend Matahachi, and Akemi.

There's dignity, and consideration for other human in Musashi. The caliber of people living a humble life around him seems to have dignity and innocence that's not seen these days. As a society, we are definitely going down hill compared to the times this movie was made.

You get to see very young Toshiro Mifune , Kaoru Yachigusa, and Mariko Okada in their prime delivering their A list performances.

A very classy film that's worth watching.

Samurai Siddhartha Wild One

[futures-1 · 27 March 2007]

"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.

Wonderful beginning to the trilogy

[gbill-74877 · 8/10 · 3 October 2022]

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.

The setup for the trilogy.

[Boba_Fett1138 · 8/10 · 5 December 2009]

Well, this movie does not quite feel like the perfect picture yet but what it does is setting the things up for the further movies within in the trilogy.

In 1955 and 1956 the two follow-ups for this movie got released, which focuses on the soon to be samurai Musashi Miyamoto. What this movie does is setting up the characters and laying down the right foundations for the future movies. And the movie really does feel like a setup movie, fore this movie itself doesn't quite reaches a conclusion and it builds up to a much bigger plan. This movie is making it obvious that the following movies would be epic ones to watch. This however all means that this actual movie isn't quite as good as a movie itself, as it is as a setup movie. This is no complaint really of course once you also decide on watching the following two movies.

It's a good looking movie, made in the well known typical Japanese '50's style and it's about something classic Japanese movies are of course so well known for. It's set in the 16th century Japan, in the middle of a war, featuring of course a lot of skilled sword masters. Sounds all very much like a Akira Kurosawa picture so far, also not in the least because it also stars Toshirô Mifune as the movie its main character. But of course there were lots of other Japanese skilled directors at the same time active within the business, such as Hiroshi Inagaki, who directed this entire movie trilogy.

Don't expect this movie to feature a lot of fight- and battle sequences though. The movie at times becomes epic with some of its war moments but its all kept quite short, as if they were saving it all for the future movies. Still Toshirô Mifune of course gets to do his thing in this movie though.

A movie that serves its purpose as a setup for things to come in the following two movies of this quite well known trilogy.

8/10

http://bobafett1138.blogspot.com/

Nice little Japanese western

[cherold · 7/10 · 7 July 2017]

When I think "samurai movie," I think of the American western-influenced films of Kurosawa like Yojimbo and Seven Samurai. But my search for similar movies has shown that a lot of people define "samurai movie" as any movie featuring samurai. So I was happy when I finally got around to watching the first of the Samurai trilogy films that it is, in fact, very much a Japanese western, full of sweeping vistas, iconic characters, small town life, violence, and a score that you could attach to a John Ford film. Only, as with the Kurosawa films, I like this better than I like most American westerns.

The movie features two friends who go to war and wind up on the run. They meet a couple of women, their fates diverge, the fiancé of one pines, and a priest intercedes. The plot is definitely Eastern, and at times feels wandering and disjointed, but it manages to just hold together.

While no match for Seven Samurai, this is a very pleasant, enjoyable film that makes me want to watch the rest of the series. Once that's done, I'll have to go back to the search for more Japanese westerns.

a good start to a handsomely done, 'old-school' epic trilogy

[Quinoa1984 · 8/10 · 20 October 2006]

I watched the first part of the Musashi Miyamoto trilogy, dubbed simply Samurai 1 on the video, thinking that it might be a lot more stylish &/or violent than I was led to believe. It is the first part, but of the second part it is but only up to a point. This is a 1950s style epic tale through and through, and the violence is done in a kind of sweepingly done style, where it goes by fairly quick, no blood at all, though all the while there's the sense of loss that goes with seeing, for example, the big battle sequence early on. This is a trilogy that I saw long ago, but this one, along with some scenes from 2 and 3, sticks out in my mind to this day. There's a lot of touching care taken in what was Hiroshi Inagaki's power as a filmmaker. Like a Hollywood director actually more than a typical Japanese director, one might say, his take on the legendary samurai Miyamoto is one of reverence but wisdom, of production values of the highest standard (of the studio standard of Toho at the time), with brilliant color photography putting the colors in striking displays throughout at a time when Japan was first getting into it.

If it's less than really great, like a Kurosawa film, it's maybe because Inagaki is a little too comfortable at times with what's 'safe' in the story, particularly with the romance between Takezo/Musashi (Toshiro Mifune) and Otsu (Kaoru Yachigusa). This actually becomes a little more unbelievable at times in parts 2 and 3, but for the sake of its magisterial, dedicated studio roots, it's not that bad, most notably the final scene at the bridge. Some of the plot on the first viewing may not be completely clear, at least through parts of the middle section involving the betrayals and Takezo's friend Matahachi's relationship with Oko. There are one or two really noteworthy supporting performances, like from Mitsuko Mito as Oko. But it's really Mifune's show here, and he plays Takezo in this film like a more naive but still as ambitious and unruly version of his character in Seven Samurai. He's not altogether, but he has it in him to be more, which of course then leads out into the rest of the trilogy. It's one of his better performances outside of his work with Kurosawa, and it gets better as the films go on.

Of course, it's best to start here with Inagaki's passionate, rousing work, and even if it isn't the best of the three it still has its high points. It's a very good example of an 'old-school', big-budget Toho picture with their brand of excitement and romance. If you're thinking it will be as graphic or darkly comic as Kurosawa's films though, it's not really here (though only in little sparks, as is more Inagaki's straghtforward style).

musashi miyamoto

[mossgrymk · 6/10 · 29 September 2022]

You would think that being a fan of westerns I'd be all in on a classic Samurai flic but I have to tell you that even the decent ones, such as this mid 1950s offering from director Hiroshi Inagaki, that feature stunningly lush cinematography and impressively staged battle and sword fight scenes, strike me as stiff and melodramatic to the point of caricature, with the actors doing way too much screaming, weeping, and snarling. I much prefer the American westerns of this time period with their more realistic studies of damaged psyches to this hyperbolic stuff. I could also do with less sexism...the women in this movie are divided between submissive saints and deceitful, lustful ho's...and a bit of explication would be nice for those of us who haven't boned up on our 17th century Japanese history and are completely in the dark as to who is fighting who and why. Needless to say I was not in for the next two legs of the trilogy. Give it a C plus.

Part one of Inagaki's 'Samurai trilogy' is a beautifully made 'origins story'

[jamesrupert2014 · 8/10 · 29 September 2020]

Local trouble-maker Takezo (Toshiro Mifune) and his buddy Matahachi (Rentaro Mikuni) head off to war hoping to win honour and become samurai. On the run after serving on the losing side in the Battle of Sekigahara, the two become separated and Takezo returns to his village a wanted criminal. Convinced to surrender by Takuan, a Buddist Monk, Takezo begins to endure the hardships and challenges that would lead to becoming the legendary warrior Musashi Miyamoto. Being unfamiliar with the iconic Japanese hero, I found the film both entertaining and interesting, and perhaps educational (although according to the DVD commentary by biographer William Scott Wilson numerous liberties with the 'historical' Musashi were taken). Having watched an English-subtitled version, I cannot really comment on the acting or the script but Mifune is as entertaining as always playing the undisciplined and quick tempered Takezo and the rest of the cast seem fine. The colour cinematography, music, and direction is excellent and the film seems to do an excellent job of portraying feudal Japan in the early days of the Edo shogunate. All in all, an excellent entry in Japan's popular jidaigeki genre, although viewers used to gruesome, action-packed Samurai movies (such as the 'Babycart' series) may find Inagaki's vision a bit slow-moving and 'tame'.

Good

[Cosmoeticadotcom · 7/10 · 29 July 2009]

Hiroshi Inagaki's 1954-1956 three part color film, The Samurai Trilogy, is unlike many filmic trilogies for the very fact that it is, indeed, one exactly five hour long film, and not three separate linked films, for the first two films have no real endings. In this way it has much in common with The Lord Of The Rings trilogy. However, whereas those three are separate films, more or less, their source work is not. Yes, J.R.R. Tolkien's book is often printed in three separate volumes, but it is one work. This three part film is also derived from one singular literary work, from Eiji Yoshikawa's 1935 novel Musashi, loosely based upon the real life 17th Century Japanese folk hero, the samurai Musashi Miyamoto, who penned a classic book called The Book Of Five Rings. That all stated, the landscapes of Japan and sheer numbers of extras in this film are far more impressive, visually, than the CG crap that the Lord Of The Rings films spewed. Overall, The Samurai Trilogy is a good film, but while the narrative story gets better and tighter with each succeeding film, the visual quality of each succeeding film worsens on The Criterion Collection's three disks, both in the original film stock and the poor transfers.

If nothing else, this film, The Samurai Trilogy, can be seen as a sort of training ground for the great Toshiro Mifune to try out and perfect a wide range of acting styles and characters within character that he would unleash on the film lovers of the world throughout the rest of his career, be it in his films with Kurosawa, or long after. And, if a film can be said to have allowed something like that to happen, then its merits are certainly more than its flaws, melodramatic or not. But, even on top of that, a film like this acts as a sort of entrée into the greater and deeper art put out by the aforementioned masters, and allows those great works of art to be more greatly appreciated, for contrast can clarify what the mists of the ineffable do not. In such a spirit, thank you sensei Inagaki.

A Historic Epic Told Through One Man

[gavin6942 · 8/10 · 4 March 2016]

Depicts the early life of the legendary warrior Musashi Miyamoto (Toshiro Mifune); his years as an aspiring warrior, an outlaw and finally a true samurai.

Often compared to "Gone With the Wind", this is the first part of a three-film epic. What makes this so great when compared to all the other samurai films is that this is roughly based on a real man's life. The son and grandson of noted samurai, what better way to tell the life story of a samurai and introduce the world to certain historical events that may not be well-known outside of Japan? Ironically, for all of the film's success, ten years passed before Americans were able to see the other two follow-up installments in the Trilogy. During that time, Inagaki became well known for other films, such as The Rickshaw Man (1958), which won the Grand Prize at the Venice Film Festival, and The Forty-Seven Ronin (1962), while Toshiro Mifune became Japan's most popular leading man.

"A Samurai's wife sends off her man with a smile"

[daisukereds · 6/10 · 28 April 2024]

If you want to watch this film, you HAVE to watch the 2 following movies.

Together, they make more of a TV show season! And alone, this introductory story isn't particularly satisfying.. nor does it feel as if it provides a complete narrative either, as it tries to tell the entire life of Musashi Miyamoto. And so, I review the entire story and not just this first entry here (otherwise, I would have to lower its score by quite a margin).

I feel it has pacing issues, a lack of focus in some themes and moments, and constantly shifts to other things without a proper setup or conclusion. It's also has elements of period "romance", which is sometimes hard to enjoy (specially for those not accustomed to Japanese culture). It also lacks excitement or truly memorable moments (be it battles or interactions).. but it does have a good cast and the famed and always impressive Toshiro Mifune, and it is very well produced. I wasn't particularly blown away, but I also ended up watching them one after the other. So, while I would have wanted to get more out of it, it is enough to satisfy a fan of these films.. albeit barely.

Watchable, but not necessarily worth watching

[slowcando · 5/10 · 12 March 2023]

After Rashomon (6/10) this is the second classic japanese samurai-period flick I've checked out. It has a little less going for it: lacking Rashomon's interesting premise and more effective humour. Otherwise it's quite similar: melodramatic stagey dramatics with unconvincing action, damsels-in-distress, plenty of tasteful forest shots and a compelling animalistic Mifune in the main role.

Samurai 1 is quite watchable, tho' some characters have confusing unrelateable logic. The period production was well done, however the fighting scenes are clumsily choreographed (straight out of the theatre). I appreciated the clear crystal-like singing from the Akemi character, the spiritual chanting of Osugi and Kabuki theater. All very short scenes, the film would've benefitted from a little more of this direction.

Overall not quite worth watching, neither is it a bad film. I'm not convinced I'm into it enough to check out the rest of the trilogy. Next jap classic will likely be another Kurosawa. Hoping to find one that rates significantly above average!