The Samurai Trilogy

Starring the great Toshiro Mifune as famed 17th century Japanese swordsman ‘Miyamoto Musashi’, the trilogy charts his rise from humble beginnings (when he was called Takezo) to his status as ‘ronin Musashi’ to the famous duel with legendary rival swordsman ‘Kojiro Sasaki’.

The three films are based on the novel by Eiji Yoshikawa which chronicles the life of Musashi, and on Musashi’s ‘Book of Five Rings’: the Oscar-winning Samurai I: Musashi Miyamoto (1954), Samurai II: Duel at Ichijoji Temple (1955), and Samurai III: Duel at Ganryu Island (1956). However, it should perhaps be pointed out that Miyamoto Musashi was in fact a ronin, which is a samurai without a master or lord.

In the first instalment we are introduced to Takezo (T. Mifune) – a hot-tempered man with big ambitions to one day become a glorious fighter – and his friend Matahachi (Rentaro Mikune), a somewhat dorky individual content with the basics of life and betrothed to the beautiful and seemingly selfless Otsu (Kaoru Yachigusa). When the battle of Sekigahara fails to gain fame and victory for the two men, they find themselves on the run, in particular Takezo becomes a hunted fugitive for being rude and inconsiderate in his actions – even the villagers are after him! On the run, Takezo and the injured Matahachi find shelter in the hut of two women: Oko (Mitsuko Mito) and her daughter Akemi (Mariko Okada). Little do our hapless anti-heroes know that the two women are connected to local bandits and earn their meagre living by peddling clothes, weapons and other items stripped off dead samurai on the battlefields. When both women make advances toward Takezo they fail miserably, for here is a man focused on his ambition! Both women are miffed to say the least though Akemi doesn’t show her disappointment, at least not yet. It’s mother Oko who suddenly claims that it was Takezo who tried to force himself upon her, and consequently the weak-willed Matahachi is asked to escort the two women to safety and to Kyoto. Takezo, believing that his friend has turned his back on him, makes his way back to the village, but not before fighting off some men during a road block bust-up. Back in the village he refuses to reveal the reason why Matahachi hasn’t returned, incurring the wrath of his friend’s mother Osugi (Eiko Miyoshi) and the other villagers. Around the same time Otsu receives a mysterious letter, which asks her to forget Matahachi as he has married someone else. Heartbroken, she seeks solace in the temple of Buddhist priest Takuan (Kuroemon Onoe), who later captures Takezo. For reasons unclear, Otsu helps Takeo escape but the two are soon tracked down. Otsu is captured and brought to Himeji Castle, while Takezo initially manages to escape before being tricked and re-captured again by the priest. Takeo is held captive in the castle for three years during which the priest hopes this unruly man will calm down and focus on his enlightenment and mastering his technique as a swordsman. When the three years are over, Takezo is sent ‘on his way’ and is now given the samurai name Musashi Miyamoto, while Otsu – now deeply in love with him – promises to wait for him no matter what.
This first part is also the most important of the trilogy for it introduces us to the vital characters, all of which return throughout the trilogy – thus laying the foundation of Musashi’s future adventures.

In the second instalment, things become ever more complex when Musashi travels to Kyoto to find out that his former friend Matahachi is now married to Oko, though she’s tired of him and amuses herself with another man. Meanwhile, she forces daughter Akemi to give in to the advances of an influential samurai. Otsu has also heard that Musashi is in Kyoto and travels to the city where she has a confrontation with her former betrothed Matahachi. She explains that she no longer feels anything for him because she’s now in love with Musashi. When Matahachi tries to kill her in a jealous rage she is rescued by Kojiro Sasaki (Koji Tsuruta), who – unbeknownst to her – turns out to be the one who will challenge Musashi to the famous duel at Ganryu. When Otso runs away she finally finds Musashi, albeit with rival lover Akemi who refuses to give up ‘her man’. Musashi declares his love for Otso but at the same time he states that his love for the sword is bigger and that he needs to walk his chosen path alone. Otsu, forever waiting for her man, once again vows to wait for him…

In the third and final instalment its not just Musashi’s love triangle that gets ever more complex… Things are building up to a tense climax between Musashi and his worthy nemesis Kojiro. Before the final showdown, Akemi and various others get their come-uppance, but will the long-suffering Otso finally get her man? Provided Musashi survives the duel of course…

The performances are spot-on and really, what can one say or write about Toshiro Mifune that hasn’t already been said over and over. He commands every scene in which he appears effortlessly with his sheer presence. Koji Tsuruta, who plays his samurai rival ‘Kojiro’, is equally impressive though despite the actor’s huge popularity in his native Japan never quite managed to become an international household name like Mifune. As for the two leading ladies, Kaoru Yachigusa’s demure and subservient portrayal as ‘Otsu’ is the opposite pole to the much more forward ‘Akemi’ (as portrayed by Mariko Okado). Both actresses (who are still alive by the way!) succeed in delivering believable performances.
The impressive cinematography makes the Japanese landscape look simply stunning, all of which contributes to make this Samurai trilogy ONE stunning epic!