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Chushingura means "loyalty," and that potent Japanese theme runs like hot blood throughout this stately samurai epic. It's often called the Gone with the Wind of Japanese cinema, and while that may be a fitting cultural parallel, it gives an inaccurate impression of the film, based on one of Japan's most enduring and oft-interpreted historical events. A simmering, deliberately paced drama set during the Tokugawa shogunate in 1701, it centers on 47 loyal samurai who seek vengeance against the arrogant elder statesman who caused their master's ritual suicide. The now masterless ronin let seasons pass (and the movie occasionally seems just as long) before executing a climactic raid that is both expertly fierce and lethally efficient. Featuring a who's-who of fine Japanese actors, including Kurosawa regulars Toshiro Mifune and Takashi Shimura, Chushingura bears little resemblance to Kurosawa's action-packed samurai classics. This is a thematically dense, politically complex drama, presented here at its fullest length (207 minutes) and best appreciated after multiple viewings. Masterfully composed with painterly precision, Chushingura weaves its intricate tapestry from time-honored tenets of Japanese culture, offering a challenging but grandly rewarding experience. --Jeff Shannon ... Read more

Reviews (25)

One Of The Two Best Samurai Films Ever Made!
This film is one of the two best Samurai films of all time, the other being Kurosawa's SEVEN SAMURAI. CHUSHINGURA ("loyalty") is based on a real incident in 18th century Japan, wherein 47 loyal retainers of a disgraced lord take a vow of vengeance on the corrupt nobleman who caused his downfall and death. The story is timeless, the acting is uniformly magnificent, the camera work is so gorgeous that any frame of this film could be hung in an art gallery, and the music is exciting and heart-lifting. It's a complex plot, following many separate individuals as their vengeance unfolds, so first-time viewers may get confused. No matter -- it all comes together at the end. Watch for the late great Toshiro Mifune in a cameo role as a Master Spearman who becomes drinking buddies with one of the 47, and who takes it upon himself to hold off the cops in the final showdown so that his pal and the other 46 won't be interrupted before they can find and behead the bad guy and fulfill their vow. I have watched this movie many, many times, and I always find something new and wonderful in it. Now that it's FINALLY available on video, don't miss it!!

Samurai honor, political intrigue, romance, brilliant cinema
I first saw this film in the 60's in a small theater over 3 hours with one intermission. I never left my seat, in fact I started out sitting in the aisle at the back because the theater was full.

The photography is gorgeous with brilliant winter scenes backing up intense sword fights in which you aren't sure what happened until someone keels over dead.

Political betrayal is revenged while honor ultimately prevails. You are immersed in the feudal Japanese world and yet reminded of much the same thing happening today.

Definitely worth seeing and buying once you've seen it.

The Quintessential Japanese Saga
Chusingura (the 47 Ronin) is a tale that is as popular in Japan -and as often produced - as The Christmas Carol is in the U.S. - and just as revealing of cultural assumptions about right and wrong. There are many versions, each focusing on one of the "47 masterless Samurai" who refuse to surrender and face disgrace out of loyalty to their master. The theme (and story) will be familiar because it's been reworked many times ranging from Gilbert and Sullivan's "Mikado" to "From Here to Eternity."

If you want to gain insight into the Japanese concept of loyalty and the price of honor above all else this is the one movie you should not miss.

The color photgraphy and scene settings are well done and sound is excellent; the acting is also very good and does not lean heavily on over-emoting that is the sometimes "norm" for Japanese films. Sub-titles are a little light, but easy enough to see and this is one of the more accessible versions (many are not available to Western audiences as more recently they tend to be done for annual TV specfials. You won't need to know the history to follow the story - or get the point.

It's a true story of a proud, old fashioned country Samurai who puts the Samurai Code and personal integrity above politics of reality. He's summoned to the Shogun's castle to do his duty - service to the emperor whole messengers are coming through the territory. A corrupt court official expects and demands a bribe to tell the Samurai what he must know of intricate protocol and is outraged when our hero refuses to bend. The official goads him into drawing his sword in the castle - a capital offense, leading to his forced harikiri - suicide.

The remainder of the tale - most of it - is about how the 47 loyal retainers face disgrace and contempt, while biding their time until they can avenge their master. The film has everything: psychological drama, action, passion, greed and pathos - everything in fact that makes life worthwhile.

Don't miss this one!

Samurai Code in Jeopardy...
Corruption and the samurai code converge in a collision when an old man who favors greed and lust crosses the road with a young noble samurai. The collision triggers a chain of events that causes the young noble samurai to violate the laws of the Shogunate, which affects many lives. The issue of injustice remains unresolved after the unlawful event. However, for some life is insignificant when injustice remains. This epic story reveals that humans do know what is right from wrong, but fear and desire seem to influence each and everyone's choice.

A Flawed but Enjoyable Epic
Despite the film's division into two parts, I think the Chushingura is best understood as a complicated story told in three acts.

The first act, culminating in the seppuku of Lord Asano, details the conflict between the young lord and Kira, the Shogun's master of ceremonies, and is, in my opinion, the most interesting as it unfolds logically, tragically, and inevitably towards the spilling of blood in the Shogun's castle. Asano and Kira, at least in this stage of the film, are fully realized and three-dimensional characters, and their conflict can be understood on several levels: idealism versus pragmatism; rural versus urban; and, most centrally, a conflict between different conceptions of honor. Kira is slighted because Asano won't show him the deference he feels he deserves, and Asano cannot accept Kira's attempt to teach him a lesson without fatally wounding his pride. The characters feel real because the situation is developed so carefully, and we as viewers understand why the principal actors behave as they do.

I think the movie bogs down a bit in the second act where the retainers of Asana plot their revenge on Kira. I also feel it is at this point that those unfamiliar with this story may find it difficult to follow the plot. Like the assassination of Thomas Becket in 12th century England, the story of the 47 loyal retainers has left the historian with not only a wealth of primary documents but also of contemporary analysis of exactly how the events were interpreted. Whereas Becket's murder resonated because of the changing perceptions of the limits of temporal power in medieval Europe, the 47 ronin reflect the changing nature of samurai honor following the pacification of Japan under the Tokugawa shogunate. Unfortunately, the movie does little to clarify the issues involved despite a three and half hour presentation. The historical Oishi, for instance, worked patiently behind the scenes for years to restore the clan's honor and holdings under the leadership of Asano's younger brother whereas Horibe represented the more radical view that the ronin owed personal allegiance only to their dead lord. In the movie, by contrast, Oishi makes reference to restoring the clan and questions Asano's judgment at the castle, but it is absolutely unclear in the context of the film whether this represents his true beliefs or is simply part of the feint to divert attention from the plot to kill Kira. It is, in fact, hard to ever discern exactly what Oishi is planning, even in hindsight. Horibe, as the leader of the other wing of the retainers, fairs worse, emerging only as Toshiro Mifune's drinking buddy (Mifune, though always enjoyable to watch, is largely wasted in a sub-plot that is completely superfluous to the story). I don't expect complete historical fidelity, but I do expect the events to develop coherently and to address the main issues of the story. I'm not saying that it is a complete mess, just that it is hard to follow at times, and it is not always clear what motivates the characters, and, as film usually does, some of the subtleties of the real events are lost.

Thankfully, the exciting and famous battle in the snow largely redeems any momentary flagging of interest. My only quibble is that Kira has degenerated by this point into an absolute caricature of his previous self, becoming the embodiment of the man without honor. I suspect this is incorporated less from history and more from the popularizations of this story, e.g., the various kabuki stagings.

Others have spoken of the beautiful visuals, so I won't belabor the point. Suffice it to say this alone is a good reason to watch this film. Others have also spoken of the slow pace. This is also true, and if you demand a tight focus in your movies, this one probably isn't for you. ... Read more

Amazon.com

Toshirô Mifune defines the quintessential samurai in Hiroshi Inagaki's 1954 Samurai I: Musashi Miyamoto, the first feature in a trilogy based on the epic novel by Eiji Yoshikawa. As in Kurosawa's classic Seven Samurai, which appeared the same year, Mifune plays a brash and ambitious peasant who desires fame and power as a swordsman. His dreams of glory in war sour when his army is routed and he becomes hunted by the authorities, but the "tough love" attentions of a kindly but severe monk help him develop from a hot-tempered outlaw to a thoughtful swordsman. Inagaki's somber color epic is very different from the energetic action of Kurosawa's films. The sword fights and battles are practically theatrical in their presentation, staged in long takes that emphasize form and movement over flash and flamboyance. Mifune brings a sad, almost tragic quality to the samurai warrior Musashi Miyamoto, whose dedication proscribes him to a lonely life on the road. Though the film stands well on its own, its stature takes on greater significance as the first act of Inagaki's stately, contemplative epic of the professional and spiritual development of Musashi, whose training and adventures continue in Samurai II: Duel at Ichijoji Temple. --Sean Axmaker ... Read more

Reviews (33)

Read the book, then see the film
It is understandable that people don't quite "get it" when they watch Japanese samurai movies. Having lived in Japan for many years, and having watched hundreds of them, along with NHK's long running "samurai soap opera". I too confess to being confused at times.

However, if you want to understand what this film is about, get a copy of the book "Musashi" by Yoshikawa Eiji, one of Japans top novelists (Harper & Row, Publishers/Kodansha International, ISBN 0-06-859851-3). It is the story of Musashi Miyamoto and the film is based on this book. Read it and you will understand more fully the people, places and intricacies of the film. Even though the three-part film is long, it isn't long enough to do justice to the book.

Read the book, then watch (or re-watch) the film, you'll be amazed.

CRAZY HORSE
The first part of director Hiroshi Inagaki's Samurai trilogy, that is SAMURAI I : MIYAMOTO MUSASHI, won in 1954 the academy award for best foreign movie released in the U.S.. It's a movie filmed in glorious Eastmancolor and shot, for the most part of it, in the japanese landscapes. Set in 1600 A.D., in a civil war period, SAMURAI I relates the first years of samurai apprenticeship of Takezo who, with his friend, Matahachi, decides to go to war in order to obtain fame.

Wild, without attach, Takezo will soon turn into a ronin, a samurai without a Master nor a philosophical goal. He becomes an animal and is finally caught by his fellowmen. Saved by a buddhist monk, he will learn Wisdom by reading books.

You will find in SAMURAI I several characters and situations one will encounter in numerous other japanese or even american movies. For instance, the Mother and her Daughter, alone in their lost wooden house, who will become extremely dangerous after a few weeks can be recognized a few years later in Kobayashi's KWAIDAN and, why not, in John Milius's CONAN THE BARBARIAN.

I've loved SAMURAI I's cinematography that makes us discover the japanese nature and gives undoubtedly an epic atmosphere to the movie. I've loved Toshiro Mifune's madness which leads him to battle against dozens of armed soldiers with only a wooden stick. In fact, I'm very enthusiastic about this movie and cannot wait to see the two other parts of this trilogy.

If you are curious about foreign sagas, SAMURAI I is definitely

A DVD for your library.

An interesting film for Criterion to release
This film (which won an Oscar® in 1955 for best foreign language film) is the first part of a trilogy which is known as the Samurai Trilogy. I find it very impressive for a color film to be released in 1954 at a time where even most American films were still in B&W. At this time, color films were still far more expensive than B&W and Japan was not yet even close to becoming the tech savvy country it is known for being today.

The film itself is based loosely on the true story of 17th century Japanese samurai Musashi Miyamoto. He was considered a hero by the Japanese though I disagree because he participated in the massacre of a Japanese Christian community in Kyushu.

The films have been likened to a Japanese equivalant of "Gone with the Wind" as it is of a woman torn between two lovers during a civil war.

Great movie, lousy DVD
The movie is completely wonderful. Unfortunately, the image quality of this DVD is completely unwatchable. Much of the movie is too dark to make out what is happening, day scenes look like night scenes. You are literally better off buying the VHS version of this movie.

Unfortunately, the same is true of the other DVDs in this trilogy. I had to return all three.

Miyamoto Musashi: The Pure Hero
This extraordinary 1955 movie tells the tale of a young man named Takezo. Living in Miyamoto village, Takezo is despised by the other villagers because he is a hothead and quite wild. To escape this village he joins the forces of Toyotomi Hideyoshi's son versus the mighty Tokugawa Ieyasu. At the battle of Sekigahara, Toyotomi's forces fall, but Takezo and his friend Matahachi cut on through. They somehow survive their lost cause and make there way to a small hut inhabited by a woman and her teenaged daughter. the daughter comes on to Takezo, but he fends her off. Later after bandits attack, Takezo fights them off with a wooden sword. The mother then comes on to him, but he runs off. The woman then shacks up with Matahachi and the three leave the cabin, so Takezo returns to an empty home. He feels an obligation to go to Miyamoto Village and tell Matahachi's mother and fiance that Matahachi is still alive, but he runs through a guard post so he is hunted down, but not without a fight! This is a great film, that shows the roughness of true samurai, not the polished beings of the Tokugawa period. An extraordinary film, and Priest Takuan is wonderful. ... Read more

Amazon.com

Toshirô Mifune is confidence supreme and humility incarnate as the mature samurai master Musashi Miyamoto in the final film of Inagaki's sprawling trilogy. Now a legendary swordsman whose latest quest is to save an isolated village from rampaging brigands (shades of Seven Samurai), he remains haunted by the memory of Otsu (Kaoru Yachigusa). Meanwhile the ruthless and increasingly jealous Kojiro Sasaki (Koji Tsuruta) plots his battle royal with Musashi to prove who is the finest fencer in Japan.Inagaki weaves the web of subplots into a series of grand confrontations, among them the most exciting battles of the trilogy: Musashi's skirmish with the army of cutthroats while the village erupts in a fiery inferno around him, and the sunset duel between Musashi and Kojiro on an isolated beach, the two warriors taking on mythic dimensions silhouetted against the sun setting over the surf. Inagaki's delicate use of color throughout the series becomes most pronounced in this final sequence, where the glow of orange and red adds dramatic flourish to the twilight battle. Inagaki's reserved, restrained style and Mifune's melancholy performance--his granite face and stocky stance the very essence of somber wisdom and sad assurance--bring a gravity and seriousness to the drama that ultimately illuminates the personal cost of Musashi's supreme skill as his story ends on an elegiac but hopeful note. --Sean Axmaker ... Read more

Reviews (9)

a good conclusion to a trilogy
This review is for the Criterion collection edition of the film.

As all films in the trilogy, they are good but come with almost no bonus material for DVD. The only have the essays in the accompanying jackets and the the theatrical trailers.

The film itself has less action than the second film with only 2 major sequences. The scene of bandidts pillaging a town and the climatic duel scene at the end of the film.

This film also has an excellent scene where Musashi uses his chopsticks to catch flies in midair. This scene appears to be the inspiration for a very similar scene in the first Karate Kid film.

Overall the films were good but not great.

Excellent film, bad transfer
While I agree with the other reviewers that the culmination of Inagaki's Samurai trilogy is a wonderful film, I feel that this DVD can't truly be rated at five stars. The reason for this is that the transfer on the disc (and the other two in the series) simply doesn't do justice to the film's beautiful cinematography. The colors are muted in most scenes, often shift from scene to scene, and the film itself is frequently scratched or pitted.

However, it's doubtful that these fantastic films will receive a better transfer any time in the near future, so be sure to see them, but be warned that the transfer is sub-par (although it's certainly watchable).

RISE OF THE SWORD-SAINT
This film marks the glorious conclusion to the Samurai Trilogy and the ascent of Musashi Miyamoto to spiritual perfection, Musashi Kensei (The Sword-Saint). TOSHIRO MIFUNE, one of the world's greatest actors, delivers a memorable performance as the master at the peak of his enlightenment.

Several years have goneby and Musashi Miyamoto has emerged invincible in over SIXTY duels. Interestingly enough, one sees no pride or ambition in Musashi's manner. He turns down job offers from important lords, including the Shogun's martial arts teacher. In the meantime, Kojiro Sasaki (Koji Tsuruta) regrets the little recognition he has so far received, and seeks to duel Musashi and attain immortal fame.

Otsu (the beautiful Kaoru Yachigusa), the quintessence of loyalty, has fervently sought to see Musashi once again, having parted unwillingly in Part II. In like manner, Akemi (charming Mariko Okada) maintains hope of seeing Musashi, having through a tragic turn of events wound up as a courtesan in a geisha house. Yet both women defy their seeming fates and separately seek Musashi, a testament to the power of love. Musashi himself has not forgotten his love for Otsu, expressed in his Kwannon statuettes made in her likeness. In a poignant paradox, Musashi escapes fame and the follies of this world as a farmer, having once been in that position and dreaming of fame.
In the meantime, Kojiro's skill is finally recognized and he comes under the employ of the Shogun.

The romance between Musashi and the two women is tragically resolved, and a battle between Musashi and a group of bandits proves very costly. Yet Kensei maintains his poise and graciously accepts Kojiro's challenge to a DUEL AT GANTRYU ISLAND. The perfection of Musashi's technique evident in the fact that he carves an oar into a sword on the trip to the island, using wood against the steel of the deadly Swallow Cut. ONE OF THE MOST MOMENTOUS SCENES IN JAPANESE MOTION PICTURE HISTORY.

Hiroshi Inagaki once more deliviers a beautifully directed and cinematographed motion picture. The color is surely the finest in the trilogy, in particular the opening sequence with Kojiro amidst the waterfall and rainbow, and the duel at dawn with its stunning red and gold -Atsushi Yasumoto's photography is brilliant.Ikuma Dan's score is less triumphant and more peaceful and contemplative (though no less dramatic). The pacing is more deliberate, but the strong characters and riveting storyline more than compensate.

This duel establishes MUSASHI MIYAMOTO as the Greatest Swordsman in History. After this battle, he no longer uses real swords in combat, only wooden ones. He goes on to write A BOOK OF FIVE RINGS (a must-have), "A guide for men who want to learn strategy," required reading for kendo students and Japanese businessmen to this day. Musashi Miyamoto Kensei represents the ability in all of us to attain perfect understanding.

Mifune at his Best
After viewing the first two instalments how can one resist the finale in which Musashi confronts his nemesis Kojiro. Though lacking the action and pace of Part Two and the grandeur of Part One this chapter still stands as a masterpiece of Japanese cinema. Costuming, acting, cinematography and score all combine to satisy the viewer forty years later. It is not often that one can say that of movies from the 50's. Truly a mesmerizing trilogy, Mifune at his finest.

Musashi's Soul has been Polished
This is the final movie of the Samurai Trilogy. In this movie Mushashi has polished his soul and honed his skill to the point of serenity. This, possibly his most famous duel with Sasaki Kojiro (Ganryu) in which he has given up fighting with steel swords.

Although this movie is not as "action-packed" it goes far deeper into the psyche of the Samurai Way. This movie is so compelling because of the complex character development, I really felt involved.

I recomend seeing all three of these movies in order at least once for continuity, but all of them stand alone well including this one! ... Read more

Amazon.com

The growly voiced sword star Shintaro Katsu was so well known for playing Zatoichi, the Blind Swordsman, that it's doubly amazing to see him acting mostly with his glistening black-marble eyes in this 1970 samurai suspense drama directed by Hiroshi Inagaki (Samurai Trilogy). The nominal star, Toshiro Mifune, who also produced, appears for the fourth and last time as the nameless wandering assassin he first portrayed in Akira Kurosawa's Yojimbo. (The third was another collaboration with Katsu, Kihachi Okomoto's Zatoichi Meets Yojimbo.) But in this case the character is an observer and a catalyst of the action rather than a driving force. Ordered by his latest client only to proceed to a remote mountain pass and await further instructions, the bemused ronin gradually becomes aware of a complicated double- and triple-cross plot centered around a charismatic bandit leader. There's relatively little action before the big ambush-and-revenge finale; for most of the running time squabbling characters (including TV star Yuujiro Ishihara as an exiled former nobleman) are confined together, either as hostages or captors, in an isolated tea house. This is a handsomely mounted production, with a lot of star power. --David Chute ... Read more

Reviews (4)

A gathering of clouds leads to a storm
High in the mountains, a remote inn is the setting for a gathering of double- and triple-crossing bad men, each with his own secret and agenda.Sprinkled though out these villains is a collection of innocents, unknowingly standing on the lid of an over-boiling kettle that will soon scream.A web of deceit and action, each player attempts to survive as best they can.

"Incident at Blood Pass"(Japanese title "Machibuse" or "Ambush") is a fun but not outstanding Samurai flick.The main draw is the star cast of Toshiro Mifune ("Yojimbo") and Shintaro Katsu ("Gentetsu"), who is best known for playing the blind fighter Zatoichi. The film is ably directed by Hiroshi Inagaki, known for his Musashi epic "Samurai I, II and III" and his adaptation of the 47 Ronin tale "Chushingura." While Inagaki has his moments, he is not on the same level as Kurosawa or even Masaki Kobayashi, and doesn't quite maximize the talents he has available.This was his final film.

Mifune again assumes the role made famous in the Kurosawa-directed "Yojimbo" and "Sanjuro," that of the nameless, a-moral Ronin who appears to be bad but always seems to fight for the weak.In this case, he has been hired for a mission that he does not even know, with his secret boss passing details onto him in the form of coded notes. Katsu, taking a different tact from his amiable hero Zatoichi, is a hard, dirty bandit, a former Doctor who lives in a barn and plans and plots for unseeable ends.

Inagaki doesn't bring out the performance from Mifune that Kurosawa did, and his Yojimbo lacks the dirty nobility of previous incarnations, with motivations remaining obscure. He tries to find the humanity behind each the icon, with a love interest in the form of a battered wife rescued in the film's opening scene. However, it is great to see Katsu as such a horrible human being, and to see his range as an actor.

Like Inagaki's other films, the pace is a slow build up to an explosive finish. The side characters, such as the flashy but poor gambler, the kindly innkeeper and his naive pretty daughter, the obsessed police officer and his tortured captive, all get ample time to annoy, entice and betray each other before the main plot is even revealed. The film plays out like a Samurai version of "The Petrified Forest,"with the innkeeper, his daughter, the suitor and the gangster.

While not anywhere near the level of a masterpiece, "Incident at Blood Pass" is certainly an enjoyable flick and worth watching.Story and character driven, those seeking a high-action flick would do better to look elsewhere, as that is not Inagaki's trade mark.

Seems like the wind is blowing in a different direction now
A nameless ronin (yojimbo) accepts an assignment to go to a mountain pass and wait.On his was to the mountain he discovers a wife being tied and beaten by her husband.Yojimbo rescues her, and she accompanies him to an inn, where she is left to start a new life. Yojimbo later returns to the inn, where there is now a collection of characters.This group includes a thief who was wrongfully banished from his tribe, a doctor who works for the innkeeper in some sort of illegal activities, and a gang set on stealing shogunate gold that's soon to come over the pass. When the Ronin's assignment becomes clear, to help the gang, he's ordered to kill the inn's residents, including the woman he rescued. He's reluctant to murder innocent people, reluctant to trust his new associates, and believes there may be a double cross in the works. Yojimbo is forced to rely on his samurai believes to sort out the correct path.

Hiroshi Inagaki, director of the Samurai trilogy, directs Incident at Blood Pass, his final work.Inagak focuses primarily on the plot and story line.Action is the last thing on his mind.That may explain why there is two total fight scenes, both at the very end of the film.I still enjoyed Incident at Blood Pass; however, it was nothing like I expected.

Incident at Blood Pass has two of the greatest samurai movie actors ever.Yojimbo (Toshirô Mifune), and Zatoichi's Shintarô Katsu, as Gentetsu.I was extremely excited to see two characters in the same movie.Nevertheless, Gentetsu has the best fighting scene, and is in only one.Yojimbo, the main character, is in one fight scene right before the ending credits.That is it for the action.

There was a reluctant love story, dramatic music, and the snow effects made for nice cinema.See Incident at Blood Pass for the story and cinematography.Do not watch this film hoping for action or any type of a samurai classic film.It is all right, worth viewing once, but not as good as the Zatoichi movies, or the Lone Wolf and Cub series.

Grade: C

Entertaining
I utterly enjoyed this movie. Granted it doesn't have many Toshiro Mifune fight scenes however the story and the way it turned out was very interesting. It's a combination of action, adventure, romance and comedy. I was not disappointed in any way.

This movie was a let down....
When i read that this was Toshiro Mifune's final appearance as Yojimbo, or "The Bodyguard" I was extatic. I paid for it... waited and watched. sadly this movie has only 1, yes just 1 Mifune fight scene. And its at the very end.... i suggest buying the original Yojimbo, and if you already have, watching it again will be better than this. This movie isnt entirely awful, on the + side the story was good. All it needed was a few more Toshiro fight scenes. I recommend buying (if you can find it) Samurai Assassin, possibly the best story and action sequences of any Samurai movie. ... Read more

Amazon.com

Picking up where Samurai I left off, Toshirô Mifune's samurai in training Musashi Miyamoto is a wandering swordsman who hones his skills in a succession of duels. When he defeats a succession of students from a local school of martial arts, he becomes marked for death by the school elders and is attacked in a series of cowardly ambushes. Romantic threads from the first film become further complicated when the virginal Otsu (Kaoru Yachigusa) and the sad courtesan Akemi (Mariko Okada) meet and discover their rivalry and Musashi earns himself an archenemy, an ambitious young swordsman named Sasaki Kojiro (Koji Tsuruta) who vows to defeat Musashi to make his name as the finest fencer in all of Japan. Inagaki ably manages the rather complicated plot with unexpected ease (subtitles are employed to help English viewers make a few narrative jumps) while he charts Musashi's education in compassion and humility and his internal struggle with his conflicted love for Otsu. The direction is still as distant and unostentatious as in the first film, while the color and settings become richer and more pronounced: studio-bound locations take on the quality and delicacy of paintings. The dramatic centerpiece of the trilogy, an epic pre-dawn battle where 40 swordsmen ambush Musashi, uses darkness and landscape to great dramatic effect as figures seep in and out of the picture. --Sean Axmaker ... Read more

Reviews (6)

a good continuation of the trilogy.
This review is for the Criterion collection edition.

In part 2 Musashi "Takezo" Miyamoto has earned the reputation of the greatest swordsman in all of Japan. In this release, which has the most action sequences in it. Takezo singlehandedly takes on 80 samurais in battle. I will not say more about the plot, lest this review would have spoilers.

The film was also good for actor Toshiro Mifune who is regarded as one of the best Japanese movie actors of all time.

THE INVINCIBLE MUSASHI MIYAMOTO
WHAT defines a man's greatness? Is it power and ambition, or something more? Part II of the magnificent Samurai Trilogy brims with action, force, kinetic energy, beauty and emotion. This film continues the saga of Musashi Miyamoto (performed by the venerable TOSHIRO MIFUNE) and his quest for perfection amidst the lives and loves that surround him.

The film begins with one of the most exciting scenes in the trilogy, in which Musashi duels with Chain-and-Sickle master Baiken using his trademark Two-Sword Stance. After the battle Musashi comes upon a priest who chides him for his lacking the chivalry and grace to match his power.

Much water has passed under Seijuro Bridge as Otsu (the lovely Kaoru Yachigusa) awaits for Musashi's return after three years -a testament to the Japanese virtue of loyalty. During her wait she comes upon the courtesan Akemi (Mariko Okada), who unfortunately also harbors feelings for Musashi, and the already-complicated romance becomes even more difficult as both vie for the same man's affection.

In his search of worthy opponents, Musashi makes enemies with Seijuro Yoshioka, head of one of Japan's most prestigious kendo schools -which in actuality has become little more than a band of thugs. Musashi's brave performance under pressure and growing reputation attract the man who will be his archenemy into the scene, the handsome yet deadly Kojiro Sasaki (played to perfection by Koji Tsuruta), a swordsman of unsurpassed skill whose trademark "Swallow-Cut" can slice a bird in flight!

The most awe-inspiring scene in the trilogy is Musashi's final battle against Seijuro's EIGHTY students: the greatest mismatch in history, AND YET he manages to defeat them and face off with the schoolmaster! Once victorious, Musashi prepares to deliver the coup-de-grace when he remembers the priest's words and the lessons of his new experiences. His soul became as polished as his sword. He spares Seijuro.

Hiroshi Inagaki shows his masterful abilities as director (or poet?) of this film. Breathtaking cinematography and color shows the beauty and spirit in nature, which parallel the actions and events in the lives of the characters. A memorable example is a scene of two sparrows singing together, which immediately precedes the reunion of Musashi and Otsu. Ikuma Dan's score is every bit as stirring and triumphant as for the first film.

The depiction of life and culture in 17th century Japan is rich and vibrant in this film, as is the evocative character development of each person. In addition to the superlative, complex storytelling, this motion picture is graced with a noble philosophy: One's greatness is not defined by action or ability as much as motive and intention. It is a testament to the human spirit. INCREDIBLE.

interesting ok I see...
OK, the much hyped chain fight scene was LAME and I know it's a 1955 movie but I was disappointed by the dark colors its not the vibrant colorful film i assumed buy/rent one DVD of this trilogy first and check it out. Don't get me wrong it's interesting to see the sets and use of light and one man against an army.(more like a ballet than combat) but I won't be buying 1 or 3. Or probably any Japanese DVD's for that matter.(maybe after 1970) I didn't find any characters engaging enough. There's a reason most don't have the Samurai trilogy in their fav Criterion Collection folks.

The Second Movie of this Fantastic Trilogy!
In this movie Musashi continues to polish his soul and find The Way. Now he has a purpose in his life and is rapidly becoming famous and sought after. He begins to learn that to be a Samurai involves more that just Kenjutsu, but also requires Kensho(knowing thyself).

Musashi also aquires an apprentice and a determined suitor. Both willing to follow him across Japan and back.

This movie is so great and so different from the other two, you must see this movie as well as the other two!

THE SWORD AND THE SOUL
Second part of director Hiroshi Inagaki's SAMURAI trilogy, DUEL AT ICHIJOJI TEMPLE presents two of the best samurai fights of movie history. You have to see Toshiro Mifune defend himself against several dozens of adversaries in order to understand why this actor has become an international star.

DUEL AT ICHIJOJI TEMPLE shows us what implies the life of a Samurai : strongness with the ability to be pitiful in peculiar occasions, ingenuity because the Samurai cannot count on his forces during his whole life and the sense of Honor. With such a commitment, there is scarcely a time for women. Miyamoto Musashi will have to face a courtesan, a loving young girl and his wife-to-be : don't be afraid, he won't succumb to them ! (after all, there is still the final part of the trilogy...).

DUEL AT ICHIJIJO TEMPLE is a little bit slower than the first part, with more talking and less wild purchases, but is nevertheless always entertaining (Jesus ! these coloured kimonos in Eastmancolor !). The images are not so flamboyant than those of MIYAMOTO MUSASHI but are still good. Don't forget that it's a 1955 movie.

A DVD dedicated to John Frankenheimer. ... Read more

Description

For two hundred years, no other story has captured the hearts and imagination of the Japanese people more than "Chushingura." When Lord Asano is forced by a corrupt lord to commit hara kiri, forty-seven loyal samurai seek vengeance. Often referred to as the "Gone with the Wind" of the Japanese cinema, "Chushingura" is an unparalleled example of the true samurai spirit. ... Read more

Reviews (25)

One Of The Two Best Samurai Films Ever Made!
This film is one of the two best Samurai films of all time, the other being Kurosawa's SEVEN SAMURAI. CHUSHINGURA ("loyalty") is based on a real incident in 18th century Japan, wherein 47 loyal retainers of a disgraced lord take a vow of vengeance on the corrupt nobleman who caused his downfall and death. The story is timeless, the acting is uniformly magnificent, the camera work is so gorgeous that any frame of this film could be hung in an art gallery, and the music is exciting and heart-lifting. It's a complex plot, following many separate individuals as their vengeance unfolds, so first-time viewers may get confused. No matter -- it all comes together at the end. Watch for the late great Toshiro Mifune in a cameo role as a Master Spearman who becomes drinking buddies with one of the 47, and who takes it upon himself to hold off the cops in the final showdown so that his pal and the other 46 won't be interrupted before they can find and behead the bad guy and fulfill their vow. I have watched this movie many, many times, and I always find something new and wonderful in it. Now that it's FINALLY available on video, don't miss it!!

Samurai honor, political intrigue, romance, brilliant cinema
I first saw this film in the 60's in a small theater over 3 hours with one intermission. I never left my seat, in fact I started out sitting in the aisle at the back because the theater was full.

The photography is gorgeous with brilliant winter scenes backing up intense sword fights in which you aren't sure what happened until someone keels over dead.

Political betrayal is revenged while honor ultimately prevails. You are immersed in the feudal Japanese world and yet reminded of much the same thing happening today.

Definitely worth seeing and buying once you've seen it.

The Quintessential Japanese Saga
Chusingura (the 47 Ronin) is a tale that is as popular in Japan -and as often produced - as The Christmas Carol is in the U.S. - and just as revealing of cultural assumptions about right and wrong. There are many versions, each focusing on one of the "47 masterless Samurai" who refuse to surrender and face disgrace out of loyalty to their master. The theme (and story) will be familiar because it's been reworked many times ranging from Gilbert and Sullivan's "Mikado" to "From Here to Eternity."

If you want to gain insight into the Japanese concept of loyalty and the price of honor above all else this is the one movie you should not miss.

The color photgraphy and scene settings are well done and sound is excellent; the acting is also very good and does not lean heavily on over-emoting that is the sometimes "norm" for Japanese films. Sub-titles are a little light, but easy enough to see and this is one of the more accessible versions (many are not available to Western audiences as more recently they tend to be done for annual TV specfials. You won't need to know the history to follow the story - or get the point.

It's a true story of a proud, old fashioned country Samurai who puts the Samurai Code and personal integrity above politics of reality. He's summoned to the Shogun's castle to do his duty - service to the emperor whole messengers are coming through the territory. A corrupt court official expects and demands a bribe to tell the Samurai what he must know of intricate protocol and is outraged when our hero refuses to bend. The official goads him into drawing his sword in the castle - a capital offense, leading to his forced harikiri - suicide.

The remainder of the tale - most of it - is about how the 47 loyal retainers face disgrace and contempt, while biding their time until they can avenge their master. The film has everything: psychological drama, action, passion, greed and pathos - everything in fact that makes life worthwhile.

Don't miss this one!

Samurai Code in Jeopardy...
Corruption and the samurai code converge in a collision when an old man who favors greed and lust crosses the road with a young noble samurai. The collision triggers a chain of events that causes the young noble samurai to violate the laws of the Shogunate, which affects many lives. The issue of injustice remains unresolved after the unlawful event. However, for some life is insignificant when injustice remains. This epic story reveals that humans do know what is right from wrong, but fear and desire seem to influence each and everyone's choice.

A Flawed but Enjoyable Epic
Despite the film's division into two parts, I think the Chushingura is best understood as a complicated story told in three acts.

The first act, culminating in the seppuku of Lord Asano, details the conflict between the young lord and Kira, the Shogun's master of ceremonies, and is, in my opinion, the most interesting as it unfolds logically, tragically, and inevitably towards the spilling of blood in the Shogun's castle. Asano and Kira, at least in this stage of the film, are fully realized and three-dimensional characters, and their conflict can be understood on several levels: idealism versus pragmatism; rural versus urban; and, most centrally, a conflict between different conceptions of honor. Kira is slighted because Asano won't show him the deference he feels he deserves, and Asano cannot accept Kira's attempt to teach him a lesson without fatally wounding his pride. The characters feel real because the situation is developed so carefully, and we as viewers understand why the principal actors behave as they do.

I think the movie bogs down a bit in the second act where the retainers of Asana plot their revenge on Kira. I also feel it is at this point that those unfamiliar with this story may find it difficult to follow the plot. Like the assassination of Thomas Becket in 12th century England, the story of the 47 loyal retainers has left the historian with not only a wealth of primary documents but also of contemporary analysis of exactly how the events were interpreted. Whereas Becket's murder resonated because of the changing perceptions of the limits of temporal power in medieval Europe, the 47 ronin reflect the changing nature of samurai honor following the pacification of Japan under the Tokugawa shogunate. Unfortunately, the movie does little to clarify the issues involved despite a three and half hour presentation. The historical Oishi, for instance, worked patiently behind the scenes for years to restore the clan's honor and holdings under the leadership of Asano's younger brother whereas Horibe represented the more radical view that the ronin owed personal allegiance only to their dead lord. In the movie, by contrast, Oishi makes reference to restoring the clan and questions Asano's judgment at the castle, but it is absolutely unclear in the context of the film whether this represents his true beliefs or is simply part of the feint to divert attention from the plot to kill Kira. It is, in fact, hard to ever discern exactly what Oishi is planning, even in hindsight. Horibe, as the leader of the other wing of the retainers, fairs worse, emerging only as Toshiro Mifune's drinking buddy (Mifune, though always enjoyable to watch, is largely wasted in a sub-plot that is completely superfluous to the story). I don't expect complete historical fidelity, but I do expect the events to develop coherently and to address the main issues of the story. I'm not saying that it is a complete mess, just that it is hard to follow at times, and it is not always clear what motivates the characters, and, as film usually does, some of the subtleties of the real events are lost.

Thankfully, the exciting and famous battle in the snow largely redeems any momentary flagging of interest. My only quibble is that Kira has degenerated by this point into an absolute caricature of his previous self, becoming the embodiment of the man without honor. I suspect this is incorporated less from history and more from the popularizations of this story, e.g., the various kabuki stagings.

Others have spoken of the beautiful visuals, so I won't belabor the point. Suffice it to say this alone is a good reason to watch this film. Others have also spoken of the slow pace. This is also true, and if you demand a tight focus in your movies, this one probably isn't for you. ... Read more