Samurai I- Musashi Miyamoto (1954) [Film Review]

Samurai I- Musashi Miyamoto; or, How to Lose a Friend and Alienate Villagers

Toshiro Mifune once again plays a part of ultra-cool badass samurai who does not frig about and makes some serious ass kicking in this entry of the samurai genre, but this time, without Akira Kurosawa at the directorial helm.

Release Info

Directed by: Hiroshi Inagaki Starring: Toshiro Mifune, Kaoru Yachigusa, Rentarō Mikuni, Mitsuko Mito
Language: Japanese Original Title: Miyamoto Musashi Runtime: 93 min

Plot

The movie opens with two friends in their native village on the brink of the civil war in Japan at the very end of the 16th century. Miyamoto Musashi (Toshiro Mifune), also known as Takezo, and his loyal comrade Matahachi (Rentarō Mikuni) leave the idyllic country lifestyle and join the army. However, after the decisive Battle of Sekigahara, the forces in which two men fought get decimated and they become outlaws on the run. Takezo and Matahachi seek refuge with a lonely widow Oko (Mitsuko Mito) and her daughter Akemi (Mariko Okada) who deal with robbing dead samurai of their valuables. The widow, due to skilful manipulation and ruthless advances, beguiles Matahachi and persuades him to accompany both women on their journey with stolen gold to Kyoto. Abandoned and devastated Takezo rushes back to his home village to let know Matahachi’s fiancée, Otsu (Kaoru Yachigusa), of his friends true fate. Yet, he does not know that his fiery attitude will cause a lot of trouble, both for him and poor Otsu.

A different Samurai film

Samurai I- Musashi Miyamoto, as you may have rightly deduced is the first instalment of a trilogy treating about the life of a real samurai figure who lived between the 16th and the 17th century in Japan. By many historians and modern experts, Miyamoto is considered to have been the greatest of all samurai, with his morbid quest encompassing dozens of epic duels in which he was never defeated. Such an interesting character seems to be awesome material to make a trilogy about; however, if you are used to Kurosawa’s style of moviemaking, prepare in advance for something totally different.

Mifune’s Miyamoto is not Mifune’s Yojimbo

First of all, the movie directed by Hiroshi Inagaki, was shot in colour, which was quite uncommon for Japanese pictures in the 1950s. As a result, the whole “ancient feeling” of the presented story triggered off by black-and-white picture in such samurai masterpieces as Harakiri (1962), Samurai Rebellion (1967), or Sanjuro (1963) is lost completely. But on the other hand, the viewers have the ability to fully appreciate the outdoor settings and costumes, which, in case of this trilogy, are awesome.

In addition, the music score is quite different from other standard, eerie, samurai music tracks. Music composed by Ikuma Dan has quite of a Western feeling in itself. The grandeur of the main theme slightly reminded me of such classic as The Magnificent Seven (1960), which is a good thing, considering that Samurai I is kind of a coming-of-age story, a quest of self-exploration, full of dangers and adventures.

This brings me to the final factor that distinct this film from other samurai flicks. Namely, the storyline. If you expect some action-packed/justice for all revenge type of narrative, go and watch Goyokin (1969) with Tatsuya Nakadai instead. In Musashi Miyamoto, you won’t get to see sophisticated samurai duels (these take place in the sequels). The first part, however, is kind of a soap opera set in ancient Japan. Takezo is an overconfident rookie who slashes his opponents with meat slicer, which turns the whole village against him. It seems as if all people around Takezo are evil by default, but Musashi himself is not a righteous hero. He means well, but often use of his sword rather than intellect results in disastrous consequences. The head of the village wants him dead, the distant relatives want him dead, Matahachi’s mother wants him dead; even the Buddhist monk (initially sympathetic to Takezo) also thinks that sufficient punishment for his mischief is death. The only person who is a clearly positive figure is Otsu. She is the only one who pities Takezo, frees him from the villagers’ imprisonment, and eventually falls in love with him. Only at the end of the picture, Takezo comes to reason and begins his proper samurai training in Himeji Castle, setting the scene for Part II.

Recommendations

If you want to check out something completely out of the ordinary with Toshiro Mifune, this is a movie for you. However, if you are a fan of Kurosawa or Kobayashi’s samurai films, you might feel disappointed. Personally, the only odd thing I found about this movie is that it won the Honorary Academy Award for outstanding foreign language film, yet in the year of its release, two other, much more epic, Toho classics hit the screens (Gojira and Seven Samurai). All in all, Samurai I- Musashi Miyamoto is a well-made movie in its own right and the sequels (to be reviewed soon) only surpass its greatness.

Overall score: 7/10