The Story of Osaka Castle (1961) [Film Review]

The Story of Osaka Castle; or, The Longest Day

     Although we lost to the Eastern army at the Battle of Sekigahara, it's an insult they should treat our 650,000 koku family like an ordinary daimyo and tell us to make a trip to Kyoto for greetings. Send back the messenger now. I, Yodo, cannot accept such an order. Never!

Being in the mood for a period picture, I decided to search for a film I have not seen yet. Therefore, I picked Hiroshi Inagaki’s The Story of Osaka Castle, a 1961 colour production with Toshiro Mifune and Kyoko Kagawa in the leading roles.

Release Info

Directed by: Hiroshi Inagaki Starring: Toshiro Mifune, Kyoko Kagawa, Danko Ichikawa

Language: Japanese Original Title: 大阪城物語 Runtime: 95 min

 

Synopsis

10 years after the famous Battle of Sekigahara, the Toyotomi clan initiates a conspiracy in order to stop Lord Ieyasu Tokugawa’s political activities to take over Japan. A wandering samurai called Mohei (Toshiro Mifune) arrives at Osaka and immediately gets entangled in a maze of intrigues together with a servant Ai (Kyoko Kagawa) and a ninja spy Saizo Kirigakure (Danko Ichikawa). The protagonists eventually discover a betrayal of the clan and they rush to Osaka castle to stop the bloodshed.

 

Black Ships, Damsels, and Samurai

I did not have any expectations for The Story of Osaka Castle, but I have to honestly say that the first act left me disappointed. The exposition is very chaotic and lots of characters are not helping in figuring out what the story is about. Nevertheless, when Toshiro Mifune steps into action, the viewers instantly know that he is the main protagonist.

 

Boring first act ends with Mifune’s character sent on a stealth mission, which he miserably fails. From this point on, the action picks up and the story itself becomes much clearer. I particularly liked that the Portuguese colonisers play a small part in the conspiracy. I love this part of Japanese history when the country was open to Western influences, and it is a real shame that the only major production that focuses on this aspect is the TV series Shogun from 1980, based on James Clavell’s popular novel.

 

When the third act started, I found myself thoroughly enjoying the film. It went from a boring flick to sheer epicness, as if straight from The Guns of Navarone (1961). It’s a blast seeing Mifune riding at a breakneck pace through the middle of a battlefield! The Osaka Castle looks really beautiful, indeed. The crew evidently shot a lot of footage on location and I hope that someday I will be able to see this famous landmark with my own eyes. Additionally, the magnificent music score by Akira Ifukube cannot go unnoticed.

 

With regard to performances, Toshiro Mifune is as great as in many other period pieces he did. Kyoko Kagawa has a great role as his love interest, but unfortunately, she disappears from the film’s finale. The amazing Akihiko Hirata has a small part as Mifune’s relative/foe (it’s complicated). Danko Ichikawa steals every scene as the happy-go-lucky warrior, similar to Robin Hood.

Recommendations

If you want to experience some traditional Japanese story, then check out The Story of Osaka Castle. The first third of the film is an exercise in patience, but the story significantly improves later. It may not be Hiroshi Inagaki’s wonderful Samurai Trilogy (1954–1956), but The Story of Osaka’s Castle definitely deserves attention nowadays.

Overall score: 7/10

Samurai III- Duel at Ganryu Island (1956) [Film Review]

Samurai III- Duel at Ganryu Island; or, The Final Showdown

Musashi Miyamoto returns once again in this final instalment of the Samurai Trilogy by Hiroshi Inagaki.

Release Info

Directed by: Hiroshi Inagaki Starring: Toshiro Mifune, Kōji Tsuruka Kaoru Yachigusa, Mariko Okada
Language: Japanese Original Title: Miyamoto Musashi kanketsuhen: Kettō Ganryūjima Runtime: 104 min

Plot

After the infamous battle with the samurai clan from Kyoto, Musashi Miyamoto arrives in Edo Province and considers taking up the position of a teacher to a Shogun. Nevertheless, Sasaki Kojiro tracks down the hero and after performing a killing spree on a few local samurais, he convinces Miyamoto to take up a duel with him. Musashi agrees, but postpones the duel for another year. Later he settles in a village that is constantly raided by bandits. Eventually Otsu and Akemi find out Musashi’s whereabouts, but the time has come for the final match with Kojiro.

The best entry in the trilogy

This is basically pretty much what can be said about this sequel. Thankfully, the number of characters and side-plots has been limited and the focus was narrowed down to Miyamoto and Kojiro. In this particular sequel, we get a lot of samurai fights and action sequences, like the raid on defenceless villagers. However, for some viewers it may seem too similar to the scenes from Seven Samurai (1954). Actually, I'm inclined to think that the plot line from Kurosawa’s film was ripped off for the purposes of this motion picture. Apart from that, the twisted Musashi’s relationship with Otsu got finally(!) resolved. Was it just me or Akemi seemed emotionally unstable psychopath

 Everything in the movie is a build up leading to the final confrontation with Kojiro, which is literally awesome. Allegedly, the fight indeed occurred at Ganryu Island in 1612 and Kojiro lost by being blinded by the rising sun. Samurai III brilliantly recreates that event, but also provides an explanation for Miyamoto’s actions. Namely, Musashi felt that Sasaki Kojiro was much better samurai him and would undoubtedly defeat him. That’s why Musashi cheated out and postponed the match. A year later, during the final showdown, he used his wits rather than swordsmanship skills in order to defeat the opponent. This was due to the fact that unlike Kojiro, Musashi has found a meaning in life, which was not samurai fame but love for Otsu. In my personal opinion, his crying in the boat departing from Ganryu Island is, in fact, crying out of shame (and respect) for taking the life of such a skilled, but also untamed in his actions, samurai as Sasaki Kojiro was.

Recommendations

I recommend this movie to those who have seen both previous parts and liked them. Samurai III: Duel at Ganryu Island is a perfect concluding chapter of the whole trilogy about the adventurous life of Musashi Miyamoto and a fine addition to the canon of chambara films. Definitely, a must-see movie.

Overall score: 9/10

Samurai II- Duel at Ichijoji Temple (1955) [Film Review]

Samurai II- Duel at Ichijoji Temple; or, The Way of the Warrior

Fearless Miyamoto Musashi returns in this action-packed sequel to display some proper samurai skills.

Release Info

Directed by: Hiroshi Inagaki Starring: Toshiro Mifune, Kaoru Yachigusa, Mariko Okada, Kōji Tsuruka
Language: Japanese Original Title: Zoku Miyamoto Musashi: Ichijōji no Kettō Runtime: 103 min

Plot

Three years after harsh studying in Himeji Castle, Musashi finally disembarks on a journey across Japan to gain some practical experience and complete his samurai training. The credits do not state this explicitly, but from Akemi’s account about her age at the beginning of the movie, we may infer that Musashi wondered two years throughout the country until he arrived in Kyoto. There, the samurai beats the living hell out of the apprentices of the Yoshioka School and challenges its master, Yoshioka Seijuro (Akihiko Hirata) to a duel. The master accepts but a horde of samurais show up instead of him. Meanwhile, Oko and Akemi (the vicious women from Part I) become aware of that Musashi is in town. In addition, Otsu finally tracks down her beloved and also comes to Kyoto. Additionally, old friend, Matahachi, finally reunites with his mother and tries to seek revenge on Otsu. On top of it all, a strange, and highly sophisticated, samurai called Sasaki Kojiro (Kōji Tsuruka) lurks in the shadows, desiring a duel with Musashi. How on earth our hero is going to deal with such a mess?!

The adventure continues

After reading such synopsis, you might think that the sequel is going to be the same like the Part I or even worse in terms of sappiness and soap opera undertones. Nothing could be further from the truth. I agree that too many characters were thrown into the story at once, but all their complicated dilemmas were neatly tied in together with unstoppable fighting sequences done by Musashi. This is the advantage that takes Duel at Ichijoji Temple over Musashi Miyamoto.

In addition to this, once again the viciousness of samurai clans is exposed to us. After kicking a dozen of apprentices’ asses, Musashi requests to fight with master Seijuro, yet our hero is forced to put up with more masses of samurais throughout the picture, who just can’t stand that finally there’s someone better than them in town. This state of affairs eventually leads to epic showdown at rice paddies, where Musashi fights single-handedly with the whole clan… That’s how awesome he is.

 

Of course, apart from standard love subplots exemplified by the characters of Otsu and Akemi, who fall head over heels in love with Musashi, we also get a villain who is a real deal. Sasaki Kojiro does not frig about and he is also on a quest for self-excellence, but contrary to Musashi’s humble intentions, he wants to make a name for himself in the samurai world. In other words, Sasaki is in pursuit of fame and vanity. Nevertheless, it does not stop him from perceiving Musashi as a worthy opponent and even appreciating his skill. Sasaki even helps out our hero towards the end, at the same time hoping to face him in the future. What a guy!

Recommendations

I recommend this movie to all those who have seen the first part and enjoyed it. This sequel elevates the character of Musashi Miyamoto to another level of awesomeness and a very good screenplay as well as magnificent Toshiro Mifune are the main responsible factors. All in all, Duel at Ichijoji Temple is a worthwhile continuation.

Overall score: 8/10

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