That was an excellent one.

I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

The follow-up to 1954's excellent Musashi Miyamoto, Duel at Ichijoji Temple picks up the story several years later, as an exiled orphan-turned-swordsman gains notoriety via a bloody tour of fatal duels. His reputation precedes him in returning to his hometown, where old rivals of both a violent and intimate nature await. This is a film about personal growth - specifically that of the samurai himself, who struggles to learn the key concepts of what his new life actually entails and where the rift lies between honor and reverence. We're never quite sure if Musashi takes this lesson to heart, particularly since he's so keen to maintain an impenetrable outer facade in almost every situation. It's a tricky role for period veteran Toshiro Mifune, who struggles with the more nuanced, flatter aspects of the character. In the previous episode, with the fires of young-adulthood to toy with, he excelled. Here, faced with the malaise of mid-life and the accompanying questions of his own being, his performance is far less sublime. The plot, cramped with too many faces and several seemingly-pointless subplots, does him no favors in dancing around the issues and repeating itself on more than one occasion. This could have been an excellent one-act show, and the final half-hour could still stand alone as precisely that. It lacks the gumption of its predecessor, however, and too often cuts away just as the action is getting good.

OK. First of all, I am huge Toshiro Mifune fan. I am also a huge...and I mean huge Musashi fan. And lastly I have seen plenty of Samurai films. But I have watched Samurai 2: Ichijôji no kettô twice now, and I just can't stomach it. It is perhaps one of the most clichéd samurai films I have ever seen. The story seems to be based on the mystical Miyamoto Musashi, rather than a more realistic character. In addition, there is so much thick, syrupy melodrama and love triangles that it really hinders the story from flowing well. Not to mention it often takes away energy from some of the action scenes.Mifune really makes this film bearable. Koji Tsuruta as Kojiro Sasaki is also outstanding and commands plenty of respect on screen. However, some of the other actors are mediocre at best.There is much to be said about old Samurai cinema, and the way they glorified and really elevated these noblest of warriors. But Ichijôji no kettô just covers it in a thick melodramatic goo and wraps it in toilet paper.In addition, the film has very bad lighting, plenty of anachronisms, continuity problems and poor editing. Once again, Toshiro Mifune as Miyamoto Musashi is my personal hero, Jesus Christ, Lord and Savior...but was there ever! a less fitting movie for this cinematic giant.RE-MAKE!

The tale of Myamoto Musashi - thief, lover, rogue, then warrior, hero and master - is enshrined in Japanese culture, perfect showcase material as it were. It has been adapted more than once to the screen, and Inagaki's classy, colorful version is perhaps the best known. It is everything you'd expect from a period samurai film if you've never seen one and harbor no negative preconceptions.After a playful first part that has a classic hero's journey structure, part II takes things to the next level without having to rush to the finish, and is the more interesting film. It allows the hero to wield his newfound power without the restraint and inner peace he will later find. It allows him the get mad, and nobody does unleashed fury like Toshiro Mifune, not when you throw 80+ armed fools in this way.I chose to review this one because it is a good sample of the very best this trilogy accomplishes: compelling archetypical characters, lush cinematography and that "oriental" elegance that always seduces non-Japanese audiences, drawn in as they are by the very universal plot and character dynamics.I cannot put it in the same leagues as the masterpieces of Kurosawa, Ozu and Kobayashi, but if it is to be a gateway film experience, then it is a bloody good one, and laudable for what it accomplishes.You might really enjoy this, and if you do, it's just the beginning!

Every woman he meets, falls in love with him.Every samurai he meets, meets his sword.Truly epic in every way, just see it.