This trilogy carries a high reputation, and as soon as we watch the first part of it we readily understand why. 'Miyamoto Musashi' alone was a perfect film, easily standing by itself should that be necessary - and gratifyingly, as soon as this sequel begins, it's very evident that it is cut from the same cloth and is just as worthy. As key contributors return among both the cast and crew we're immediately greeted with all the same unfailing high quality, and assured of an equally magnificent viewing experience we can sit back and enjoy the ride. 'Duel at Ichijoji Temple' is another tremendous classic, and one would be making a sore mistake to pass up the opportunity to watch.
In every capacity this is rich with incredible detail, including in the screenplay of filmmaker Inagaki Hiroshi and screenwriter Wakao Tokuhei that distinctly builds on its predecessor. The narrative continues to follow Miyamoto as he grows in his skills as a samurai and seeks enlightenment in the world; at the same time, threads of a more personal nature begin to converge with his loftier path as figures from his past continue to be drawn into his gravity while abjuring the honesty, integrity, and accountability that Miyamoto can now claim. Thus do we get a viewing experience that is infused with steadfast jidaigeki drama while boasting more violence than the previous title, and at all times it is raptly absorbing, compelling, and satisfying. All the while, once more the scene writing is momentously strong in providing the fuel for all others to exercise their skill and intelligence, including acting that feels even more balanced and nuanced than before while otherwise remaining just as excellent. Ably fitting the needs of any given moment, the actors give performances of earnest range, personality, and emotional depth, not to mention physicality. Mifune Toshio naturally stands out most in the lead role, and is given the most opportunity to shine, but with seemingly more time on-screen for other cast members given the nature of the writing, his co-stars are just as fantastic, including among others Okada Mariko, Yachigusa Kaoru, Kogure Michiyo, Mito Mitsuko, Sakai Sachio, and more.
Inagaki also seems to have grown in his capabilities as a director, for it seems to me that his oversight of the production reflects even more intelligence and mindfulness than one year before. The measure of briskness that previously marked his direction has been replaced by judicious restraint, yet a thrumming undercurrent of vitality remains in the proceedings as Inagaki commands a tight production. The sense of spectacle is diminished in how he orchestrates shots and scenes, but instead the storytelling is flavorfully bolstered with a greater sense of weight and import, and all this is true as much for those moments of violence as for those of quiet drama. Cinematographer Yasumoto Jun demonstrates like development of his craft while otherwise impressing in all the same ways he did previously with his adept work. That glorious mid-century Eastmancolor processing, besting too many examples shaped with techniques and technology of the subsequent seven decades, makes every little iota wonderfully vibrant as it presents: the luscious, painstaking sets, costume design, hair, and makeup; the gorgeous filming locations; the props and weapons; the finely executed stuns, effects, choreography, and action sequences; every subtlety of Yasumoto's photography, Inagaki's direction, and the acting. In every manner 'Duel at Ichijoji Temple' is constructed with a deliberate, patient finesse that exceeds even the splendor of 'Miyamoto Musashi,' and despite that - or really, more likely because of it - the feature builds exquisite tension and suspense that are even more captivating.
I could understand the perspective that the tale is weakened by giving substantial secondary focus to characters other than Miyamoto, yet I'm of the mind that in every fashion the result is so brilliantly written and made that these other story ideas only flesh out the saga all the more. From top to bottom this flawless, and as if any portion weren't ample illustration, the climactic titular sequence is so exemplary that in its utmost superiority - including, to my absolute pleasure, Dan Ikuma's score - I'm reminded of a scant few other movies which, if only for a few minutes, could surely be said to represent the pinnacle of cinema as an art form. There are no two ways about it: Inagaki's trilogy is masterful, and as 'Duel at Ichijoji Temple' manages to surpass the already exceptional first picture, I can only give it my very highest, heartiest, and most enthusiastic recommendation. No matter what your personal preferences, this is a must-see, and that's all there is to it.
In every capacity this is rich with incredible detail, including in the screenplay of filmmaker Inagaki Hiroshi and screenwriter Wakao Tokuhei that distinctly builds on its predecessor. The narrative continues to follow Miyamoto as he grows in his skills as a samurai and seeks enlightenment in the world; at the same time, threads of a more personal nature begin to converge with his loftier path as figures from his past continue to be drawn into his gravity while abjuring the honesty, integrity, and accountability that Miyamoto can now claim. Thus do we get a viewing experience that is infused with steadfast jidaigeki drama while boasting more violence than the previous title, and at all times it is raptly absorbing, compelling, and satisfying. All the while, once more the scene writing is momentously strong in providing the fuel for all others to exercise their skill and intelligence, including acting that feels even more balanced and nuanced than before while otherwise remaining just as excellent. Ably fitting the needs of any given moment, the actors give performances of earnest range, personality, and emotional depth, not to mention physicality. Mifune Toshio naturally stands out most in the lead role, and is given the most opportunity to shine, but with seemingly more time on-screen for other cast members given the nature of the writing, his co-stars are just as fantastic, including among others Okada Mariko, Yachigusa Kaoru, Kogure Michiyo, Mito Mitsuko, Sakai Sachio, and more.
Inagaki also seems to have grown in his capabilities as a director, for it seems to me that his oversight of the production reflects even more intelligence and mindfulness than one year before. The measure of briskness that previously marked his direction has been replaced by judicious restraint, yet a thrumming undercurrent of vitality remains in the proceedings as Inagaki commands a tight production. The sense of spectacle is diminished in how he orchestrates shots and scenes, but instead the storytelling is flavorfully bolstered with a greater sense of weight and import, and all this is true as much for those moments of violence as for those of quiet drama. Cinematographer Yasumoto Jun demonstrates like development of his craft while otherwise impressing in all the same ways he did previously with his adept work. That glorious mid-century Eastmancolor processing, besting too many examples shaped with techniques and technology of the subsequent seven decades, makes every little iota wonderfully vibrant as it presents: the luscious, painstaking sets, costume design, hair, and makeup; the gorgeous filming locations; the props and weapons; the finely executed stuns, effects, choreography, and action sequences; every subtlety of Yasumoto's photography, Inagaki's direction, and the acting. In every manner 'Duel at Ichijoji Temple' is constructed with a deliberate, patient finesse that exceeds even the splendor of 'Miyamoto Musashi,' and despite that - or really, more likely because of it - the feature builds exquisite tension and suspense that are even more captivating.
I could understand the perspective that the tale is weakened by giving substantial secondary focus to characters other than Miyamoto, yet I'm of the mind that in every fashion the result is so brilliantly written and made that these other story ideas only flesh out the saga all the more. From top to bottom this flawless, and as if any portion weren't ample illustration, the climactic titular sequence is so exemplary that in its utmost superiority - including, to my absolute pleasure, Dan Ikuma's score - I'm reminded of a scant few other movies which, if only for a few minutes, could surely be said to represent the pinnacle of cinema as an art form. There are no two ways about it: Inagaki's trilogy is masterful, and as 'Duel at Ichijoji Temple' manages to surpass the already exceptional first picture, I can only give it my very highest, heartiest, and most enthusiastic recommendation. No matter what your personal preferences, this is a must-see, and that's all there is to it.
