• 宮本武蔵 (Samurai I: Musashi Miyamoto)

1/26/25 (Sun), home

Inagaki Hiroshi’s 1954 remake of his now-lost wartime epic about the legendary swordsman, adapted from Eiji Yoshikawa’s popular 1930s novel. The novel is a highly romanticized look at the elusive Miyamoto’s life, where the known facts are thin on the ground, and has done much to establish his swashbuckling image. The film is the first in a trilogy, as made clear in the English title. It proved a huge hit both at home and abroad. It was honored by Hollywood at the Academy Awards as the year’s best foreign-language film. I don’t think it was even the best Japanese-language film that year (its competition included The Seven Samurai, Sansho the Bailiff, Chikamatsu Story, Late Chrysanthemums, and Blue Ribbon and Kinejun winner Twenty-Four Eyes), but no arguing with success.

Takezo (Mifune Toshiro) is a restless and undisciplined young man from humble roots who is estranged from his family. Seeking glory in the ongoing civil war, he convinces his friend Matahachi (Mikuni Rentaro) to join him in battle in hopes of becoming a samurai. Unfortunately they choose the wrong side at the decisive Sekigahara onslaught and become fugitives. They find shelter with a mother-and-daughter team who make a living by stripping dead samurai of their possessions, but Takezo is ultimately betrayed both by them and his weak-willed friend. After fending off the men who have come for him, he is determined to get to Miyamoto town to let Matahachi’s fiancée Otsu (Yachigusa Kaoru) know that her lover is safe. He fights his way through the Miyamoto checkpoint, injuring some guards and spurring the district leader to order an all-out search for him. He refrains at first from telling Otsu that Matahachi has in fact abandoned her. Matahachi’s mother believes he has killed her son and betrays him to the authorities, forcing him again to escape. He comes under the care of the priest Takuan (Onoe Kuroemon), who sees potential in the wild man and seeks to straighten him out. He convinces the authorities to leave Takezo in his hands. The priest then metes out severe physical training, including hanging Takezo from a tree for days and locking him into a room for three years with holy texts for the boy to master. Otsu comes to sympathize with Takezo and offers her support. When he finally emerges from the cell, he is spiritually cleansed and ready for a new life. He is granted the name Miyamoto Musashi and becomes a genuine samurai. The priest urges him to pursue his enlightenment as a warrior and leave his former life behind. That former life would include Otsu, who begs him to take her with him. He initially agrees, but when she rushes to their meeting spot after gathering her belongings, she finds that he has disappeared for parts unknown with a simple message scrawled onto the bridge, “Forgive me.” Our last image is Miyamoto walking in a field toward the horizon (recalling the similar ending to the later Zatoichi, where the hero has also left a pleading woman behind).

The film describes how Miyamoto Musashi became Miyamoto Musashi and stops without a real conclusion. The unruly, unkempt youngster, seen earlier trying to tame a wild horse and practically bursting at the seams at the prospect of war, has become smart, calm and poised, exuding confidence. It suggests a very different storyline ahead. Presumably some of the characters barely sketched out here, like Matahachi and the scheming young woman he ends up marrying, will be developed further in the coming two parts. The plot had multiple twists and turns, some of which seemed improbable, especially scenes with the priest (due partly to the acting). The characterizations overall were strong enough to make up for that, but there’s no denying that the movie can drag and feels its age in places. Still, it has unquestionable drive with never a dull moment.

Though this was apparently filmed on location, including the majestic Himeji Castle, the sets and colors felt artificial at times, maybe due to the early use of the technology. The direction was workmanlike if not overly innovative, though the chambara scenes were varied and nicely choreographed, largely refraining from showing much blood and guts as later become the norm. The subtitles need reworking in many cases.

Mifune Toshiro gives another powerhouse performance in a similar vein to his vivacious role in The Seven Samurai that same year. His acting is secondary to his unflagging energy and star presence. A perfect choice in this role. Mikuni is underpowered as the hapless Matahachi, while Yaegusa is fine in a by-the-book turn as Otsu. Onoe Kuroemon is irritating as the priest, though I seem to be in the minority on that. But Okada Mariko and especially Mito Mitsuko as the woman and mother give their parts real flair. I’m looking forward to seeing more of them ahead. Miyoshi Eiko was also memorable as Matahachi’s mother.

I was underwhelmed as a whole, but let’s see if things improve with the next installations.