Yojimbo (1961)

Toshirô Mifune stars as the titular yojimbo (bodyguard), a masterless samurai feeling the economic pinch of the era in Kurosawa's much-imitated jidaigeki. He positions himself between two rivals, one at each end of a small town, and outmanoeuvres them both. He knows that being in the middle is a dangerous place to be, but it offers the best possible view of both sides.
One of the film's strengths is its straightforward delivery. For both director and actor actions are more important than words. The old man that shelters the rōnin provides backstory for the viewer, followed by the yojimbo advancing the plot as and when the story needs it. In contrast to the story, Mifune's role is multifaceted and yet he somehow makes it seem as effortless as his character's manipulation of the idiotic antagonists.

4½ hungry dogs out of 5

Samurai III: Duel at Ganryu Island (1956)

Musashi Miyamoto no longer feels the need to publicly validate his skills or privately stroke his ego. He knows when to fight and when to back down, even when facing a lesser opponent. Sasaki Kojirō, on the other hand, is consumed by the need to defeat Musashi, thus proving his mastery once and for all. It's a fight that only one man wants but both know is inevitable.
Inagaki uses silhouettes from time to time for dramatic effect - not the flat kind but the layered kind, complementing the tiers of the plot. It helps give the samurai the quality of legend, a role that he would fill some years later. But before that he must face the fight of his life at Ganryu Island.

5 long-cherished dreams out of 5

Samurai II: Duel at Ichijoji Temple (1955)

Having earned his new name, Musashi Miyamoto travels lonely roads in his continued search for knowledge and self-improvement. He hopes that by meeting and overcoming challenges of both a physical and spiritual nature he'll be able to increase his connection to the divine as well as his fighting skills, but without proper instruction he doesn't get the balance quite right.
A second master swordsman joins the arena. He’s someone who could easily carry a film all by himself even though he mostly features in the stories of Musashi, like he does here. Some of you will already know who I mean.
Elsewhere, Akemi and her mother are still stirring trouble for everyone.
Otsu keeps her eyes on the road, and her heart tethered to an ideal.

3½ placards of intent out of 5

Zatoichi's Cane Sword (1967)

In Ichi’s 15th film he's forced to give up his trusty cane sword. Without it his connection to the world and his confidence is shaken, leaving him blinder and more vulnerable than ever.
You might think a film about a Samurai with no weapon would be boring, but he still has ability, wits and a desire to be happy, so there’s still a lot to be explored. Fans of the series will have wondered before now that if being free from the blade might finally give Ichi the peace he’s long sought. The plot acknowledges that in a meaningful way.

4 barrel spins out of 5

Tora! Tora! Tora! (Extended Japanese Cut) (1970)

This ambitious dramatization of the events leading up to the attack on Pearl Harbour is a film with two identities. The English language half was directed by Richard Fleischer. It focuses on the clerical errors made by the politicians, diplomats and desk jockeys on the American side, not the fighting man on the ground. The Japanese half was directed by Kinji Fukasaku and Toshio Masuda. It follows the planning and eventual execution of the bombing.
The two halves aren't too dramatically different, so they don’t feel at odds with each other visually when cut together into one story, although the Japanese parts feel less set-bound and are definitely better paced.
The extended version adds some new scenes but nothing that changes the outcome... the bombs still fall.

3 tigers out of 5