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.
In a Nutshell. Mini reviews of movies old and new. No fuss. No spoilers. And often no sleep.
Showing posts with label Kaoru Yachigusa. Show all posts
Showing posts with label Kaoru Yachigusa. Show all posts
Sunday, 26 July 2015
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
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.
Saturday, 25 July 2015
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
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
Friday, 24 July 2015
Samurai I: Musashi Miyamoto (1954)
Part I of Hiroshi Inagaki’s trilogy about the life of the legendary samurai tells of his early years, of the transition from soldier to outlaw.
Knowing the story from reading the histories doesn't weaken the tale in any way. The power is in the telling and in the performances. Mifune proves that he can do heartbreakingly humble just as well as he can do fierce intensity. His female co-star, Kaoru Yachigusa, is equally as amazing in her role.
The journey begins with two friends going to war, accompanied by the sound of a tolling bell. It starts good and gets better and better as it nears its end.
4 strong boughs out of 5
Knowing the story from reading the histories doesn't weaken the tale in any way. The power is in the telling and in the performances. Mifune proves that he can do heartbreakingly humble just as well as he can do fierce intensity. His female co-star, Kaoru Yachigusa, is equally as amazing in her role.
The journey begins with two friends going to war, accompanied by the sound of a tolling bell. It starts good and gets better and better as it nears its end.
4 strong boughs out of 5
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