I was drawn to Hiroshi Inagaki’s Samurai trilogy, starting with Musashi Miyamoto (1954), for the simple fact that it’s shot in colour. Kurosawa’s masterful Seven Samurai came out in the same year but is, of course, in black and white – it wasn’t until 1970 that he would begin shooting in colour with the commercially disastrous Dodes’ka-den. Surprisingly, the first Japanese colour film only came out in 1951, with the first Japanese colour film to be released in the West, Gate of Hell, not made until 1953. I’m fascinated by that early use of colour. Carmen Comes Home used Fujicolor, but Gate of Hell and Musashi Miyamoto were made with Eastmancolor, a US technique. It’s extraordinary seeing the way colour changes the way the films are shot, and so much of what makes Musashi Miyamoto worth watching is the vivid colourscape – lush green scenery, vibrant clothes, colourful blossoms.