Samurai I: Musashi Miyamoto (1954)

I was drawn to Hiroshi Inagaki’s Samurai trilogy, starting with Musashi Miyamoto (1954), MusashiMiyamotoDVDCoverfor 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.

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Sanjuro (1962)

To the best of my knowledge, Kurosawa only made two sequels in his career. The first was a sequel to his debut movie Sanshiro Sugata. The second was Sanjuro (1962), a follow-up to Yojimbo. It wasn’t originally meant to be that way – Sanjuro was intended to be a straight adaptation of an existing novel, but the success of Yojimbo led to it being reworked, with lead character Sanjuro returning. It’s not unlike the many Die Hard sequels, each an existing treatment, reimagined with John McClane as the lead character (ironically, all except for the dismal Die Hard 5, the only movie actually written and intended to be a Die Hard movie from the beginning).

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Mifune’s Sanjuro in typical repose

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The Hidden Fortress (1958)

While recording our most recent podcast, I got into an argument with my co-host about Kurosawa’s films. He said they’re unwatchable, I said they were great. The Hidden Fortress (1958) is not great. Hidden Fortress really is almost unwatchable; a disjointed, overlong piece that seems far more old-fashioned than either the hyper-stylised Throne of Blood or the very modern Seven Samurai – I’m surprised it has high critical praise, but I’m not surprised it’s being compared to even older adventure movies like Gunga Din (1939) and Thief of Baghdad (1924).

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Mifune, Chiaki, & Fujiwara

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Throne of Blood (1957)

The second movie in my Kurosawa box set, Throne of Blood (1957) was a total mystery to me. I hadn’t seen Seven Samurai, but I at least knew the rough plot outline. All I knew about Throne of Blood was what I could figure out from the cover, which wa
s that some liberties had been taken with the original Japanese, ‘Spiderweb Castle’. Or as the subtitles put it more fustily, ‘Cobweb Castle’. About ten minutes in though, it became clear this was Kurosawa doing Macbeth, and knocking it out of the park.

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Seven Samurai (1954)

I am, as an old friend is often wont to point out, a massive weeaboo (I prefer ‘Japanophile’, though that makes it sound like I should bsevensamurai-1e arrested for it). It’s probably no surprise then that I’m a fan of Japanese cinema: if nothing else, even if the movie is bad, it’s a window into a culture I’m interested in and a location I miss living in. The weird part is that until fairly recently I hadn’t seen many Japanese films I could say were good without having to qualify it. When I was younger, Japanese movie imports seemed to entirely consist of Ring-style horror and Takashi Miike’s trashier films.

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