Boba_Fett1138 The first two movies of the series "Miyamoto Musashi" and "Zoku Miyamoto Musashi: Ichijôji no kettô" were already ones that was very little wrong with but this movie is basically even a better one, one basically every front thinkable.The movie its story flows way better, which is probably also due to the fact that lots of things finally get wrapped up in this movie and there also is more action to enjoy this time. By todays standards it perhaps is still a pretty slow movie to watch but still the pace and flow within this movie was something I wasn't quite expecting from this movie, especially since the first two movies weren't as fast going or well flowing as this one was. The movie really felt and also looked as if it got made by an entirely different cast and crew this time, while this of course was not the case. Perhaps it was due to the fact that "Miyamoto Musashi" and "Zoku Miyamoto Musashi: Ichijôji no kettô" got made almost back-to-back, while before this movie director Hiroshi Inagaki also had go on and directed a totally different movie, "The Lone Journey".The fight sequences do not disappoint within this movie. This is basically what the entire trilogy was building up toward. It's end fight has become quite legendary over the years and is a beautiful looking done one.The whole trilogy definitely benefits from the fact that it got shot in full color. It's natural environments and sets are all beautiful looking and its visual look is actually one of the reasons why the whole trilogy is liked so much and still quite popular to watch, over 50 years later now.More of a 'modern' movie than any of its two predecessor and definitely better flowing with its story and characters, also definitely due to the movie its action. A perfect conclusion for the trilogy.9/10http://bobafett1138.blogspot.com/

paulszymkowicz This film is the final installment of director Hiroshi Inagaki's "Samurai Trilogy," three films covering the life of Musashi Miyamoto (Takezo,) Japan's most famous swordsman of the early 17th century and perhaps of all time.He was an icon of the warrior-philosopher model. He survived numerous duels to the death and retired to painting and writing. His best known work is the "Book of Five Rings," a book which gained popularity recently when it was championed by the Harvard Business School.All three films of Inagaki's trilogy, made in 1954, 1955, and 1956, are part of the elite Criterion Collection of classic films.Briefly, this movie resolves the conflict of the two women in Takezo's life, Otsu and Akemi, and leads up to Musashi's showdown with the second most famous swordsman of the day, Sasaki Kojiro. This is the famous Duel at Ganryu Island of the title.Although I cannot appreciate the Japanese language and must rely on the English subtitles for the meaning of dialog, I do appreciate the beauty of this early widescreen color film. (I believe Tojoscope is a Japanese version of cinemascope.) One could take almost every frame of this film and it would make a stunning still. The costumes and the sets reflect an attention to detail of color, lighting and composition.For its sense of rather understated action, I particularly enjoyed the opening scene. Sasaki Kojiro demonstrates his signature Swallowtail Turn, a move whereby he severs the tail feathers of this notably swift and agile bird in flight. It's not the portrayed animal cruelty that I enjoyed; it's the human quickness and skill that would be required to accomplish such a feat. I certainly hope that no birds were actually harmed in the making of the film.

Badar Munir I feel very confident and content once I finished watching the trilogy. What starts of a nothing end on greatness. Lots of things have been said in the movie about the humans, the way they live, they behave, they treat others and above all their desires grooved in the very depth of the heart. What is most likable is the mildness with which things are being said but every bit needs to be heard with full attention. After watching the trilogy I read the book written by Miyamoto (A book of five rings – Must read) himself and got an inside more clearly.Now the movies, all three are gems without a second thought. The acting, cinematography and above all the direction is very good. Emphasis on little things, shades of lights (sun is setting etc) and even water (streams, rivers) everything is perfectly matched with the movie to the core. Above all is the way Mifune enacted the role, the way he delivers the expressions for an arrogant in the first outing, then the confused man and in the last gentle, kind and wise person is extremely believable and I have no doubt in saying that I can't imagine someone else in the role.A must watch trilogy.8.5/10 (all three movies)

jacqui-3 Samurai III boasts far superior color and composition to the first installment. The opener includes a beautiful scene of Kojiro and Akemi by a magnificent waterfall. This sets the stylistically polished tone of the film, a nice attempt to revive our interest in the sometimes-stalling narrative (Will Kojiro fight the indestructible Musashi? Is Otsu going to get her man after spurning his inviting advances?)In terms of eye candy, this finale gives the most exotic colors (some may complain as "un-Japanese"), the best lighting, and the most skin of Mifune's Musashi! The story continues with the intellectual and spiritual education of Musashi. Even though the final duel is set up to be his moment of self-realisation, it is preceded by a tad-curious sequence of Musashi's farmlife. Very reminiscent of the samurai-villager relationship in Seven Samurai, Musashi becomes their protector against bandits. The result is formulaic but does what the story intends: return Musashi to a life of the earth - a humanist existence preached by his Buddhist education - and to his humble origin.P.S. Although Miyamoto Musashi/Samurai I is crucial to understanding the rise of our hero, it probably got Best Foreign film for 1955 Academy Awards during the sudden "discovery" of Japanese films starting with Rashomon.And if you're looking for a female figure with as much spunk as Musashi himself, note the courtesan in Samurai II. Her chastisement of Musashi, that he lacks humanly affection and thinks of women as weaklings, almost makes up for the overall iffy portrayal of "romantic heroines" in the trilogy!