Inagaki, Hiroshi

Samurai Trilogy Box Set - Criterion Collection

Samurai I: Musashi Miyamoto
Toshirô Mifune defines the quintessential samurai in Hiroshi Inagaki's 1954 Samurai I: Musashi Miyamoto, the first feature in a trilogy based on the epic novel by Eiji Yoshikawa. As in Kurosawa's classic Seven Samurai, which appeared the same year, Mifune plays a brash and ambitious peasant who desires fame and power as a swordsman. His dreams of glory in war sour when his army is routed and he becomes hunted by the authorities, but the "tough love" attentions of a kindly but severe monk help him develop from a hot-tempered outlaw to a thoughtful swordsman. Inagaki's somber color epic is very different from the energetic action of Kurosawa's films. The sword fights and battles are practically theatrical in their presentation, staged in long takes that emphasize form and movement over flash and flamboyance. Mifune brings a sad, almost tragic quality to the samurai warrior Musashi Miyamoto, whose dedication proscribes him to a lonely life on the road. Though the film stands well on its own, its stature takes on greater significance as the first act of Inagaki's stately, contemplative epic of the professional and spiritual development of Musashi.

Samurai II: Duel at Ichijoji Temple
Picking up where Samurai I left off, Toshirô Mifune's samurai in training Musashi Miyamoto is a wandering swordsman who hones his skills in a succession of duels. When he defeats a succession of students from a local school of martial arts, he becomes marked for death by the school elders and is attacked in a series of cowardly ambushes. Romantic threads from the first film become further complicated when the virginal Otsu (Kaoru Yachigusa) and the sad courtesan Akemi (Mariko Okada) meet and discover their rivalry and Musashi earns himself an archenemy, an ambitious young swordsman named Sasaki Kojiro (Koji Tsuruta) who vows to defeat Musashi to make his name as the finest fencer in all of Japan. Inagaki ably manages the rather complicated plot with unexpected ease (subtitles are employed to help English viewers make a few narrative jumps) while he charts Musashi's education in compassion and humility and his internal struggle with his conflicted love for Otsu. The direction is still as distant and unostentatious as in the first film, while the color and settings become richer and more pronounced: studio-bound locations take on the quality and delicacy of paintings. The dramatic centerpiece of the trilogy, an epic pre-dawn battle where 40 swordsmen ambush Musashi, uses darkness and landscape to great dramatic effect as figures seep in and out of the picture

Samurai III: Duel at Ganryu Island
Toshirô Mifune is confidence supreme and humility incarnate as the mature samurai master Musashi Miyamoto in the final film of Inagaki's sprawling trilogy. Now a legendary swordsman whose latest quest is to save an isolated village from rampaging brigands (shades of Seven Samurai), he remains haunted by the memory of Otsu (Kaoru Yachigusa). Meanwhile the ruthless and increasingly jealous Kojiro Sasaki (Koji Tsuruta) plots his battle royal with Musashi to prove who is the finest fencer in Japan. Inagaki weaves the web of subplots into a series of grand confrontations, among them the most exciting battles of the trilogy: Musashi's skirmish with the army of cutthroats while the village erupts in a fiery inferno around him, and the sunset duel between Musashi and Kojiro on an isolated beach, the two warriors taking on mythic dimensions silhouetted against the sun setting over the surf. Inagaki's delicate use of color throughout the series becomes most pronounced in this final sequence, where the glow of orange and red adds dramatic flourish to the twilight battle. Inagaki's reserved, restrained style and Mifune's melancholy performance--his granite face and stocky stance the very essence of somber wisdom and sad assurance--bring a gravity and seriousness to the drama that ultimately illuminates the personal cost of Musashi's supreme skill as his story ends on an elegiac but hopeful note. --Sean Axmaker

Based on the novel that has been called Japan's Gone With the Wind, Hiroshi Inagaki's acclaimed Samurai Trilogy is a sweeping saga of the legendary 17th-century samurai Musashi Miyamoto (portrayed by Toshiro Mifune) set against the turmoil of a devastating civil war. Now available for the first time together in a specially priced gift pack, the films follow Musashi's odyssey from unruly youth to enlightened warrior in an epic tale of combat, valor, and self-discovery.

Chushingura

Chushingura means "loyalty," and that potent Japanese theme runs like hot blood throughout this stately samurai epic. It's often called the Gone with the Wind of Japanese cinema, and while that may be a fitting cultural parallel, it gives an inaccurate impression of the film, based on one of Japan's most enduring and oft-interpreted historical events. A simmering, deliberately paced drama set during the Tokugawa shogunate in 1701, it centers on 47 loyal samurai who seek vengeance against the arrogant elder statesman who caused their master's ritual suicide. The now masterless ronin let seasons pass (and the movie occasionally seems just as long) before executing a climactic raid that is both expertly fierce and lethally efficient. Featuring a who's-who of fine Japanese actors, including Kurosawa regulars Toshiro Mifune and Takashi Shimura, Chushingura bears little resemblance to Kurosawa's action-packed samurai classics. This is a thematically dense, politically complex drama, presented here at its fullest length (207 minutes) and best appreciated after multiple viewings. Masterfully composed with painterly precision, Chushingura weaves its intricate tapestry from time-honored tenets of Japanese culture, offering a challenging but grandly rewarding experience. --Jeff Shannon

For two hundred years, no other story has captured the hearts and imagination of the Japanese people more than "Chushingura." When Lord Asano is forced by a corrupt lord to commit hara kiri, forty-seven loyal samurai seek vengeance. Often referred to as the "Gone with the Wind" of the Japanese cinema, "Chushingura" is an unparalleled example of the true samurai spirit.

Toshiro Mifune: The Ultimate Collection

Toshiro Mifune - his name is synonymous with Japanese film in general and the swashbuckling samurai warrior in particular But what made Mifune a lengend was his broad acting range; action romance comedy - he could it all!System Requirements:Running Time 639 Mins + ExtrasFormat: DVD MOVIE Genre: SPORTS/GAMES/MIXED MARTIAL ARTS Rating: NR UPC: 737187011399 Manufacturer No: ANM-DV1139

Samurai III - Duel at Ganryu Island - Criterion Collection

Toshirô Mifune is confidence supreme and humility incarnate as the mature samurai master Musashi Miyamoto in the final film of Inagaki's sprawling trilogy. Now a legendary swordsman whose latest quest is to save an isolated village from rampaging brigands (shades of Seven Samurai), he remains haunted by the memory of Otsu (Kaoru Yachigusa). Meanwhile the ruthless and increasingly jealous Kojiro Sasaki (Koji Tsuruta) plots his battle royal with Musashi to prove who is the finest fencer in Japan. Inagaki weaves the web of subplots into a series of grand confrontations, among them the most exciting battles of the trilogy: Musashi's skirmish with the army of cutthroats while the village erupts in a fiery inferno around him, and the sunset duel between Musashi and Kojiro on an isolated beach, the two warriors taking on mythic dimensions silhouetted against the sun setting over the surf. Inagaki's delicate use of color throughout the series becomes most pronounced in this final sequence, where the glow of orange and red adds dramatic flourish to the twilight battle. Inagaki's reserved, restrained style and Mifune's melancholy performance--his granite face and stocky stance the very essence of somber wisdom and sad assurance--bring a gravity and seriousness to the drama that ultimately illuminates the personal cost of Musashi's supreme skill as his story ends on an elegiac but hopeful note. --Sean Axmaker

Hiroshi Inagaki's acclaimed Samurai Trilogy is based on the novel that has been called Japan's Gone with the Wind. This sweeping saga of the legendary seventeenth-century samurai Musashi Miyamoto (powerfully portrayed by Toshiro Mifune) plays out against the turmoil of a devastating civil war. The Trilogy (whose first part won an Academy Award®) follows Musashi's odyssey from unruly youth to enlightened warrior. In the third installment, Duel at Ganryu Island, Musashi reunites tragically with the women who love him, and battles for samurai supremacy in a climactic confrontation with his lifelong nemesis.

Incident at Blood Pass

The growly voiced sword star Shintaro Katsu was so well known for playing Zatoichi, the Blind Swordsman, that it's doubly amazing to see him acting mostly with his glistening black-marble eyes in this 1970 samurai suspense drama directed by Hiroshi Inagaki (Samurai Trilogy). The nominal star, Toshiro Mifune, who also produced, appears for the fourth and last time as the nameless wandering assassin he first portrayed in Akira Kurosawa's Yojimbo. (The third was another collaboration with Katsu, Kihachi Okomoto's Zatoichi Meets Yojimbo.) But in this case the character is an observer and a catalyst of the action rather than a driving force. Ordered by his latest client only to proceed to a remote mountain pass and await further instructions, the bemused ronin gradually becomes aware of a complicated double- and triple-cross plot centered around a charismatic bandit leader. There's relatively little action before the big ambush-and-revenge finale; for most of the running time squabbling characters (including TV star Yuujiro Ishihara as an exiled former nobleman) are confined together, either as hostages or captors, in an isolated tea house. This is a handsomely mounted production, with a lot of star power. --David Chute

In his final portrayal of the Yojimbo character, Mifune Toshiro is hired to perform a mission so mysterious he isn't even told what it is.

Samurai II - Duel at Ichijoji temple - Criterion Collection

Picking up where Samurai I left off, Toshirô Mifune's samurai in training Musashi Miyamoto is a wandering swordsman who hones his skills in a succession of duels. When he defeats a succession of students from a local school of martial arts, he becomes marked for death by the school elders and is attacked in a series of cowardly ambushes. Romantic threads from the first film become further complicated when the virginal Otsu (Kaoru Yachigusa) and the sad courtesan Akemi (Mariko Okada) meet and discover their rivalry and Musashi earns himself an archenemy, an ambitious young swordsman named Sasaki Kojiro (Koji Tsuruta) who vows to defeat Musashi to make his name as the finest fencer in all of Japan. Inagaki ably manages the rather complicated plot with unexpected ease (subtitles are employed to help English viewers make a few narrative jumps) while he charts Musashi's education in compassion and humility and his internal struggle with his conflicted love for Otsu. The direction is still as distant and unostentatious as in the first film, while the color and settings become richer and more pronounced: studio-bound locations take on the quality and delicacy of paintings. The dramatic centerpiece of the trilogy, an epic pre-dawn battle where 40 swordsmen ambush Musashi, uses darkness and landscape to great dramatic effect as figures seep in and out of the picture. --Sean Axmaker

Hiroshi Inagaki's acclaimed Samurai Trilogy is based on the novel that has been called Japan's Gone with the Wind. This sweeping saga of the legendary seventeenth-century samurai Musashi Miyamoto (powerfully portrayed by Toshiro Mifune) plays out against the turmoil of a devastating civil war. The Trilogy (whose first part won an Academy Award®) follows Musashi's odyssey from unruly youth to enlightened warrior. In the second and most violent installment, Duel at Ichijoji Temple, Musashi beats a samurai armed with a chain-and-sickle and is later set upon by eighty samurai disciples-orchestrated by the sinister Kojiro-while the two women who love him watch helplessly.

Samurai Banners

The landmark film that ushered in Japan's "golden age" of filmmaking!

Mifune Toshiro stars in this epic adventure story, based on a best selling historical novel. Yamamoto Kansuke (Mifune) is a fearsome warrior who has risen to the position of Clan Chamberlain through trickery and deceit, only to learn the true meaning of honor when he and his Lord, Takeda, fall in love with the same woman.

Set against the background of great conflict, Samurai Banners is one of Mifune's greatest films!

DVD Features:
Aspect Ratio: 2.35:1
Presented in Anamorphic Widescreen
Japanese with English Subtitles

Bonus Material Includes:
Original Theatrical Trailers
Image Gallery
Character Biographies
Interactive Program Notes

Samurai I - Musashi Miyamoto - Criterion Collection

Toshirô Mifune defines the quintessential samurai in Hiroshi Inagaki's 1954 Samurai I: Musashi Miyamoto, the first feature in a trilogy based on the epic novel by Eiji Yoshikawa. As in Kurosawa's classic Seven Samurai, which appeared the same year, Mifune plays a brash and ambitious peasant who desires fame and power as a swordsman. His dreams of glory in war sour when his army is routed and he becomes hunted by the authorities, but the "tough love" attentions of a kindly but severe monk help him develop from a hot-tempered outlaw to a thoughtful swordsman. Inagaki's somber color epic is very different from the energetic action of Kurosawa's films. The sword fights and battles are practically theatrical in their presentation, staged in long takes that emphasize form and movement over flash and flamboyance. Mifune brings a sad, almost tragic quality to the samurai warrior Musashi Miyamoto, whose dedication proscribes him to a lonely life on the road. Though the film stands well on its own, its stature takes on greater significance as the first act of Inagaki's stately, contemplative epic of the professional and spiritual development of Musashi, whose training and adventures continue in Samurai II: Duel at Ichijoji Temple. --Sean Axmaker

Hiroshi Inagaki's acclaimed Samurai Trilogy is based on the novel that has been called Japan's Gone with the Wind. This sweeping saga of the legendary seventeenth-century samurai Musashi Miyamoto (powerfully portrayed by Toshiro Mifune) plays out against the turmoil of a devastating civil war. The Trilogy follows Musashi's odyssey from unruly youth to enlightened warrior. In the first part, Musashi Miyamoto, the hero's dreams of military glory end in betrayal, defeat, and a fugitive lifestyle. But he is saved by a woman who loves him and a cunning priest who guides him to the samurai path. This installment won the 1955 Academy Award® for Best Foreign Film.

Chushingura

Chushingura means "loyalty," and that potent Japanese theme runs like hot blood throughout this stately samurai epic. It's often called the Gone with the Wind of Japanese cinema, and while that may be a fitting cultural parallel, it gives an inaccurate impression of the film, based on one of Japan's most enduring and oft-interpreted historical events. A simmering, deliberately paced drama set during the Tokugawa shogunate in 1701, it centers on 47 loyal samurai who seek vengeance against the arrogant elder statesman who caused their master's ritual suicide. The now masterless ronin let seasons pass (and the movie occasionally seems just as long) before executing a climactic raid that is both expertly fierce and lethally efficient. Featuring a who's-who of fine Japanese actors, including Kurosawa regulars Toshiro Mifune and Takashi Shimura, Chushingura bears little resemblance to Kurosawa's action-packed samurai classics. This is a thematically dense, politically complex drama, presented here at its fullest length (207 minutes) and best appreciated after multiple viewings. Masterfully composed with painterly precision, Chushingura weaves its intricate tapestry from time-honored tenets of Japanese culture, offering a challenging but grandly rewarding experience. --Jeff Shannon

For two hundred years, no other story has captured the hearts and imagination of the Japanese people more than "Chushingura." When Lord Asano is forced by a corrupt lord to commit hara kiri, forty-seven loyal samurai seek vengeance. Often referred to as the "Gone with the Wind" of the Japanese cinema, "Chushingura" is an unparalleled example of the true samurai spirit.

Musashi Miyamoto

Toshirô Mifune defines the quintessential samurai in Hiroshi Inagaki's 1954 Samurai I: Musashi Miyamoto, the first feature in a trilogy based on the epic novel by Eiji Yoshikawa. As in Kurosawa's classic Seven Samurai, which appeared the same year, Mifune plays a brash and ambitious peasant who desires fame and power as a swordsman. His dreams of glory in war sour when his army is routed and he becomes hunted by the authorities, but the "tough love" attentions of a kindly but severe monk help him develop from a hot-tempered outlaw to a thoughtful swordsman. Inagaki's somber color epic is very different from the energetic action of Kurosawa's films. The sword fights and battles are practically theatrical in their presentation, staged in long takes that emphasize form and movement over flash and flamboyance. Mifune brings a sad, almost tragic quality to the samurai warrior Musashi Miyamoto, whose dedication proscribes him to a lonely life on the road. Though the film stands well on its own, its stature takes on greater significance as the first act of Inagaki's stately, contemplative epic of the professional and spiritual development of Musashi, whose training and adventures continue in Samurai II: Duel at Ichijoji Temple. --Sean Axmaker