Eiji Yoshikawa (1892-1962) took the facts of Musashi's life and era and transformed them into Musashi Miyamoto, which originally appeared serially in the newspaper Asahi Shimbun from 1935 through 1939. Yoshikawa's book was the subject of a 1942 three-part screen adaptation by Inagaki -- like most wartime Japanese movies, this film is no longer extant. Inagaki returned to the book in 1954 with Samurai, this time in color and starring Toshiro Mifune. That same year, a rival production called Musashi Miyamoto -- not based on Yoshikawa's book, but covering the same historical incidents -- emerged from Toei, directed by Yasuo Kohata and starring Rentaro Mikuni (who plays Matahachi in Samurai). Another adaptation of Yoshikawa's book appeared in 1960, the first of a six-part series by Tomu Uchida, entitled Zen and Sword.
All of these films were popular in Japan, but Inagaki's version was the only one to find favor with western audiencesÑreleased in the United States, Samurai (aka Legend of Musashi) received the 1955 Academy Award as Best Foreign Film. Apart from the charismatic presence of Mifune as Musashi, the opening part of the Trilogy benefited from Jun Yasumoto's atmospheric color photographyÑarguably the best showcase Eastmancolor has ever had -- and lighting by Shoji Kameyama.
There are similarities between Mifune's roles in the Samurai Trilogy and in Kurosawa's Seven Samurai -- both men come from humble backgrounds, and neither is entirely understood by the members of the warrior class that they seek to join. In sharp contrast to Seven Samurai, however, in which detail and nuance may take precedence over plot, Inagaki presents the full scope of Yoshikawa's enveloping story, which involves more than a dozen carefully drawn characters over a dozen years. And unlike Seven Samurai and its tale of a group of ronin who sacrifice themselves in a battle that will bring neither money nor fame, Samurai and its sequels embrace a far more traditional heroic story, played against monumental events and peopled by major historical figures, not the least of whom is Musashi himself.
The real Musashi Miyamoto (c. 1584-1645) was born with the name Takezo Shinmen, the son and grandson of samurai. His career as a warrior began at the age of 13, and at 16 he was a participant in the battle of Sekigahara, on the side of the losing Ashikaga forces. Musashi became a master of two-sword combat, and a Zen master, writer, and painter. Musashi Miyamoto, as the first p of a trilogy, covers Musashi's early life, from his youth as an ambitious aspiring warrior, into his years as an outlaw, up to the beginning of his search for enlightenment. The film does have elements that will be familiar to viewers not only of samurai pictures as a genre, but also to fans of American westerns, although it is not, as Bosley Crowther claimed in the New York Times, "an Oriental western." Despite Samurai's many action sequences and romantic subplots, its main thrust is toward the spiritual struggle within Musashi, and the dramatic high points lie in Musashi's struggle for self-realization. With the exception of Henry King's The Gunfighter, no traditional American western has approached the moral and spiritual content of Samurai.
Ironically, for all of the success of Samurai, ten
years passed before Americans were able to see the two follow-up films in the
Trilogy. During that time, Inagaki became well known for other films, such as
The Rickshaw Man (1958), which won the Grand Prize at the Venice Film
Festival, and The Forty-Seven Ronin (1962), while Toshiro Mifune became
Japan's most popular leading man. The Trilogy's reputation endured and has
grown since, as one the most stirring examples of its genre.
-- Bruce
Eder
 
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