L'avis des consommateurs

Samurai 3: Duel at Ganryu Island (Full Screen)

Botched, Jui 18 2004

First, the "darkness." I think it could've very well been prevented through editing, but the publisher neglected this. You cannot see half the movie due to overwhelming darkness. This is especially bad when it comes down to the fighting scenes, where you cannot see anything at all. It's extremely frustrating not being able to see.

Second, I will say that the story roughly follows that of the book, Musashi - by Eiji Yoshikawa. You get the overall story, but there are a ton of things that have been changed for the sake of the trilogy. I really think that the film has deviated far too much from the book which it is based. Read the book and you will surely know what I mean.

It would be best to wait for the various Japanese TV series on this story to come to the US (or seek them out from overseas) than to buy this. It's nice to see Toshiro Mifune, but it is a shame to see something that could've been done much better. I think the biggest fault lies with the publisher.

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a good conclusion to a trilogy, Mars 21 2004

Par	Ted M. "Ted M." (Pennsylvania, USA) - Voir tous mes commentaires

As all films in the trilogy, they are good but come with almost no bonus material for DVD. The only have the essays in the accompanying jackets and the the theatrical trailers.

The film itself has less action than the second film with only 2 major sequences. The scene of bandidts pillaging a town and the climatic duel scene at the end of the film.

This film also has an excellent scene where Musashi uses his chopsticks to catch flies in midair. This scene appears to be the inspiration for a very similar scene in the first Karate Kid film.

Overall the films were good but not great.

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Excellent film, bad transfer, Avril 20 2003

Par	Scott Richardson (Chicago, IL USA) - Voir tous mes commentaires

However, it's doubtful that these fantastic films will receive a better transfer any time in the near future, so be sure to see them, but be warned that the transfer is sub-par (although it's certainly watchable).

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RISE OF THE SWORD-SAINT, Juil 6 2002

Several years have goneby and Musashi Miyamoto has emerged invincible in over SIXTY duels. Interestingly enough, one sees no pride or ambition in Musashi's manner. He turns down job offers from important lords, including the Shogun's martial arts teacher. In the meantime, Kojiro Sasaki (Koji Tsuruta) regrets the little recognition he has so far received, and seeks to duel Musashi and attain immortal fame.

Otsu (the beautiful Kaoru Yachigusa), the quintessence of loyalty, has fervently sought to see Musashi once again, having parted unwillingly in Part II. In like manner, Akemi (charming Mariko Okada) maintains hope of seeing Musashi, having through a tragic turn of events wound up as a courtesan in a geisha house. Yet both women defy their seeming fates and separately seek Musashi, a testament to the power of love. Musashi himself has not forgotten his love for Otsu, expressed in his Kwannon statuettes made in her likeness. In a poignant paradox, Musashi escapes fame and the follies of this world as a farmer, having once been in that position and dreaming of fame.
In the meantime, Kojiro's skill is finally recognized and he comes under the employ of the Shogun.

The romance between Musashi and the two women is tragically resolved, and a battle between Musashi and a group of bandits proves very costly. Yet Kensei maintains his poise and graciously accepts Kojiro's challenge to a DUEL AT GANTRYU ISLAND. The perfection of Musashi's technique evident in the fact that he carves an oar into a sword on the trip to the island, using wood against the steel of the deadly Swallow Cut. ONE OF THE MOST MOMENTOUS SCENES IN JAPANESE MOTION PICTURE HISTORY.

Hiroshi Inagaki once more deliviers a beautifully directed and cinematographed motion picture. The color is surely the finest in the trilogy, in particular the opening sequence with Kojiro amidst the waterfall and rainbow, and the duel at dawn with its stunning red and gold -Atsushi Yasumoto's photography is brilliant.Ikuma Dan's score is less triumphant and more peaceful and contemplative (though no less dramatic). The pacing is more deliberate, but the strong characters and riveting storyline more than compensate.

This duel establishes MUSASHI MIYAMOTO as the Greatest Swordsman in History. After this battle, he no longer uses real swords in combat, only wooden ones. He goes on to write A BOOK OF FIVE RINGS (a must-have), "A guide for men who want to learn strategy," required reading for kendo students and Japanese businessmen to this day. Musashi Miyamoto Kensei represents the ability in all of us to attain perfect understanding.

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Phenomenal Film, Mars 2 2002

Japanese film-making cares very little about happy endings, feel-good movies, or "chic" flicks. So don't look for them here. But they do have emotional power. The pain of Musashi, in the first film of the Trilogy, is excruciating when he is hunted, starved, and finally suspended by rope from a pine for days upon returning home from a long battle, and the torment of Otsu in the second film, as she spend years waiting near a bridge that Musashi might one day cross. Excellent acting....very powerful performances.

These films' underlying themes are all about morality. All the characters are heroes. Otsu is long-suffering while loyal to her true love. Musashi is a soul searching warrior. While he spends years refining his swordmanship and seeking honor and fame, she waits hopefully that someday his early promise of a peaceful life with her is realized. I think she ends up a virgin who has been told twice by Musashi that he loves her. Unless I've totally missed the point, these characters are role models. Kurosawa portrays them as what is best in the collective Japanese character. Highly moral views. The women are virgins and the men are swordsmen without defeat. Interesting, huh?

Musashi acquires a reputation as a fighter, but he is frequently instructed that his fighting prowess is not an end in itself and is not the path of a true Samurai. He travels a long road lasting three films to find it. In the end, one Samurai is dead and one is alive. What the surviving Samurai attains is the question I ask. There is no victory, no position attained, no money gained. The point may be, that there is no defeat. Certainly the dead are defeated. The survivor knows he has never been and becomes the epitome of the Samurai. This theme is restated in "The Magnificent Seven" (an American remake of Kurosawa's "Seven Samurai")....Places you call home..None; Insults taken...None; Enemies living...None

The appeal for the Western audience is the desire to be learn cinematography, story-telling, and Japanese Feudal Culture from a master in the art of film-making. This film is rivaled, in scope, only by the likes of "Gone With the Wind", "Bridge On the River Kwai", or "Lawrence of Arabia" in American Film.

I gave this Trilogy Four Stars. To earn a Five Star you have to have a killer soundtrack. This did not.

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