Crash Cinema has really pulled off a coup, getting the distribution rights to Hiroshi Inagaki's acclaimed Samurai Trilogy, which until now had only been available to those willing to pay for the more exorbitantly priced Criterion Editions and releasing it at a reduced price as The First Samurai: Book of Five Rings Collection. Based on Eiji Yoshikawa's novel, Musashi, considered by many to be Japan's Gone with the Wind, this epic tale of the 17th-century samurai, Musashi Miyamoto, takes place during the time of Japan's own civil war. Through the course of the The First Samurai: Book of Five Rings Collection we see Musashi's growth from a headstrong youth to “The Sword Saint”, a name by which he is commonly known in Japan.

In 1584, Shinmen Takezo was born in the town of Miyamoto, Japan. He claims to have defeated his first opponent in single combat at the tender age of 13, after which he changed his name to Musashi Miyamoto to honor the place of his birth. In 1600, Musashi famously battled the Yoshioka Sword School, emerging as the victor. He engaged in sixty duels over the course of his life, without suffering a single defeat. In 1612, he dueled with another famed swordsman, Sasaki Kojiro. Following Sasaki's defeat, he focused his energies the perfection of his swordsmanship, often traveling and meditating. In 1640, Musashi began writing his book, Gorin No Sho, known here as The Book of Five Rings. He finished this very influential work in 1645, the same year that he died.

The First Samurai Vol. 1: Musashi Miyamoto (1954). In the 1600's, a civil war raged in Japan, leading many to leave their families and risk everything for glory. Takezo (Toshiro Mifune) is a peasant who leaves his village in search of fame and fortune. His idea of the world changes as when his army is destroyed and he becomes a fugitive. He benefits greatly from the attention of a domineering monk who helps him develop into a samurai.

Toshiro Mifune was Japan's answer to Marlon Brando, an emotionally charged and powerful figure who often seemed, not just to act, but to live his roles. His performance has a tragic quality to it and is the centerpiece upon which the rest of the film is framed. The sword fights portrayed in the film are often staged in long takes that often appear disorganized and are most certainly devoid of the choreography we're used to in cinema today.

The First Samurai Vol. 1: Musashi Miyamoto is an epic masterpiece and is a very different film from the action of Kurosawa's The Seven Samurai, which was released that same year. Its cinematography was used to great effect to paint the picture of a feudal Japan in a time of transition. This installment of the trilogy won the 1955 Academy Award for Best Foreign Film.

The First Samurai Vol. 2: Duel at Ichijoji Temple (1955). Having left his life as Takezo behind, Musashi (Mifune) embarks on his goal to become a true samurai. He duels with a chain and sickle master and eventually with the eighty samurai disciples of Seijuro (Akihiko Hirata), the headmaster of a sword school who hunts him down for embarrassing their clan. Even with more action scenes than the first episode, Musashi also reaches a higher level of spirituality and understanding.

As much as The First Samurai Vol. 2: Duel at Ichijoji Temple focuses on action, it also shows the internal struggles that Musashi goes through. He is a tragic hero in the classic sense that he is morally weak and has to continue to fight to rise above his flaws. He learns the ways of chivalry and we start to witness his transformation from a brooding loner into a more compassionate person.

Hiroshi Inagaki once again shows his talent as a director, with an amazing depiction of life in Seventeenth Century Japan. The cinematography is beautiful, from rich, brightly colored settings to barely lit nighttime battles filled with dread and death. He has crafted a great second chapter, compelling enough to stand on it's own, but also truly powerful when viewed in the context of the series.

The First Samurai Vol. 3: Duel on Ganryu Island (1956). The tragic finale to the series is also filled with a strong sense of hope. Musashi searches through the suffering of civil war to find his place among the samurai. He protects a village from bandits and duels in the climax with his nemesis, Kojiro Sasaki (Koji Tsuruta). As his journey comes to an end, he realizes that there is a more to being a samurai than winning.

Once again, the acting is remarkable from the entire cast, especially Mifune and Tsuruta. As the obsessive Sasaki, Tsuruta holds his own against Mifune. It's fascinating to see these two characters working towards the same goal, but becoming polar opposites of one another. While it may lack some of the action of the previous films, the finale leaves an emotional impact that is sure to last.

The First Samurai Vol. 3: Duel on Ganryu Island Hiroshi Inagaki directs this final installment with just as deft a hand as the first two, with maybe a bit more experimentation aesthetically and with the overall composition. The whole thing has more of a somber appearance, with some intense tinting effects. The films that make up The First Samurai: Book of Five Rings Collection have certainly stood the test of time and when viewed as a whole, can be considered one of the greatest samurai epics of all time.

REVIEW:
The epic saga of Japan's most famous samurai warrior continues in this second part that features fewer location shoots, but more action.

The film starts with Musashi (Toshiro Mifune) preparing to duel with Baiken, a master of the chain and sickle as a young homeless boy looks on. Unprepared for such a weapon, Musashi finds himself at a disadvantage when his long sword is bound up by the chain. He is forced to use his second smaller sword to finish the battle. (This would lead to his noteworthy use of two swords in combat although the film doesn't dwell on this fact.) Musashi leaves the boy behind to challenge the Yoshioka sword school. The young master is not around and after defeating a number of students with a wooden sword, Musashi leaves a challenge for him. With the school up in arms over the affront, Musashi is escorted to a pleasure house where he is entertained by a famous call girl. A hasty challenge by the schoolmaster's older brother, Denshirchiro reaches Musashi and he sneaks out to engage the man in combat.

Meanwhile, Kojiro Sasaki (Koji Tsuruta), an ambitious young swordsman who sees Musashi as his only worthy opponent waits in the wings to see the outcome of this fight between the school and Musashi. He has also become enamored with Akemi, more so for her continued blind and hopeless affection for Musashi. Musashi's old companion, Matahatchi has become nothing more than a freeloader, living on the graces and whims of Oko (Akemi's mother) and her worldly excesses. He makes the mistake of impersonating Kojiro and trying to impress his mother, Osugi, whom he meets while she continues to hunt down Musashi in vain hopes of killing him. After nearly being killed by Matahatchi on his mother's fanatical order, Musashi's true love, Otsu retreats to a Buddhist Temple where she meets Takuan again and the young boy who now considers Musashi his master. She eventually meets up with Musashi again but scorns him in an unexpected moment of passion that leaves the two confused and separated.

Knowing that Seijuro, the headman is no match for Musashi, the Yoshioka school prepares a trap near Ichijoji Temple. On his way to meet them, Musashi is warned of their treachery by Akemi. Musashi engages the entire school in a pitched battle. Although initially successful, the shear number of foes threatens to undo him and he retreats across a rice field. In a secluded spot, Seijuro challenges Musashi alone. Previously chastised for his brutality, Musashi spares his life.

Although this second part features the same crew with Mifune reprising his role, a few changes occur including Matahatchi's role that is filled this time around by Sachio Sakai. More notable and unfortunate is the increased use of sound stages in the first half of the film. Most of Samurai I was beautifully shot on location. While the sets are elaborate in their reconstruction, they pale in comparison. Also, while the first film essentially keeps most of the first part of the original story intact, this film begins to condense it down to a greater extent, although not as much as the third and final installment.

The performances are once again well played out with Toshiro Mifune now as the able young samurai apprentice. One element of the story that remains consistent throughout the film trilogy is Musashi's growth. Mifune expertly portrays the wild youth who grows into a man searching for wholeness. Even though he outwardly appears to be running about doing nothing more than challenging one fighter after another, there is a real sense of struggle to overcome his own aggression and to become a righteous man. Likewise, his confusion and frustration in regard to women is aptly displayed. Yet, one most admit that most of the women who pine for his affections have many faults of their own, especially Akemi and this only makes his journey more challenging. It may also begin to challenge the viewer who will wonder how an unruly and emotionally detached swordsman could command the devotion of women who have had so little contact with him. Although more prominent in the third film, Koji Tsuruta as Musashi's nemesis is excellently played. Dressed in gaudy kimonos while wearing locks of hair usually cut off by adulthood, he manages to capture Kojiro's boyish arrogance perfectly. Kojiro is destined to be unlikable, although not evil and while the two swordsmen's paths are destined to cross, the roads traveled are very different.

Of the three films, this has the most swordplay climaxing with the duel at the end. Again, the action is realistically portrayed, without emphasis on gore and remains generally entertaining. If not for the use of artificial backdrops and the continuing soap opera saga of the women who adore Musashi, Duel at Ichijoji would have scored as perfectly as the previous film. This is still a solid second outing and considering the close nature of all three, it deserves to be seen just as much as the first one.