Samurai 2: Duel at Ichijoji Temple (1955)

Having left his old life behind, Musashi embarks on a journey of self discovery that includes testing his sword against a lone warrior and eventually an entire school of swordsmen, while Otsu, his true love searches for him. Meanwhile, Kojiro, a young and ambitious master swordsman prepares to challenge Musashi.

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.