Samurai II: Duel at Ichijoji Temple


Action / Adventure / Biography / Drama / History

IMDb Rating 7.4 10 5,185


Downloaded times
May 29, 2020

720p.BLU 1080p.BLU
946.18 MB
Japanese 2.0
23.976 fps
104 min
P/S N/A / N/A
1.72 GB
Japanese 2.0
23.976 fps
104 min
P/S N/A / N/A

Movie Reviews

Reviewed by lastliberal 8 / 10 / 10

Musashi Miyamoto gives up women forever.

The great cast that was in Musashi Miyamoto, the first part of this samurai trilogy continues in the second part with a few additions. By this time Musashi Miyamoto has been on the road for three years and is still learning. The most important lesson as a Samurai will not be learned until the film is almost over. Another important lesson comes quickly after that, and it will interesting to see how it plays out in the final part. In the opening Musashi Miyamoto is doing battle with a samurai similar to our buddy Hanzo. They are the only two I have ever seen use chains. After this he heads to Kyoto to do battle with the best in the capital, and also to get himself mixed up with the two women who are in love with him. Love, fickleness, treachery, rape, revenge, honor, and great sword fighting all have a place in this magnificent film. The amazing cinematography and scenery also place an important part. This is truly a samurai classic.

Reviewed by Boba_Fett1138 8 / 10 / 10

Already a step up from the last movie.

"Miyamoto Musashi" was already a great movie but this movie is even a better one on basically every front. This movie is part of a real trilogy, that follows one story and one main character. It's therefore also best to watch these 3 movies in a row, to appreciate it best. All 3 movies closely follow each other, in which the first movie is being really used as a movie to set up things, while this second movie is mostly being used to build up to its climax that will occur in the third movie. This time the movie flows better because the story gets used better as well. Like mentioned earlier, the first movie was still being mostly a setup movie for the series. In this movie we actually get to see more epic moments and fights, as it follows the further travels of Musashi Miyamoto, on his way to become a master-swordsman. Its story and different characters all work out nicely, as things also gets developed more, with its drama and romance. There are a couple of really great fight sequences, of course mostly featuring Toshirô Mifune. It makes the movie often exciting to watch, as does the overall look for the movie. The movie benefits from its beautiful natural environments, as well as some nicely done studio work. Using color wasn't quite that common yet for '50's Japanese cinema, since it was quite costly and not as advanced yet as in the western world. However color had always worked out nicely for these three movies and it helps to make the movie a really great looking one. You also have to give credit for this to the movie its cinematography, done by Jun Yasumoto, who strangely enough worked on just the first two movies but didn't shot the third and final one. A movie that really has everything in it. 9/10

Reviewed by OttoVonB 8 / 10 / 10

Classic Jidai Geki

The tale of Myamoto Musashi - thief, lover, rogue, then warrior, hero and master - is enshrined in Japanese culture, perfect showcase material as it were. It has been adapted more than once to the screen, and Inagaki's classy, colorful version is perhaps the best known. It is everything you'd expect from a period samurai film if you've never seen one and harbor no negative preconceptions. After a playful first part that has a classic hero's journey structure, part II takes things to the next level without having to rush to the finish, and is the more interesting film. It allows the hero to wield his newfound power without the restraint and inner peace he will later find. It allows him the get mad, and nobody does unleashed fury like Toshiro Mifune, not when you throw 80+ armed fools in this way. I chose to review this one because it is a good sample of the very best this trilogy accomplishes: compelling archetypical characters, lush cinematography and that "oriental" elegance that always seduces non-Japanese audiences, drawn in as they are by the very universal plot and character dynamics. I cannot put it in the same leagues as the masterpieces of Kurosawa, Ozu and Kobayashi, but if it is to be a gateway film experience, then it is a bloody good one, and laudable for what it accomplishes. You might really enjoy this, and if you do, it's just the beginning!

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