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IMDb > Zoku Miyamoto Musashi: Ichijôji no kettô (1955)

Zoku Miyamoto Musashi: Ichijôji no kettô (1955) More at IMDbPro »

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Zoku Miyamoto Musashi: Ichijôji no kettô (1955) -- Open-ended Trailer from Toho

Overview

User Rating:
7.5/10   1,727 votes
MOVIEmeter: ?
Up 16% in popularity this week. See rank & trends on IMDbPro.
Director:
Hiroshi Inagaki
Writers:
Hideji Hôjô (play)
Hiroshi Inagaki (writer)
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Contact:
View company contact information for Duel at Ichijoji Temple on IMDbPro.
Release Date:
20 October 1967 (USA) more
Plot:
After years on the road establishing his reputation as Japan's greatest fencer, Takezo returns to Kyoto... more | add synopsis
Plot Keywords:
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User Comments:
Kurosawa Nemesis more

Cast

  (Cast overview, first billed only)
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Additional Details

Also Known As:
Duel at Ichijoji Temple (USA)
Ichijoji no ketto (Japan)
Musashi Miyamoto Sequel: Duel at Ichijoji Temple (literal English title)
Samurai (Part II) (USA)
Samurai 2: Duel at Ichijoji Temple
Samurai 2: Ichijôji no kettô
Samurai II: Duel at Ichijoji Temple (USA) (video title)
Swords of Doom
Zoku Miyamoto Musashi
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Runtime:
104 min
Country:
Japan
Language:
Japanese
Color:
Color (Eastmancolor)
Aspect Ratio:
1.37 : 1 more
Sound Mix:
Mono
Certification:
Australia:M
Filming Locations:
Toho Studios, Tokyo, Japan
Company:
Toho Company more

Fun Stuff

Goofs:
Continuity: The levels of water and the mud in the rice paddies at Ichijoji Temple vary between shots. more
Movie Connections:
Referenced in Kill Bill: Vol. 1 (2003) more

FAQ

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9 out of 13 people found the following comment useful:-
Kurosawa Nemesis, 9 December 2002
9/10
Author: OttoVonB from Switzerland

Having seen and loved most of Akira Kurosawa's samurai epics and after discovering that Tôshiro Mifune could glue me and anyone I ever introduced to him to a screen anytime, I figured I'd check out the Samurai trilogy, despite the fact that it wasn't Kurosawa. Inagaki crafted these films (in beautiful color, as opposed to B&W favored by Kurosawa at the time)while Kurosawa was also using Mifune for two of his most famous B&W films (seven Samurai, Hidden Fortress. The great Kurosawa dodged color for long since the process wasn't good enough by his standards yet. I wasn't expecting the visual feast on display here. Furthermore, Kurosawa's love for Noh theater often showed in his films, musically and in his direction, albeit to a masterful effect. This series of films is more accessible to a western audience in both aspects. Both directors boast different strengths, yet common aspects render their films grand, as they do this: sense of photography and of casting, great screenwriting abilities... and Mifune. Mifune most of all. You'd expect to have a strong leading man to carry such a trilogy, and you'd be right. But Mifune can hardly be summed up as only "good". Here, he displays even more than his swordsmanship and physical strength: he shows a trotured and honest humanity that lifts an already very good film into the higher class of truly great and powerful films. I chose to comment part 2 because it is a good sample of the trilogy, the middle chapter always being the most difficult one, often suffering of "bridge symptom". This one isn't that way. It is everything a middle part should be, keeping us entertained as much with its sharp dialogue as with one of the craziest fight scenes in history (think uneven odds and you'll still be far off) enforced by Mifune's mounting fury. Creating great anticipation for the trilogy's conclusion while being highly entertaining while steadily improving throughout on the already very good first film, this is the most satisfying second chapter in a trilogy (including Two Towers) that I've ever seen, bar Empire Strikes Back. Inagaki must have given Kurosawa many sleepless nights with prospects of rivalry. And the best part of it all? Knowing that there's more ahead and that, by most accounts, part 3 is even better! Masterpiece on its own, unmissable as a whole!

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