IMDb > Samurai II: Duel at Ichijoji Temple (1955)
Zoku Miyamoto Musashi: Ichijôji no kettô
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Samurai II: Duel at Ichijoji Temple (1955) More at IMDbPro »Zoku Miyamoto Musashi: Ichijôji no kettô (original title)

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Samurai II: Duel at Ichijoji Temple -- Toshiro Mifune furiously embodies swordsman Musashi Miyamoto as he comes into his own in the action-packed middle section of the Samurai Trilogy.


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Release Date:
20 October 1967 (USA) See more »
Musashi Miyamoto returns to Kyoto after years of absence. After a series of fights against the Yoshioka School, he challenges its master to a duel. Full summary » | Full synopsis »
Plot Keywords:
User Reviews:
Kurosawa Nemesis See more (18 total) »


  (in credits order) (complete, awaiting verification)

Directed by
Hiroshi Inagaki 
Writing credits
(in alphabetical order)
Hideji Hôjô  play
Hiroshi Inagaki 
Tokuhei Wakao 
Eiji Yoshikawa  novel

Produced by
Kazuo Takimura .... producer
Original Music by
Ikuma Dan 
Cinematography by
Jun Yasumoto 
Film Editing by
Eiji Ooi  (as Hideshi Ohi)
Production Design by
Kisaku Ito 
Set Decoration by
Makoto Sono 
Production Management
Boku Morimoto .... unit production manager
Second Unit Director or Assistant Director
Jun Fukuda .... chief assistant director
Art Department
Kisaku Ito .... consultant
Sound Department
Chôshichirô Mikami .... sound
Camera and Electrical Department
Shigeru Mori .... lighting technician
Other crew
Tukuho Gosai .... choreographer
Yoshio Sugino .... choreographer
Crew believed to be complete

Production CompaniesDistributors

Additional Details

Also Known As:
"Zoku Miyamoto Musashi: Ichijôji no kettô" - Japan (original title)
"Duel at Ichijoji Temple" - USA
"Samurai (Part II)" - USA
See more »
104 min
Color (Eastmancolor)
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Filming Locations:

Did You Know?

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


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15 out of 20 people found the following review useful.
Kurosawa Nemesis, 9 December 2002
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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