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Samurai III: Duel at Ganryu Island (1956)

Miyamoto Musashi kanketsuhen: kettô Ganryûjima (original title)
Not Rated | | Action, Adventure, Biography | November 1967 (USA)
Musashi Miyamoto is challenged to a duel by a confident swordsman Sasaki Kojiro. He agrees to fight him in a year's time.

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Cast

Cast overview, first billed only:
Kôji Tsuruta ...
...
Kaoru Yachigusa ...
Michiko Saga ...
Omitsu
Mariko Okada ...
...
Sado Nagaoka the court official
...
Sasuke the boatman
Takamaru Sasaki ...
Omitsu's father
Daisuke Katô ...
Haruo Tanaka ...
Kumagoro the horse thief
Kichijirô Ueda ...
Priest Ogon
Kokuten Kôdô ...
Ikio Sawamura ...
Innkeeper
Nakajirô Tomita
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Storyline

A humble and simple Takezo abandons his life as a knight errant. He's sought as a teacher and vassal by Shogun, Japan's most powerful clan leader. He's also challenged to fight by the supremely confident and skillful Sasaki Kojiro. Takezo agrees to fight Kojiro in a year's time but rejects Shogun's patronage, choosing instead to live on the edge of a village, raising vegetables. He's followed there by Otsu and later by Akemi, both in love with him. The year ends as Takezo assists the villagers against a band of brigands. He seeks Otsu's forgiveness and accepts her love, then sets off across the water to Ganryu Island for his final contest. Written by <jhailey@hotmail.com>

Plot Summary | Plot Synopsis


Certificate:

Not Rated | See all certifications »

Parents Guide:

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Details

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Release Date:

November 1967 (USA)  »

Also Known As:

Bushido  »

Company Credits

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Technical Specs

Runtime:

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Color:

(Eastmancolor)

Aspect Ratio:

1.37 : 1
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Did You Know?

Goofs

In one shot as he is rowed away, the background behind Miyamoto does not move as the boat moves. See more »

Quotes

Musashi Miyamoto: Brace up, Akemi.
See more »

Connections

Referenced in The Karate Kid (1984) See more »

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User Reviews

Best cinematography of the trilogy
28 July 1999 | by (austin texas) – See all my reviews

Samurai III boasts far superior color and composition to the first installment. The opener includes a beautiful scene of Kojiro and Akemi by a magnificent waterfall. This sets the stylistically polished tone of the film, a nice attempt to revive our interest in the sometimes-stalling narrative (Will Kojiro fight the indestructible Musashi? Is Otsu going to get her man after spurning his inviting advances?)

In terms of eye candy, this finale gives the most exotic colors (some may complain as "un-Japanese"), the best lighting, and the most skin of Mifune's Musashi! The story continues with the intellectual and spiritual education of Musashi. Even though the final duel is set up to be his moment of self-realisation, it is preceded by a tad-curious sequence of Musashi's farmlife. Very reminiscent of the samurai-villager relationship in Seven Samurai, Musashi becomes their protector against bandits. The result is formulaic but does what the story intends: return Musashi to a life of the earth - a humanist existence preached by his Buddhist education - and to his humble origin.

P.S. Although Miyamoto Musashi/Samurai I is crucial to understanding the rise of our hero, it probably got Best Foreign film for 1955 Academy Awards during the sudden "discovery" of Japanese films starting with Rashomon.

And if you're looking for a female figure with as much spunk as Musashi himself, note the courtesan in Samurai II. Her chastisement of Musashi, that he lacks humanly affection and thinks of women as weaklings, almost makes up for the overall iffy portrayal of "romantic heroines" in the trilogy!


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