The other major plot development is the sudden appearance of a mysterious priest named Nikkan, who sternly criticizes Musashi's performance. She goes to tell a stunned Matahachi, who sets out to find his old friend. At this, Otsu runs off to Takuan the priest and wants to become a nun. Musashi's Yoshioka meeting turns out to be an ambush, with about 20 or 30 men attacking him. Oct 5, 2016 's trilogy is a feast best enjoyed in one go.
At the school Denschichiro comes to see his older brother, ripping him for the cowardice in not fighting the previous evening. Otsu says she knows that, but she wants to be with him anyway. The two part ways even though both are still madly in love with each other. In distress Otsu flees back to the temple of priest Takuan Kuroemon Onoe and asks to become a nun. I did not notice any spelling or grammatical errors. Problem is Inagaki already has a scene where Akemi and Otsu meet after both realise Takezo and Musahshi are the same man.
In the woods he comes across Seijuro and they fight. Somewhere in the woods Seijuro confronts a tired Musashi. Because each style has its own formatting nuances that evolve over time and not all information is available for every reference entry or article, Encyclopedia. Rather it results from the novel and stage play origins of the screenplay and dramatic licence, for it seems that Otsu and Akemi did not exist in reality. All of this is setting up for an epic clash where all the threads Otsu, Akemi, Matahachi, Sasaki, Musashi and his torn loyalties will bind together as Musashi faces his destiny in the third part of the series.
In Japanese, with optional English subtitles 4 min, 1080i. Some colours, such as greens and the red kimonos of the geisha girls look deep, but others are more muted. All over town the men are looking for Musashi. So they resort to whatever unsavory measures are necessary to block Musashi from having his requested match. Akemi catches Musashi just before the duel and shares her insider knowledge that the Yoshioka are planning to ambush him — yeah, big surprise, right? Film yang diproduksi sekitar tahun ini juga dibuat dengan memperhatikan kualitas alur cerita, yang bisa membuat Anda hanyut dalam kisah yang disajikan. In quiet moments there was a slight crackle and some hiss, but not when there was music or effects. As day breaks Takuan appears.
The music and camerawork go from a start-stop style to a more organic, flowing motion as Musashi waits out his opponents along a rice paddy field path while they fall along, trying to stay mobile in the glue-like rice field. The score reflect the age of the film. He claims he is not a coward but his men stopped him earlier. Elsewhere in Kyoto, Koetsu Honami has taken Musashi to see the star courtesan Yoshino at the best nightclub in town. Exhausted, Takezo is helped by Otsu and they talk about a life together; he has started to learn the lessons of chivalry and is feeling peaceful for the first time. Musahsi is mystified by the accusation, though he can feel the truth in in.
They briefly chat about how each of them misses a man she loves, unaware that they are both talking about Musashi. He gets to dry land first and makes an escape. Banyak sutradara hebat mewarnai jagat perfilman, dan salah satunya adalah. Akemi sees Musashi's note and his signature, realizing it must be her Takezo. Osugi has convinced Matahachi to kill Otsu, they intercept her in the woods. His honourable nature is further explored by his defending of Akemi from the Yoshioka when they come to retrieve her for their master.
After leaving Kyoto in triumph, Takezo declares his love for Otsu, but in a way that dishonors her and shames him. Musashi comes to Kyoto, and seeks a duel with Seijuro. Samurai I: Musashi Miyamoto: 1-14. As the second part in a trilogy, it introduces a new adversary for Musashi but still leaves most things unresolved. In a moment of passion, he clutches Otsu, and she resists him.
Akemi runs into Otsu, who is still waiting faithfully for Musashi at the Hanada Bridge. But Seijuro's toadies don't want that to happen, fearing that the Yoshioka name and their livelihoods will be ruined if Musashi defeats their young master. Yoshino leaves him a farewell note, not being able to tell him goodbye, he is her one true love. Every little bit does keep this nice and polished. Wherever possible, we have corrected the occasional color fluctuations inherent in the now decades-old Eastmancolor stock on which these films were originally shot. Duel at Ichijoji Temple is a fine drama and action film and Mifune is the definitive article as such a famous figure in Japanese society precisely because he and director Inagaki with a little help for Godzilla series director Jun Fukuda chart their own course, playing with history without destroying the silk spider web of connections and emotions the cast have built up. Once again, he leaves alone.
He's supposed to be growing and developing into history's greatest samurai, but Inagaki dwells more on the soap opera meanderings of Otsu and Akemi, and the cowardly fabrications of the Yoshioka school, than on the critical issues of what's going on inside Musashi's head. Musashi misses his chance to meet him because he has an appointed meeting with the Yoshioka group to see if Seijuro accepts his duel. Akemi arrives and hugs him. That is, until he meets up with the real Kojiro. Takezo takes up the challenge at the temple, watched by Kojiro and Akemi, but is forced by weight of numbers to retreat. Otsu announces she will not be a nun afte rall.
While Otsu waits, Akemi also seeks him, expressing her desires directly. In Japanese with English subtitles. Blacks are mostly good, but shadow detail is indistinct and in some night scenes it is very difficult to see what is happening. Sadly Akemi says she was going to kill herself but now will live for Takezo. For the record, Criterion have provided optional white English subtitles for each film. The samurai strides away back across the bridge.