Musashi Miyamoto’s epic trilogy-worthy journey comes to an end in Samurai III: Duel at Ganryu Island, a film that corrects the slight mistakes from the prior installments, bubbles to a stirring climax for both its action and romance, and sends us off with satisfaction and a reminder of why this series is a classic to be reckoned with.
The story continues with the now humble Musashi Miyamoto, still on his wandering quest with his apprentice, receiving an offer from the Shogun to become his teacher of swordplay. Meanwhile, the skillful and ambitious Kojiro Sasaki challenges Miyamoto to a duel to finally settle once and for all who Japan’s greatest swordsman is. While dealing with Otsu’s and Akemi’s love and seeking enlightenment in unlikely places, Miyamoto must prepare for the fight of a lifetime.
However odd it may be, director Hiroshi Inagaki makes Samurai III all about the passion. The film’s four dedicated main characters struggle to achieve the goals they’ve been chasing for the entire trilogy and as everything comes to a head, they find themselves at odds with each other. This stands out quite brilliantly in the film against the backdrop of a suppressed, straight-faced culture as two swordsmen dream passionately of becoming the best, and two women show their utmost devotion to Miyamoto.
While it is a bit jarring that Kojiro Sasaki suddenly decides to claim the title of Miyamoto’s lifetime rival somewhere between the second and third films, Japanese audiences (or anyone familiar with the history) might not have as big a problem with the sudden jump. The rivalry might have benefited from several more build-up scenes, but Inagaki does eventually manage to sell it by the time it matters.
And so the final fight captures the epic beach battle as it should be. With a memorable tracking shot, we follow two strafing samurai as they run down the length of the beach, swords in hands, reading each other’s moves against a colorful sunset background. Everything for the historically famous climax is clear, gorgeous and tense.
In fact, the action throughout the film ends the trilogy on a strong note because of the change in lighting. Inagaki eliminates the messy nighttime action and selects beautiful, sun-drenched scenery to glorify Japan. Many wondrous scenes occur in front of beaches, waterfalls, rainbows and verdant forests, making for captivating, emotional locations to fittingly end the trilogy.
For a samurai pic, Samurai III is fascinating when at its core, it is not about the action, but an endearing timeless romance filled with growth, restraint and tragic wit. Inagaki is a master of ending his films because he understands the power of Miyamoto and Otsu and simply lets it carry the weight to the credits. The conclusion of the film truly feels like the end of a life journey and it is a testament to the trilogy’s strong plotting and emotional resonance. Toshiro Mifune will forever be Miyamoto and this trilogy his definitive legend.
Reviewed by Tarun
