Miyamoto Musashi: The Duel at Ichijoji

Miyamoto Musashi: The Duel at Ichijoji


In the fourth installment, Musashi's potentially greatest opponent Kojiro jumps in and out of the story at the oddest and most coincidental moments. As his great love Otsu has succumbed to madness. Musashi then sets off to beat the functionaries of a treacherous clan in an arranged duel. 73 against one. Boastful Kojiro watches, secure in the knowledge that only he is a worthy opponent. . You can read more in Google, Youtube, Wiki


Miyamoto Musashi: The Duel at Ichijoji torrent reviews

John Eric D (gb) wrote: A good film that gives you the first part excitements and ends with scenes of silence while the protagonist struggles.

Wayne K (it) wrote: Never one to take the easy approach, Werner Herzog brings his usual brand of intensity and untamed lunacy to Rescue Dawn, a tale of Vietnam era imprisonment. I'm a big fan of movies based on this conflict, such as The Deer Hunter, Platoon, Apocalypse Now etc., and while Rescue Dawn might not rank among these in terms of quality and lasting appeal, it's still a great watch. The principle cast of Christian Bale, Steve Zahn and Jeremy Davies transform both physically and mentally before our very eyes, worn away by starvation, fatigue and despair. It has long sequences of the actors speaking in frustratingly muted tones, which makes little sense since they often do so around guards who clearly don't speak English, and most of the time aren't anywhere near them anyway. The first half of the film is by far the best, with our heroes fighting against what seems like their inevitable fate. The second half doesn't come close in terms of emotional impact, as it turns into more of a routine Hollywood escape film, with scenes and scenarios that, even if they did really occur, seem a little to contrived to be true. It thankfully doesn't sink the movie however, which is powerful, frank and visually stunning. Watch it if you ever get the chance.

Brian K (gb) wrote: Funny guy, real funny guy

Michael V (br) wrote: "Charlize Theron is one of my favorite actors working today, she's not just beautiful but always 100% gives it her all & commits really hard to these types of roles (actually any role) and just nail them with ease. Here, she gives one of her very best performances of her career as Josey Aimes who takes a job at a local mine and witnesses harassment by male workers. Then, goes on to sue the Company and makes history by being the first on filling sexual harassment lawsuit (very first). Frances McDormand is just terrific (as is always the case with her) here as Josey's friend Glory who also works with her in the local mine. Everybody from the supporting standpoint are all great from Richard Jenkins to Woody Harrelson to Sissy Spacek to Jeremy Renner, just terrific.""North Country is a slow-paced but compelling drama with terrific performances and a powerful story. It could be melodramatic to some but I highly recommend this surprisingly overlooked movie though Theron & McDormand did get recognition from the Oscars & other accolades, this is still a pretty under-the-rader movie nowadays."

Paul A (kr) wrote: very good movie but outdated now

Robben M (ca) wrote: Where to begin with a film that silmotaneously combines every offensive male and female stereotype into a cohesive piece told in a stream of consciousness narrative with little regard to political correctness and with loads of ambiguious meaning and wonderland imagery.... First, the women as stated in the title. Lots and lots of women. Beautiful women, ugly women, strange women, dangerous women, young women, chidlish women, strong women, old women, dumb women, smart women, dead women, living women, mothers, children, sisters, the familiar face of that idealized girl you may have seen in your dreams or not....In any case, there are lots and lots of women in this film. Men beware, for Fellini has his eyes on you. The plot is rather simple: Marcello Mastroianni follows a buxom woman off a train and foolishly gives into his childish and male weakness for sex. He unwittingly finds himself in a series of increasingly nightmarish and surreal encounters with different types of fantasies and fears associated with the female. fellini once described the film as a "Womanizer's nightmare." the description is apt as it is all from Snaporaz's (as he called....or dare I say Fellini?) point of view. It is both a dream, a literal trip down the rabbit hole, perhaps even a female dreamworld where the delrious fantasies of man go hand in hand with the dangerous threats to male dominance over woman. Repeatedly throughout the film Snaporaz's attempts to fullfill his dreams are snatched away from him by his nightmare view of woman at what he perceives to be their worst: feminists, apathetic teenagers, old woman who want to rape him, militants; in direct contrast, he imagines several apparitions of an ideal woman. She appears in all shapes and sizes as a mother, a nurse, a starlet on the silver screen, and finally, as a prostitute with the world's biggest butt. Most of it is shown with visual flair and with a tongue planted firmly in the cheek; to take it literally would be foolish. It is a mirror aimed at males and, to a greater extent, woman who allow themselves to be coveted and objectified. But that's besides the point; the film serves as a sort of 'apology' to all the woman in Fellini's life, most of all his wife, Giulietta Masina. However exaggerated the attacks on Snaporaz are, they have a certain edge to them that cannot be denied; they hold weight because they're true. however extreme the male's stereotypes of woman become, the statements against man are undoubtedly accurate and, unfortunately, outlast timely relevance and enter the realm of eternity. That is not to say there are only female visions portrayed in the film. Like I said, it is a major criticism lobbed towards the male viewers in the audience. If anything, the females watching this might find more humor than any man might in the constant rape scenes, castration imagery and most of all and most unsettingly, in the character of Dr. Cazone, or as it's translated, Doctor Xavier ZUBERCOCK. He rescues Snaporaz from the androgynous nympho girls when he unwittingly stumbles into the doctor's garden. The old man lives in a giant Greco-Roman style castle with phallic imagery so over the top as to be utterly hysterical. He is a clown, so overconfident in his sexuality and dominance over woman (especially in a scene involving sex-zen....you fill in the blanks) that he is impossible to take seriously. His aria to his greatness and voluntary 'giving' up of woman is equally prespoterous and shows Fellini's clear disgust with his kind. Dr. Zubercock celebrated his ten thousandth woman with a birthday type celebration, he 'captures' what he thinks is the essence of woman in a mausoleoum of orgasms, where all the conquered woman in his life have their sounds of sex recorded for posterity and possibly later pleasure. He's also a dirty old man though this implied, as one of the pictures in the gallery of orgasms appears to be little fat girl. A warning for men? No, more like an accusatory finger pointed at them. Fellini is especially hard on intellectualls, that is, the constant freudian symbolism and archetypes of woman portrayed as literal apparitions, is the fault of men who wish to categorize female stereotypes as a means of control through psychology and intellectual prowness on the male's part. This is of course ridiculous and Fellini swiftly topples man's tower down. Despite the film's scathing criticims towards men in general (has there ever been a film that dealt explicitly with men and women?), that is not to say it is great fun to watch. From the moment Snaporaz steps off the train to his downfall from the giant woman in the sky, the film's dream narrative never ends and gains momentum until it reaches the climactic circus, a common motif for Fellini. Special notice must be given to Marcello Mastroianni, who's befuddled and hapless Snaporaz works brilliantly in the face of his own paradoxes and impossibility of ever truly satisfying women. However much Fellini may exercise his control over the acting of EVERYONE (which is true, as he would often and deliberately work with no sound recording equipment so he could free up the camera as well as his shouting into the mic at actors, telling them what to do.) Marcello's personality seems to be directly connected to Fellini's sensibilities. That's not to say the other actors in Fellini's films are not as connected but that's a different story. What makes the New Yorker's DVD release a shame is that it is a horrendous transfer. It is relentelssly dull and too washed out. But the legendary Giuseppe Rotunno's photography still shines through. I can only wonder what it would look like if it had a proper restoration...then the film's clearly dreamlike, vibrant and atmospheric look would pop out. And the amazing Dante Ferretti makes the sets and production; gloriously theatrical and encompassing, the world he has created for Fellini is every bit as compelling as the people who inhaibt it, which is to say that every character is wacky and cartoonish, includgin Snaporaz. Giant windows with plam trees throwing themselves onto the glass, a hotel where banners of cracked eggs and pictures of beautiful women being married, a courtroom with hundreds of portraits of womanizers (including Fellini's own Casanova! played by Donald Sutherland. He can be seen quite clearly...) a circus where a band plays on a wild box car past dancing young girls, and, most spectaculary, the world's largest slide. Snaporaz finds a hole under his bed and discovers it to be a portal into a long, tongue like slide that floats in the air by rollercoaster like supports. Everything is lit up by what looks like thousand so lightbulbs and three old clowns sing a musical number to Snaporaz as he sails the way down, seeing all the woman of his childhood and life. It is a beautiful and brilliant moment that encapsulates the entire movie... But the ending retains Fellini's old sense of melancholy and spectacle, as Snaporaz floats away with his 'ideal' woman only to be shot down and awake back on the train, ala Wizard of Oz and Alice in Wonderland, except....does the dream/nightmare end? Has Snaporaz come to grips with his fallibities as man? Will he be able to accept his fantasies without guilt or is he simply resigned to the fact that he can never understand women? What is clear is this: Women don't need men. And that, Fellini says, is the greatest fear.

Panos T (gb) wrote: an interesting watch

Greg W (kr) wrote: the debut of fred & ginger though not the main characters they proceed to steal the show!

Aayushree N (it) wrote: OMG!!!Its AMAZING!!! !! I could not stop crying!!! I'm so proud of him......and also proud that I am a true BELIEBER!!!

Ville H (ru) wrote: viikingit-sarja parempaa

Rawballs B (kr) wrote: I'm not impressed.. sorry.. horror movie? I don't think so..

Ben S (es) wrote: A hard-nosed rancher (John Wayne) grabs a hunk of Texas for his spread then, after the civil war, starts a massive cattle drive to stave off bankruptcy. His choice of destination for the drive is Missouri but his adopted son (Montgomery Clift) favours Abilene, which leads to a feud and eventually mutiny. For most of the way this is a tense and brilliant western but it is let down badly by the ending, which is a real cop-out. Perhaps studios dictated there must be a happy endings even back then. John Wayne is terrific and Montgomery Clift, surprisingly, is no slouch as a cowboy, although he did keep reminding me of Ricky Nelson in Rio Bravo (not the other way around as I had seen Rio Bravo first).