Today I watched an old movie ".Miyamoto MusashiThe Epilogue Duel Iwarujima is also known as "Miyamoto Musashi: Duel on Ganryu Island", directed by Hiroshi Inagaki and starring: Toshiro Mifune, Koji Tsuruta, Kaoru Yachigusa, Jasmine Okada, Joe Shimura. Filmed on January 3, 1956, the 105-minute film depicts the sword duel between Miyamoto Musashi and Kojiro Sasaki on Iwanryu Island.
Why do I always delete my content?
Truly lethal kills are done in just 5 seconds:
The result of the kill is confirmed within one minute:
and the declaration of the daimyo behind Sasaki: "Mr. Musashi, it's so wonderful".
From 1:42:06 to 1:42:11, the film takes less than five seconds to depict the life-and-death duel between two of Japan's top swordsmen in the 17th century. Extended to 1:39:08, Musashi boarded a wooden boat to go to Iwanuryu Island for a duel, while Sasaki was released by Musashi on Iwayujima for two hours from noon.
And this matchup was decided a year earlier. The picture above shows the deeds of Musashi, after setting a one-year offer for a duel with Sasaki, by clamping flies, and the unruly gang boss on the way to surrender without blood.
The movie took nearly 20 minutes to pave the way for the appearance of two swordsmen, among which Kojiro Sasaki killed four swordsmen of the Yuka Kendo Club. Out of righteousness, Musashi collected the bodies of four members of the Yuka Kendo Club, but was rejected by the president of the Kendo Club: "Those who were defeated by Sasaki were not skilled in learning and were not qualified to be members of the Kendo Club." So Musashi gave a funeral to four samurai who died innocently, and met Sasaki, who was fighting against him. For the first time, Musashi turned down Sasaki on the grounds that the fight would be seen as Musashi playing for the Ooka Kendo Club. Apparently this reason was endorsed by Sasaki.
Then, the decisive battle at the gates of the city the next day was once again pushed off by Musashi, as he needed a more solid victory. So I started a one-year spiritual path. In this year's time, Sasaki successfully became Hosokawa Daimyo's teacher, which can be described as a success. Musashi, on the other hand, devoted himself to farming in the countryside and working shirtless in the fields. From the perspective of today's people, Musashi's choice can be described as a failure in life, but it is the precipitation of this year that finally achieves the fatal five-second showdown at the end of the movie. There are countless possibilities in life, but until the final moment, no one can judge the pros and cons of each choice.
Threesome, it must have my teacher. Choose those who are good and follow them, and change those who are not good. The words of the Analects of Confucius recorded Confucius's self-evaluation, and later generations believed that Confucius's educational ideas and learning attitudes were proposed. The choice of the 1956 Japanese film "Miyamoto Musashi" was not intentional, but the seemingly slow-burning style of this film makes people closer to the era of Xiao Kill of the Golden Iron Horse. Although the real duel is only a short five seconds, the momentum paved for the realization of this bloody five seconds makes every frame of the foreshadowing of the first nearly 100 minutes real.
If we know that at some point in the future, our life will only shine for a short moment, then is it worth spending a year on the practice? There are a thousand interpretations of this question from a thousand people, but the ending of the movie actually shows the attitude of the filmmaker.
Miyamoto Musashi's "Book of Five Wheels" is hailed in Japan as a masterpiece of the art of war on a par with the "Art of War" in the East, and the whole book uses five volumes of "earth (general theory), water (swordsmanship), fire (practice), wind (genre), and air (forgetting)" to arrange Musashi's art of war system. Among them, the entry of the empty realm into the inside and out of the outside, the integration of the oriental Zen realm into the military path, is more reminiscent of Mr. Jin Yong's "Heaven and Dragon Slayer" Zhang Sanfeng taught Zhang Wuji Taijiquan when he forgot the realm. This metaphor is not to promote the art of war, in fact, throughout the "Book of Five Wheels", the cultivation process of the Japanese samurai spirit during the period, the character "righteousness" was made into a shackle that constrained the growth of the samurai spirit, and it was precisely because it was full of ideological shackles unique to that era, so the samurai spirit that grew up later was full of ominous and violent atmosphere.
Why is Miyamoto Musashi's Iwaliujima viewing attached to the position of "national studies". In fact, what I value is the slow heat and the very different atmosphere of the times shown in this film, the film director Hiroshi Inagaki was born in 1905, a famous film director of the Showa era in Japan, and also witnessed the tragedy of the century. In 1955, he won the Academy Award for Best Foreign Language Film for "Miyamoto Musashi". Although this movie is just an interpretation of a historical figure, it extends the wolf spirit of that era that dared to fight in the sky and the earth in another dimension. And what is valuable is not the wolf nature itself, but the frustration and struggle behind this wolf nature. If we stand in today's isolated perspective, the wolf nature in modern management is highly respected by academics. But it was the frustration of that era who could personally verify the final destruction and rebirth of the so-called wolf nature.
Obviously, in hindsight, we can regard Sasaki's disdain for the Yuka samurai as a wolf, as a wolf in order to cling to the powerful, and even more so as a wolf in the presence of ambushes on Iwayu Island, but it is a samurai spirit of simplicity and humility that carries out the middle way to the end, and finally becomes the victor of the battle. Therefore, this is a reflection from those who once failed, and it is also a historical rumination of a nation once known for its wolf nature, and its obsession with social ideals on the basis of facts.
Today, through this duel, we can profoundly observe the role of the spirit of "Tao" in determining the success or failure of the development of things. From Musashi's refusal to fight a duel on the grounds of justification, a choice of justice has become the only tension that runs through the entire development of the film. It is in the process of judging the positive and negative choices step by step that the audience gradually binds their expectations of justice to the fate of the movie characters, and after the final five seconds of slashing, they get a sense of relief.
So, where does the Tao come from? The Tao exists in all aspects of life, even in the other side of the ocean, there are still traces of the unyielding existence of the Tao. And this attitude of mentoring always depends on the depth of our own understanding of the Tao, whether it comes from our opponents or our greatest fear of the unknown. Please watch the fireworks