The Sword of Doom [Blu-ray]

The actions of a man can describe the man's true identity, as the identity of righteousness and moral character are a reflection of a man's actions. Bushido expresses honor before living, which was the way of the samurai. This honor seemed to fade away, as large numbers of samurai without masters accrued in cities and other locations around Japan during the 1860s. At the end of the shogunate in 1868, which also changed the importance of the samurai in the Japanese society, warfare began a drastic change from swords to guns and cannons. The end of samurai also indicated an end to bushido, which lead many samurai into a more corrupt lifestyle where honor no longer had the same meaning.Sword of Doom opens in the spring of 1860 where a young woman and her grandfather climb a mountain pass where the grandfather is ruthlessly murdered without any apparent reason by the film's antihero, Ryunosuke Tsukue (Tatsuya Nakadai). Ryunosuke is the symbolic embodiment of the unification of steel and man, as it often was taught by sword masters that one must become one with the sword in order to reach perfection. When Ryunosuke callously let his sword fall over the girl's grandfather a small bell falls on the rocks, which unsettles him. However, it seems to be the last time that Ryunosuke will show emotion.Later in the story the audience gets to meet the sword master and teacher Toranosuke Shimada (Toshirô Mifune) who suggests, "The sword is the soul. Study the soul to know the sword. Evil mind, evil sword." Fundamentally, Toranosuke points out the old way of the samurai where the samurai is one with the sword, as the sword is only an extension of the samurai. Thus, if the man is evil then the sword does evil. It also implies that the sword is as guilty as the samurai Further interpretations of Toranosuke's statement could suggest that substantial responsibility and honor come with carrying a sword, as one carries life at the end of the sword. Toranosuke embraces the values of Bushido as he teaches his student the way of the samurai through fencing.A more contemporary notion suggests that the mind guides the sword to its target, as the sword is cold, distant, and without judgment. Nonetheless, the sword and other weapons continue to reap new victims such as the grandfather in the beginning of the film. Ryunosuke's fencing technique, which many do not recognize as the samurai are all of the old and traditional ways, appears cold, strange, and uncanny to those who see him fight, as they wonder where the source of his technique originates. This brings the notion to the beginning of the film where Ryunosuke kills the grandfather, which seems to be the moment when he perfects his fencing style, a style that seems detached, callous, and without empathy, which seems to be derived from the sword itself. The story develops this idea even further by displaying Ryunosuke as a calculated and unsympathetic sociopath.After Ryunosuke returns from the mountain pass he is to fight in a sword contest the following day against Bunnojo Utsuki (Ichirô Nakaya). Bunnojo's wife, Hama (Michiyo Aratama), visits with Ryunosuke in order to convince him that her husband must win in order to save her family's face. This meeting leads Hama to face Ryunosuke's coldhearted personality, as he demands her to offer herself to him. After much contemplation Hama visits Ryunosuke in a mill during the night before his sword contest. In the morning Hama is approached by Bunnojo who tells her that he has announced their divorce earlier the same morning, as he knows about what she had done. Anger and pride consume Bunnojo who decides to kill Ryunosuke in the sword contest as payment for his insolence. However, Bunnojo has no chance against Ryunosuke's strange and distant fencing style.The story continues to surround Ryunosuke who goes into hiding with Hama, as he continues to lend out his sword to those who are willing to pay. It leads the audience into a downward spiraling tale in which the audience can sense the outcome of Ryunosuke's life. Nonetheless, it is never certain what will happen as director Kihachi Okamoto continues to darken the atmosphere while the tale unfolds. Death is dealt without consideration to whomever he is told to slay, as he stares down the eyes of those who gradually sink to the ground with a deep and deadly cut in their flesh.In the backdrop of Ryunosuke there is a samurai uprising that he seems to be involved in while the brother of Bunnojo intends to seek an honorable revenge by killing him. The young woman who found her grandfather dead in the mountain pass enters the story, as the past seems to catch up with Ryunosuke. These elements are tied together through Ryunosuke's existence, as he continues to kill for the highest payer. The continuation of Ryunosuke ruthlessness encourages the audience to think that his destiny must eventually catch up with him and make a full circle. Lastly, Ryunosuke seems to be a personification of the shogunate, which we know died at the end of the 1860s.Sword of Doom is a marvelously framed film with several intriguing shots that show a meticulous eye for details. Many of the scenes have wonderful mise-en-scene that elevates the authenticity of the story, which is brought together with a well-performing cast. The contrasts between Tatsuya Nakadai's character Ryunosuke and Toshirô Mifune's performance as Toranosuke visually bring out the different personalities in these two characters. It is essential to see this contrast, as it provides an insightful view into how different these two are while being very much the same. Much of the film's chemistry rests on these two characters, even though Toshirô Mifune is used sparsely throughout the film. The unfolding Sword of Doom brings the audience a violent cinematic experience, which offers a historical tale with depth and reflection.

I caught the last quarter years ago on tv and did a search and this came up as a possibility I had it saved for a while and finally rented it Memorial Day weekend And this was It glad I watched

Classic. Way back in 1982 I had a great running conversation with a Japanese Zen priest when I was in college, (I was at the know-it-all age of 19 at the time), on the subject of great Japanese samurai movies. We were fellow students in the same introduction to philosophy class taught by a great professor who believed in dialectic as a way of learning about an introduction to philosophy. He would just talk about a different subject each class and let the students debate, then at the end of class he would write down a list of suggested writers and philosophers for continued study. Even at the tender young age of 19 I had read most of Vonnegut, several books on Existentialism, works by Carl Sagan, Dostoevsky, Tolstoy, Steinbeck...and I felt like I could debate any philosophical sophistry with the best of the class. One day in class a debate arose in class with this old seasoned 50 year old Japanese Zen priest taking the lead in the discussion as to the greatest samurai movie ever made. Of course I said Seven Samurai was the greatest but he insisted that the title should go to The Sword of Doom. He claimed Seven Samurai was more of a movie emphasizing Western values and that it was anti-hero in The Sword of Doom which showed the perfect Zen conundrum of the individual floating in the absurd void which is existence. An individual devoid of moral judgement who was Part Nietzsche Superman, part existential nihilist and 100% Zen anti-hero. Heck, today I saw it again for the third time and get it; Yes, it took me 31 years to understand what that old bouzu talking about.

This was my first time seeing a Kihachi Hokamoto film. I love Kurosawa films and anything with Toshiro Mifune, so I picked this up. The story is fragmented and kind of sad. Ryunosuke, the protagonist, is not a hero like in most samurai epics. He's a gifted swordsman cursed by his skill and pride. He keeps getting into situations where he has to kill people. First, his family wants him to lose a sparing duel to a fencing school trainer who is heir apparent to the school so that the status quo can continue. He not only wins, but he sleeps with the guy's wife and kills him in the non-lethal match. After that, things get worse as honor throws more and more people after him...but he's too good, and kills them all. Toshiro Mifune's part is tertiary, and he only has 3-4 scenes. He is the honorable type counter to Ryunosuke's tortured ronin. The special feature explains that this was supposed to be a multi-part story, based on a serial ...but, it just ends abruptly and was never returned to. Great build-up, lots of tension and good scenes...then it just ends with no closure. It's interesting, as a case study in Japanese film making from the 1950's, and the samurai epics...but it leaves you a bit frustrated.

Disappointing ending. Good Samurai movie but ending seemed enigmatic.

Fue un regalo, el cual le agrado.

For years, I had in my library a copy of Kihachi Okamoto’s The Sword of Doom. A Samurai movie starring Tatsuya Nakadai; alongside Toshiro Mifune who offers a couple of great scenes in this film.So during this Covid period where I want to enjoy daily a new movie, I took out my Blu-Ray from the excellent Criterion collection and watched it last Summer.A viewing experience I adored enormously and plan to enjoy again this year. Based on Kaizan Nakazato’s unfinished novel titled the same name like this movie, Kihaichi Okamoto’s adaptation is a wonderful piece of Samurai storytelling. Amidst an atmosphere of oppression, nightmare, and madness.Here, the story of Ryonosuke Tsukue, a disturbing samurai with the pathological traits of a psychopath. Heartless, cruel and emotionless, the warrior lives his life while destroying others. First, a Buddhist Pilgrim whose path he met while travelling a mountain road, then an opponent during a fencing competition, alongside the wife of that same opponent whom he assaulted and mistreats daily while married with her. So the movie is another exploration of the life Samurai culture. Through the frightening angle of a disturbing warrior. Someone whose use of the blade twisted his soul. And whose life poisons others living around him.A madness superbly portrayed in Tatsuya Nakadai’s performance. Whom I discovered thanks to Akira Kurosawa’s movies. Displaying here a frightening individual who remains unpredictable and yet so powerful. Alongside him, we have also Toshiro Mifune, in the role of Toranosuke Shimada. A samurai master whose skills terrify Ryonosuke. Especially in a lethal showdown between Shimada and some assassins. In that fight, Mifune blazes through his stunt scenes with his swift Katana, with the same speed he showed during Akira Kurosawa’s movies Yojimbo, Sanjuro, and The Seven Samurai.On the acting side, it is amazing how Mifune and Nakadai worked together in several movies. Many of them for Kurosawa, then in this one. Together, their performances are always memorable. And in this movie, Kihachi Okamoto’s direction enhances their work and the story so much.Indeed, through Hiroshi Murai’s cinematography and Masaru Sato’s music, we are given the beauty of a historical past, but also the psychological descent into madness of a scary samurai. Which the soundtrack and chapter divisions emphasize as well. Nice initiative as these elements set us up into an ambience. Of horror, oppression, and of psychological violence that awaits to erupt and shatter all those that get caught in its path. And in the camera work, amazing close ups of the actors, alongside sublime light techniques to depict the nightmare in this story.As for the sword fights, their choreographies are astonishing. Some of the most impressive scenes I ever saw in a Samurai movie. As they are rendered in Black and White, their goriness is more passable than if it had been filmed in colour. Still, the motion picture we obtain remains dazzling and bathes in a schizophrenic frenzy that reaches hysterical heights in the finale. One of the most vertiginous resolutions I have ever seen. So open to interpretations that we don’t know if the event happens around him or if it isn’t in his head. Though from what I read from other viewers, the events do occur around him. Nevertheless, they capture well the insanity surrounding that man and the obsession in his weapon.Real shame they didn’t get to do a sequel as I felt there was a potential to that. Nevertheless, this stand-alone movie offers a marvellous psychological horror adventure. Into a frightening character corrupted by the soul of his katana.In sum, Sword of Doom is a must to see if you enjoy period and horror dramas.

Il grande Tatsuya Nakadai interpreta in questo film uno spadaccino che incarna l'essenza del male assoluto. QuasiDostojevskiano. Splendida fotografia in bianco e nero sempre tesa a catturare gli aspetti psicologici dei personaggi. Okamoto é un regista poco conosciuto ma molto capace. L'edizione della Criterion in blu ray é perfetta ed é arricchita da un commento audio del critico Stephen Prince che analizza molto bene le scene del film, specialmente quella dell'enigmatico finale.

Obra maestra, como siempre la actuación de Tatsuya Nakadai brillante y perfecta.

This film is a study of how a great talent, in a body whose controlling mind lacks an equivalent moral and social power of judgement, can get sucked into a downward spiral of evil.The contrasting characters show there is a choice.This is clear especially in a superb fight in the snow in which an assassination attempt against Shimada Toranosuke (Toshiro Mifune) goes wrong because of the latter’s immense moral courage, that underpins his superb swordsmanship.The wide range of worries that surround the evil central character - social, personal, national, professional, of clan and family, point up the complex resonance of this superb film.It is full of arresting images and sequences; but it is not about them, but concerns a deeper range of social and psychological issues.