Customer Reviews

The Sword of Doom (The Criterion Collection)

5 star:		(45)
4 star:		(17)
3 star:		(11)
2 star:		(10)
1 star:		(3)

 

 

Sword of Doom is the best of the non Akira Kurosawa Samurai films. The action sequences are phenomonal, and the setting is so atmospheric and beautiful it leaves you entranced. The snow scene where our anti-hero meets with his kharmic opposite for the first time (Mifune Toshiro) has to be the most beautiful setting for a battle I have ever seen. The story is of a thoughtful swordsman who is evil, yet unlike so many other films where there is no character or depth to a villains evil we really get to know Ryunesuke. His Father comments that he is fascinated with evil and therefore he has sought it out and now it has overcome him. We later see examples of his swordstyle even affected by his soul. He kills people that ask to be killed without thinking twice, and all in all he is a complex swordsmen who can't necessarily be written off as just an evil person. The ending leaves you gasping for more, wich I am told exists you just have to read the books or speak fluent japanese to see the rest. A must see. I recommend it highly.

Thats the real name of this story. "Sword of Doom" was to be part one of a three part story. There are other versions of this story, but none have been subtitled into english yet. Basically, the story is about a swordsman who suffers from bad karma. Everything he does comes back to haunt him. He can't stop it and goes through fits of madness. If the story had continued further you would have seen him go blind in an explosion, become an even better swordsman, and continue to suffer more because he wants to see his son again. All of this is to convey the idea in Buddhism that "Life is Suffering". Most of the people that complain about the ending of the movie are clueless about the original book story, other filmed versions, and think that "Sword of Doom" is the complete story. It is not, because the sequels were never made.

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.

The complicated plot has several intersecting characters with the anit-hero at it's center as we follow his decention into bloody madness.

The b&w photography is masterful as well as the direction that never repeats a shot thusly keeping the eye always interested.

But it's the fantastic swordplay of the individual against groups
that keeps the viewers coming back for more. These are staged in a quiet forrest, a snow storm, and a burning building, making each one different. And each fight becomes bloodier as the villian becomes more insane. The ending is magnificent because it avoids the obvious conclusion and give us better than we were hoping for.

Even if you've never heard of Tatsuya Nakadai, you'll become a big fan of his after viewing this film. He gives a truely inspired(deranged) performance.

Because of the blood and flying limbs be careful who you view this film with. Even in b&w it's very bloody and the dying are vocal about it. An adult will see the style of it though and appreciate the staging of the swordplay.

But the movie is far more than the fights. It's a fancinating tale of intersecting characters that finally converge on each other, blending real historical people with fictional ones. It's only a shame that most people won't see this movie in a dark theater on a wide screen. I did many times and was always moved and excited as were the friends that I took to see it.

"The Sword of Doom" ("Dai-bosatsu Toge" or "Pass of the Great Bodhisattva ") is entirely unlike most films in the Samurai genre. Harder than most, crueler than most, and certainly more bloody than any other Samurai film from this time period, it is a difficult film to define and for some impossible to enjoy.

At first, the plot seems straight forward. An outcast Samurai, Ryunosuke enters into a match with Bunnojo Utsuki, upstanding member of the fencing school where Ryunosuke was expelled from. Defending himself from an illegal attack, Ryunosuke kills Bunnojo. Bunnojo's brother, Hyoma, vows revenge and begins to train himself to be strong enough to kill the powerful Ryunosuke. Into this revenge-motif there are added elements of the Shinsengumi army of Kyoto, and the Shogun loyalists, as well as a pair of women seeking to find their place in a dangerous world.

However, nothing else of "The Sword of Doom" is straight forward. Ryunosuke is a sociopath, an emotionless killer of almost-supernatural skills with his sword. His motivations are cloudy, and sheer momentum seems to be his driving force. It is easy to label him a villain, yet it cannot be denied that each of his kills are justified, and he himself does not seek death. Hyoma's vendetta against Ryunosuke is almost pathetic, as it is obvious he would only die in the challenge. He struggles to gain an advantage, but the outcome is never in doubt. Fencing school master Toranosuke Shimada (Mifune Toshiro) is a bridge between the two men, being the only one skillful enough to give Ryunosuke pause, he trains Hyoma. In the background are the political motivations of the Shogun-loyalists, whom hire Ryunoske to kill for them.

Tatsuya Nakadai is incredible as Ryunoske, a driven, intense performance. Nakadai is a veteren of many famous Samurai films, being the gunslinger in "Yojimbo" and the honorable Hanshiro Tsugumo in "Seppuku." Mifune is a stand-out as well, although his role is small. He exudes the necessary charisma to challenge Ryunoske.

An action film, a psychology play, an art film..."The Sword of Doom" could be considered any of these. Definitely a "Love it or Hate it" movie, with emphatic opinions on both sides, it is an important entry in the Samurai genre, and everyone should give themselves a chance to see in what camp they fall. As for me, I love it.

SWORD OF DOOM is one of the masterpieces of samurai, and action, cinema but certain aspects of it are difficult for non-Japanese audiences or viewers not familiar with the historical background of the subject.

Toshiro Mifune, who gives a fine performance as fencing master Toranosuke Shimada, once said in an interview, "We [the Japanese producers and filmmakers] know that many samurai films are shown outside of Japan, but we make no attempt to cater to that market." SWORD OF DOOM is a perfect example. It was made for Japanese audiences who are familiar with the original story which had been filmed and staged many times and was well-known. The Japanese audience is expected to be as familiar with the plot and historical details as an American audience watching a film about the Civil War or the Old West is expected to be.

Here are some plot points that may make the film a bit easier to understand for new viewers or for other viewers who previously watched it and got tripped up on some details. I know I did the first time I saw it theatrically. If you found the film difficult on the first viewing, give it another chance. And maybe these notes will help!

* In one scene, the main character Ryunosuke Tsukue changes his name to Yoshida after killing an opponent during a duel. The name change isn't explained in any detail. A subtitle simply identifies a sign outside his house as "Yoshida." Some characters now refer to him as Yoshida and others as Tsukue. Again, remember that Japanese audiences are probably familiar with the change.

* Tsukue first meets Shimada at his fencing school. Tsukue wants to challenge the student who won his match with "a splendid Do attack." This referrers to Kendo, the Japanese martial art of fencing. In Kendo, participants wear headgear and leather armor and fence with bamboo swords. Only certain areas on the body are legitimate striking points: the top of the head, the forearms, and the sides. When Tsukue defeats his opponent, Shimada says, "Men. He won." He's referring to a point scored, not addressing his students!

* In one scene, a title informs the viewer, "The Shinsen Group is formed!" The Shinsen Group (Shinsengumi) were a para-military group of swordsmen who vowed to protect the Tokugawa Shogunate which was losing its once vast power. Shinsengumi fought against anything that might weaken the Shogunate; including foreign influences and internal factions. The Shinsengumi have been portrayed many times in movies and TV shows. In some cases, they are portrayed as self-sacrificing patriots loyal to their country. In others, they are portrayed as a fascist military group killing anyone who opposes them or the Shogunate. Toshiro Mifune starred in and produced an excellent film about them called BAND OF ASSASSINS (SHINSENGUMI). Hopefully, AnimEigo will eventually release this.

* The final scene. What exactly happens? Does Tsukue kill dozens of men and then die? Does he survive to face the brother of the man he killed? Or is the entire battle only in his deranged mind? It's the last scenario. When Tsukue ran out of men to kill, his warped mind invented more. Of the three versions I've seen, (this version, a trilogy of films made in the 1950s by Tomu Uchida and another trilogy made in the 1960s by Kenji Misumi) this is the only version that doesn't explicitly show that Tsukue is imagining the final battle.

* What does happen to Tsukue? If you'd rather not find out, skip to the next paragraph. Tsukue is blinded during an explosion and becomes more of a sympatric figure. The avenging brother finally has a chance to settle with him during a violent storm. He hesitates to kill the nearly defenseless Tsukue. A flood washes Tsukue away to his death.

SWORD OF DOOM is a fantastic film to watch. The director, Kihachi Okamoto, was one of the most impressive visual stylists working in film. The final scene holds up beautifully today. The acting is excellent all around. Nakadai as Tsukue gives one of the screens best performances. Few actors could create such disturbingly nihilistic characters as Nakadai does in this performance. The character is a perfect contrast to Mifune's Shimada. Both are highly skilled swordsmen but Mifune knows that "an evil soul is an evil sword."

This is a very dark and nihilistic story from director Okamoto about an evil swordsman whose passion for the sword becomes an all-consuming desire to destroy anyone who challenges him or stands in his way. His character may seem puzzling at first to western audiences more acquainted with the more famous movies from Kurosawa, where samurai are portrayed more positively, but the writer (unfortunately his name escapes me) whose book the movie was based on regarded himself as a student of such western authors as Dostoyevski and Victor Hugo, and their well-known self-destructive and nihilistic anti-heroes no doubt influenced his portrayal of Ryunosuke. There are also Japanese legends of evil swords possessing their owners. But in Ryunosuke's case, there is no doubt that an evil mind wields an evil sword.

Ryunosuke's relationships with women are no better, and his dysfuctional marriage with his wife seems to concern him no more than all the hapless people he kills in the movie. His position there is a true swordsman should be true to his sword just as a woman would be to her chastity, and so he refuses to lose gracefully in a match to a friend's husband although it will mean ruin to him and his family if he loses. Ryunosuke, on the other hand, has nothing to lose since he holds no position with the local lord (although all the other swordsman realize they are no match for him).

The movie skillfully weaves together several plot lines, such as his quest to kill the last Utsugi brother, what will happen when he finally meets Mifune's senior student in a duel, or possibily even Mifune itself. But the movie takes an unpexpected turn at the very end, when the evil swordsman's karma finally comes back to haunt him (literally). I won't say anymore so as to avoid any spoilers, but the ending wasn't what I expected.

Interestingly, although Mifune and Nakadai are billed as the two top actors, you don't actually see Mifune until about halfway through the movie, where he's seen as the sword master presiding over some matches in his own school. He only really has one major scene, where he takes on several dozen swordsman in the snow, as Ryunosuke watches in awe--the first time he has ever seen another swordsman who was his equal or perhaps superior.

Also, the shots of the samurai dueling in the heavy snow are pretty cool. I don't know if they were actually shooting during the winter or if they used snow making machines, but some of the snowflakes are the size of postage stamps. So there are some nice atmospheric touches as well. And Nakadai's "drunken style" swordsmanship (well, not exactly, but you'll see what I mean) and acting at the very end of the movie are superb. In fact, when he's not out and about accomplishing evil, he spends a lot of his time staring vacantly off into space with a convincingly looney/evil expression on his face.

I actually enjoyed this movie in some ways more than the Kurosawa movies with Mifune. It's definitely done in a different style, and if you're a fan of samurai movies or of Japanese film, you'll probably want to see this one just because of how different it is from the other directors such as Kurosawa, Inagaki, and so on.

this film is a classic. the entire aesthetic of the film reminds me of the classic brooding dark film noirs of the forties and fifties. the antagonist of the film is doomed from the start, his evil ways eventually end up being his undoing, but not before tallying up a huge body count. sword of doom is definately a must see for samurai and film noir fans alike.

This movie was much better than I had expected, and have to say that it is one of the better movies that I've seen, and certainly one of the best of the samurai genre. Tatsuya Nakadai was excellent as the the samurai Ryunosuke, whose decent towards evil is the central focus of the story. Interwoven are several interesting subplots, making for a complex and engaging film. Mifune's role is minor, but far from insignificant. Cinematography was great and the action sequences were fantastic. If you are a fan of samurai films, or Japanese films in general, this is one that you must see.

When I first came to Los Angeles, there were five Japanese language theaters in town. With my friends, I visited all of them on a regular basis. I fell in love with the first rank directors such as Kurosawa, Ozu, and Mizoguchi; but trailing not far behind them were other greats such as Kihachi Okamato (SWORD OF DOOM), Masaki Kobayashi (HARAKIRI), Kazuo Ikehiro (the Kyoshiro Nemuri samurai films from Daiei), Hiroshi Inagaki (the SAMURAI trilogy), and others.

Okamoto was one of the best directors of action samurai films; and SWORD OF DOOM is one of his best films. Tatsuya Nakadai stars as an evil samurai who is seemingly invincible, the sole master of a sword fighting style that runs counter-intuitive to all the existing styles of his day. Toshiro Mifune has a small role as the master of a sword-fighting school who tries to counter Nakadai's baneful influence during the last days of the Tokugawa Shogunate.

The unique contribution to this film is the notion that evil destroys itself from within. In the last scene, Nakadai and some of his henchmen are at a geisha house. Overcome with drink, Nakadai sees the ghosts of his victims and runs amok trying to attack them. I won't say what happens, because I would hate to ruin the ending for you.

If you like the classical samurai films of the 1960s, this one is a must for you. The wide-screen letterbox print is nothing short of superb. A must see!