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.

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.

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. And to me, and people I've seen it with, what comes after the ending, is obvious. Even if you've never heard of Tatsuya Nakadai, you'll become a big fan of his after viewing this film. He gives a truly inspired(deranged) performance. Because of the blood and flying limbs be careful who you view this film with. 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. The Shinzen gang, lead by Kondo Isami and Kamo Serizaw are historical people, as is what they did to each other. Toshiro Mifune's character is based on an actual swordsman, as well. This movie and Three Outlaw Samurai played seperatly twice a year, for a week, for 15 years, in San Francisco's Japan Town theater, always to a packed house.

I really liked this movie. The main character is fascinating to watch (even though the film is in b&w and I had to read the subtitles). On the surface he appears to be detached and vacant, but his eyes speak volumes! Ever so subtlely, as the film progresses, you can see his eyes change and become ever so slightly more crazed and sad (to the credit of the actor). It's a great character study! Overall, beyond just the main character, the film itself is fascinating to watch (again, even though it's in b&w). The director makes incredible use of imagery to bolster whatever is going on in the story at any particular moment. The entire film was very watchable and engaging. The film is violent, but this is the nature of the subject matter. By today's standards of film making, the violence is not exceptional. Other reviewers have commented about what appeared to be a disjointed ending to the film. For me, the ending worked. What on the surface may have seemed to be loose ends, on a deeper level I think were irrelevancies to the main character as he progressed in his madness and different events unfolded (such as his witnessing the fight, and victory, by the lone swordfighting teacher against the band of well-armed and skilled samurai). At a minimum, these apparent loose ends present some interesting thoughts to ponder about the internal state of the main character (of course, I could just be overintepreting). Nevertheless, if you like deep character studies, I suggest you give this film a try!

I have been beefing up my DVD collection lately, trying to see some non samurai japanese flicks and this popped on as a recommendation. I bought it on a whim and now Kihachi Okamoto's SWORD OF DOOM is easily in my top ten favorite movies. Besides the subject matter of samurai which is usually just fun with swords, this movie has an amazing plot with many interesting layers and a little bit of insight into the turmoil that japan was going through when trying to end the Shogunate. A warning I would give is to be prepared for, with only one exeption I can think of, some very unsympathetic characters. For me it was one of he refreshing things about the movie was that the characters had naive,idealistic,selfish or sometiimes pyschopathic motivations. Very human and easy to understand but not to accept. The performances are fantastic and the cinematography is so incredible that I often forgot it was 40 years old. if you area fan of samurai movie or just looking for a new classic for your collection buy this movie.

The story of excellence and how few actually achieve it or can handle it. Perfect Sigma experience.

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.

A must see if you're a samurai movie fan. toshiro mifune at his best too

I’m a big fan of samurai films and am slowly procuring a collection over time, this is currently one of my favourites as the focus character is such a harrowing and villainous individual with no redeemable qualities, it makes for a fun spin on who we focus on in a film.

No tiene subtítulos en español, si en alemán, pero la imagen se ve perfecta. Format ratio: 2.35:1 (16:9) Sonido: Japones DD 2.0 120 minutos.

Il grande Tatsuya Nakadai interpreta in questo film uno spadaccino che incarna l'essenza del male assoluto. Quasi Dostojevskiano. 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.

Pretty incredible

期待を裏切らない高画質でとても満足です。さすがクライテリオンと言わざる負えない。 冷酷非道な机竜之助演じる仲代達矢の鬼気迫る演技に圧倒されます。あの表情をくっきりとした画質で見るとホントゾッとする。 内容は原作のさわりの部分を映画化したもので、あの賛否両論のラストは本来続編を制作する予定だったのを急遽単発に変更した結果、あの終わり方らしい。そもそも原作も未完だから終わりようがないのだが。伏線を回収することなく、物語は一種の怪奇映画の様な結末に向かいます。 しかし映画としては傑作であり、パッケージにもなってる殺陣シーンは屈指の名場面でしょう。 なぜ大菩薩峠がクライテリオンBDに？と思ったが、どうやら海外に根強いファンがいるらしい。マニアックだなぁ。 まぁそういう海外のファンのおかげで未BD化の日本映画をクライテリオン版で視聴できるのだ。ありがとうございます。 この調子で日本映画も続々リリースして下さいね。