Sword of Doom

Three years before The Wild Bunch(1969) and the same year as Django(1966) came a film called Dai-Bosatsu Toge/Sword of Doom(1966) which was one of first body count action dramas in 1966. Not only a terrific samurai film but also a terrifing portrait of a samurai warrior who's on the brink of madness. Tatsuya Nakadai gives one of his best performances that is surpassed only by his excellent performances in the following Kurosawa films, Kagemusha(1980) and Ran(1984). Sword of Doom(1966) contains elements that reminds me of Henry:Portrait of a Serial Killer(1986) because Ryunosuke also kills at random and is a very scary person. Toshiro Mifune is magnificent in his role as the wise samurai teacher, Shimada. The high body count ending would influences people like Sam Peckinpah and John Woo as well as the Lone Wolf and Cub films. Dai-Bosatsu Toge is about a lone samurai warrior who is unable to live outside of his sword. The cinematography is great and the story is very interesting. The film has some scenes of graphic violence that must have shocked Japanese audiences back in 1966. The film ends on an amazing body count blood bath battle that is ahead of its time. One of the most underrated Samurai pics of all time.

Imagine your favorite action movie, then take out all the cheesy one-liners ("Asta la vista, baby!"), the irritating sidekick, the love interest, the techno-porn, and the off-handed moralistic ending. Then add a Commando-league body count, incredible swordplay, and great photography, and you've got Sword of Doom. This is a wrenching, visceral drama about an antagonist armed not with a stolen nuclear device, but with the best sword-fighting skills in Japan and a psychopath's indifference to human life. Unlike other more recent movies that try to portray the same raw, killing-machine kind of character, Sword of Doom does not resort to grimy photography or an adolescent delight in visual assault. Instead you get pure, distilled, ultra-kinetic fighting suffused with a thrilling coldness.

Sword of doom is a truly great and original piece of film-making. As soon as the film had started, and the dark and eerie soundtrack kicked in, I knew I was about to enjoy a gem of japanese cinema. The most original element of the film is that the main character Ryunosuke is a real mean, killing machine, seriously, he is the lead in the film, but whereas in any other samurai/martial arts film he would normally turn up for a few scenes of mayhem, then turn up at the very end for a much deserved death. Well in this film the villain is the lead, Ryunosuke is such an interesting character, that days after watching this film you will find yourself thinking I wonder if... or what if that had happened. Sword of doom is one of those movies that just sticks in your head days after viewing time has ended. It doesn't even matter that the ending comes quite abruptly, that just let's the viewer imagine their own conclusion to the film. Sword of doom is without doubt the darkest and the most mysterious martial arts/samurai film that i've ever had the pleasure of viewing. The action scenes in the film are first rate too, with very believable sword duels. I put this film right up there with the very best that eastern cinema has to offer. 10/10

There is, of course, no question that the protagonist here is the handsome and insane Ryunosuke. And I can see that his insanity, alienation, and disassociation all come together in a climax of hallucination and compulsion. But there are things that I do not see. First, why is he insane? That is, what is his origin and the origin of his evil style of sword play? Second, why is there at least one very absorbing subplot which is developed and then dropped? I mean the romance between the "grand daughter" and Mifune's chief student and the tension regarding their welfare that builds up because of the plan of revenge? Is there some overriding master plan here; or some historical, cultural, etc. concept that I am missing?

"Sword of Doom" is an unusual film. Firstly, it is one of the most brilliantly photographed films I have ever seen, in composition, mise en scene, and the play of black and white.

Secondly, "Sword of Doom" is that rare film in which the aim of the director and the power of the lead mesh together to form an unforgettable portrayal.

Tatsuya Nakadai plays Ryunosuke, a skilled swordsman, who, from the opening moments of the film, proves also to be homicidally indifferent to human life. Ryunosuke is a strange and difficult character. His fighting style is passive, and he remains mostly uninvolved, both with the political turmoil surrounding him, and with his family - from his dying father, who fears the evil in him, to his lover (the wife of an opponent he kills) and his child. Nakadai's performance is magnetic, comparable to Montgomery Clift in it's singleminded, unyielding intensity.

While some of the subplots without Ryunosuke aren't quite as compelling, the ending is memorable and disturbing, and the direction will remind in some ways of Orson Wells.