Kedamono no ken

This early Hideo Gosha jidai-geki that was released by Criterion opens quite abruptly with a ronin named Gennosuke being hunted down for having killed his clan's counsellor. We're at 1857, on the brink of the Meiji reformation that saw Japan opening to the west after years of seclusion and the fall of the Tokugawa Shogunate. The central plot revolves around the struggle between the old and new in a country on the verge of change. Although short in duration (clocking in at 85 minutes), the story never lets up with numerous twists and a fast pace. A series of events will find Gennosuke and a prospector he meets along the way searching for gold in a mountain, until they get caught up in another clan's schemes. Nothing is what it seems though, and therein lies the beauty of Sword of the Beast. As the story progresses both forwards and backwards (with glimpses in Gennosuke's past in the form of flashbacks), the characters' motives are fully fleshed out and this provides the extra dramatic oomph that pushes Sword of the Beast above "merely OK" territory. Behind all the swordfighting (and there's enough of it to be enjoyed here, certainly not Lone Wolf and Cub though), Gosha has a story to communicate.

With beautiful natural exteriors photographed in stark black and white, confident directing from Gosha, very good swordfighting scenes from actors who know their trade and decent performances all around, Sword of the Beast should appeal to all jidai-geki fans. It's neither as monolithic and tragic as Masaki Kobayashi's work from the same time nor as lyrical as Kurosawa's, but it stands somewhere in the middle, stripped to the essentials with a focus on story and theme.

The plot of this film with all its brilliantly weaved in subplots, is as fresh as it was on release simply for its varied human emotions involved.It is brilliantly constructed plot for its masterful simplicity and coherence.I beg to differ with the previous review that the plot is complicated.It has been masterfully shot by Toshitada Tsuchiya.Though not as exclusively done in Hara Kiri, the issue of the insurmountable Samurai-pride is touched upon and exposed for its obvious conflict with human values and frailties.The universal theme of power-centers exploiting desperate individuals for its ends and expending with them once the latter serve out the former's purpose is explored in this film.The theme of the ever-resillient individuals faced with debilitating order and the need to escape the same to be free and alive is the principal theme of this film. Even in its length the film is just one and a half hours.It is so good one would wish it were longer!! This film is highly recommended for anyone interested in films, along with Samurai-drama fans and those who appreciate good cinematography. Definitely a classic.

This is Gosha's first or second movie he made in his carrer, after watching his other great movies like goyokin and tenchu, I said what the hell might as well get his other movies, this movie has an exeptional plot and has some great sword fights, especially in the abandoned hut, when the two main characters started going at it...

PS: his other movie that I really like was three outlaw samurai..

One of Gosha's earlier movies, it contains all the elements that made him a "chambara" director to be admired and emulated: Well-composed and thoughtful cinematography, a cynical view of authority (with certain implications for modern Japanese society), human drama, and OF COURSE, some excellent swordplay!

Certainly a solid and watchable samurai drama, both for "popcorn" and "cinema" appeal. I'd see Goyokin and/or Hitokiri first, but see this one next!

Gennosuke (Mikijiro Hira), a low-ranking samurai on the run from his own clan after killing a councillor teams up with a peasant to prospect gold on a mountain owned by the Shogunate where they face other poachers, bandits, and the samurai sent to avenge the dead councillor. The film reflects both the revisionist trend that was popular in the 1960s chambara films (as well as in their American counterpart, the 'western') and historical shifts in Japanese feudal society in the mid-1800s as Western influences spread. Gennosuke renounces the traditional strict codes of his class by participating in the murder of a samurai superior and then going on the run after finding out that he was simply a stooge in a local power struggle - to be used, betrayed, and abandoned. The asymmetry of hierarchical societies is a central theme, with absolute obedience expected from vassals while lords are free to be as capricious as they wish, owing neither loyalty nor honesty to those serving them. Typical of Hedeo Gosha's early films, 'Sword of Beast' paints a fairly bleak picture of human nature but ends on a relatively upbeat note (amidst the carnage) as the characters realise that loyalty and respect is earned, not inherited. The Criterion Collection version recently shown on TCM showcases the film's excellent cinematography and is nicely subtitled in English. Recommended.