Dai-bosatsu tôge

Imagine Nakadai's murderous Onosuke from Yojimbo; then raise the level of his single-minded purpose an order of magnitude to the fated dancer of The Red Shoes and you get a vague idea of Ryunosuke, a psychopathic samuari hunted by the righteous and villainous alike. Hiroshi Murai's gritty B& W photography is awesome; and the choreography and staging of the swordfighting sequences are far and away the most rivetting I've ever seen (and I think I've seen most of them) -- not romantically stylized as in Inagaki's Samurai Trilogy -- something like the subtlety of Kurosawa meets the textured action of John Woo. The characters are intense and memorable. The final freeze frame may put you in mind of Butch Cassidy. You'll never forget it.

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?

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.

A classic Samurai picture that is as confusing as it is violent. Ryunosuke Tsukue is the main character, a Samurai with a dark and merciless nature. You might even call him evil. The path he takes (with multiple subplots that don't always seem to be resolved) leads him to madness. The confusing aspects may be due to the fact that there were supposed to be sequels, as well as the fact that the story was a famous one in Japan and hence, certain parts were to be assumed by that audience. Nonetheless, it was still a fairly compelling watch, especially with the action, a precursor to the violence in such films as the excellent Lone Wolf and Cub series. Hands and fingers are cut off, blood is shed, and the climatic ending features a body count along the lines of The House of Blue Leaves!

Here, in one of Nakadai's best performances, he plays a young, seemingly evil Samurai who lives by his own moral code. He ruthlessly slays anyone who he thinks should die, and it's hard to say whether his killings are unjust or deserved, even though his actions might seem despicable at first. For example, in the beginning of the film, he encounters an ageing pilgrim praying for a quick death. Upon hearing this, Nadakai's character kills him in one swift move. This scene sets the tone for the rest of the movie.

Nakadai's fighting style echo's his attitude to an extent, it's an ultra defensive style in which he never strikes the first blow. In an iconic scene later on in the film, Mifune's older and wiser samurai tells Nakadai, "The sword is the soul. Study the soul to know the sword. Evil mind, evil sword." In Japanese culture, the sword and style of a samurai could be seen as a window to his soul and "Sword of Doom" beautifully yet brutally echoes this sentiment. In the penultimate scene of the film, Nakadai's samurai is haunted by his past actions and starts to hallucinate, he is clearly a broken man and regrets some of his actions.

The ending of the film is surely a controversial one but I personally loved it. Nothing is resolved, apparently there were sequels planned but they never came to light for one reason or another. Nevertheless, it didn't take away anything from the film and for me it actually added to the mystique and moral ambiguity of Nakadai's character.

Impeccably shot and beautifully choreographed, the film is a feast for the eyes. Nakadai's performance as a self destructive samurai was highly intense and full of emotion, his shift in character alone was astonishing and really displayed Nakadai's talent as a versatile actor. Mifune is also in the film and has his fair share of excellent scenes and lines. In summary, an excellent film that I'd recommend to anyone with a remote interest in Samurai movies.