Kedamono no ken

For all the classic jidaigeki to have ever been made that broached ponderous themes with epic storytelling and a mind for artistry, it's somewhat refreshing to see an instance that goes against that grain. 'Sword of the beast' is a fairly direct, no-frills samurai flick that launches us into the plot even as the opening credits flash on-screen, and scenes move as quickly as fugitive Gennosuke as blades clash. The story is compelling, the action exciting, and the production rich and satisfying, but this is a representation of the genre that's relatively reduced, or at least relatively streamlined. To some degree it may not be as perfectly striking and impressive as some of its brethren, but nevertheless we get exactly what we want, and it's well worth checking out.

The narrative is one of grossly unequal power structures and malfeasance, aspirations and daring, and cold determination as samurai Gennosuke, being pursued after killing a counselor, gets involved in a bid to take gold from a mountain claimed by higher authorities. Further information emerges as the length draws on, and in the meanwhile unexpectedly strong characterizations round out stark but surprisingly flavorful scene writing to sustain the vibrancy here. Plentiful violence ensues with fantastic stunts, fight choreography and effects, providing the bursts of invigoration we commonly anticipate of such pictures. And that latter phrase rather extends to most all elements, for though this declines the more grandiose propensities of much kindred fare, the filming locations are gorgeous, and the sets and costume design fetching and filled with detail. Gosha Hideo's direction is perhaps a tad brusque, yet purposefully so in keeping with the spirit of the proceedings, and the filmmaker ably summons the potency laid out in the screenplay he penned with Shiba Eizaburo.

Especially in being a bit straightforward in presentation and curt in tone, 'Sword of the beast' sometimes almost feels like a precursor to exploitation movies amidst the violence and sexuality. To this add a touch of the western as multiple parties show interest in the mountain and begin to converge there. All the same the plot bears enough complexity to be interesting, engaging, and rewarding on its own accord, and the film is otherwise sufficiently well made - including vivid cinematography, sharp editing, and nice flourishes of music - to make the viewing experience one that's very worthwhile. Moreover, the cast give fine performances befitting the harsh tenor, from foremost Hira Mikijiro, or Kato Takeshi, to those in supporting parts like Kimura Toshie, or Iwashita Shima. The sum total isn't a feature that is absolutely gripping, or demands viewership, yet meaningful themes and story beats adjoin the action and the otherwise excellence, and some moments are especially well done, including a climax that brings everything together with ugly clarity and impact.

Strictly speaking it may have some rough edges, but only ever by design, and there are no abject flaws here. How much one appreciates 'Sword of the beast' will come down to the style of storytelling and film-making that one favors, for while we do get tinges of the more august, measured mastery we routinely saw from the likes of Kurosawa Akira, Kobayashi Masaki, or Inagaki Hiroshi, mostly this title is inclined more toward pure, unadorned expression of everything we treasure in jidaigeki. If in any way it doesn't stand quite as tall as its peers, it's only as a matter of personal preference. For my part I find this to be overall superb, and if anything just not as powerful or profound as it might have been with a smidgen more finesse - although, for the level on which Gosha and his contemporaries operated, the distinction ultimately doesn't mean all that much. Scrutinize the minutiae as we may, what it comes down to is that 'Sword of the beast' is terrific, absorbing, and enjoyable, and whatever your impetus for watching, I'm pleased to give it my solid recommendation.

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.

As others have mentioned, this is a solid film about corruption among feudal samurai. The acting and cinematography are both good and the evolution in the characters throughout the film is solid. The action scenes, while not all too common, are very frenetic and gripping.

It is easy to see why this was a Criterion release. There are certainly a number of good samurai movies, but this one isn't like all the others. The title may easily be confused in English with "Sword of Doom" and the protagonist does look quite a bit like Tatsuya Nakadai, but these movies and their themes are completely different.

The movie also stayed with me after watching it. It left me thinking about cults, fraternities and clans. Individuals who dedicate themselves most selflessly to a cause or group, aren't they the easiest group members to sacrifice?

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!

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..