Le Sabre de la bête

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.

There are many films set in the feudal period of Japan that can be read as commentary on contemporary Japanese life. Here a couple of well-meaning and excellent sword-fighters are used by their superiors to further selfish agendas. The "beast" of the title is not a crazy samurai but rather the noble hero who is forced by treachery to forgo his social connections and travel from place to place like a roaming beast.

As western values permeate Japan, the conflict between the individual, as personified by the wandering noble ronin who gives up attempting to reconnect with normalcy (or in American cinema, the western hero who rises above social norm and becomes an ideal to attain), and the good samurai who upholds social stability to the detriment of his own needs (no real American equivalent) found itself expressed in period Japanese films. Many Japanese films of the 1960's and 70's feature characters who reject old fashioned values in the name of justice, yet suffer and never really are able to enjoy their good deeds. This film is set in the time after Commander Perry's ships essentially invaded Japanese territory and threw Japanese society for a spin.

Well-made, good acting and a solid directorial effort makes this a good samurai film even if the repeated flash-backs might be confusing. Unfortunately there are some excellent films that cover this topic already so this particular film seems unremarkable by comparison.

Good film and recommended.

The film begins with a group of VERY determined samurai chasing another one in an attempt to kill him. You really don't know why, but it seems they've been chasing him for a long time. I really like the story-telling method where only slowly is the reason for this and other sub-plots revealed AFTER the major action has introduced the characters. While this could have made the film confusing, it didn't drag this mystery on for too long and ultimately created quite a tale. I particularly liked the overall theme of the meaninglessness of the corrupt samurai system--this could make the film a "downer" for some, but I really liked how it was a rebuttal to the myth of the beauty and elegance of the code of the warrior (much like the myth in Western society of knighthood and chivalry).

There were quite a few films made in Japan about the corruptness of the Japanese feudal system (such as THE 47 RONIN and SAMURAI SPY), so the overall focus of this anti-samurai film isn't that unusual. However, for fans of this genre, the film has good acting, writing and direction--so it certainly is recommended. It's just that there are other even better Japanese films that are worth seeing first.

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!

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.