Director Kihachi Okamoto (KILL!, ZATOICHI MEETS YOJIMBO) creates a stylish samurai tale that stands out due to its central character who would be a villain in any other film. One could compare it to other samurai films, but better comparisons would be TAXI DRIVER, HENRY: PORTRAIT OF A SERIAL KILLER or DAHMER.
Ryunosuke Tsukue (Tatsuya Nakadai, RAN) is a sociopath. Making things worse for everyone else is that he’s the best samurai around. Our introduction to him is him cold bloodily murdering an old man (Kamatari Fujiwara, KAGEMUSHA) as he prays. Subsequently the old man’s granddaughter Omatsu (Yoko Naito, RED BEARD) is adopted by the thief Shichibei (Ko Nishimura, LADY SNOWBLOOD), who has her stay with a mean flower arranger.
Meanwhile, Ryunosuke is set to spar with Bunnojo (Ichiro Nakaya, YOJIMBO), but everyone knows that Ryunosuke will win easily, disgracing Bunnojo. So Bunnojo’s wife Ohama (Michiyo Aratama, KWAIDAN) gives herself to Ryunosuke for the promise that he will let her husband win. Ryunosuke takes her offer, but doesn’t live up to his end of the deal, killing Bunnojo. Left with nothing, Ohama grovels at the feet of Ryunosuke to take her as his so she can survive.
When he’s not drunk, Ryunosuke works as a samurai for hire for a clan with mutiny brewing within. Secretly, Bunnojo’s brother Hyoma (Yuzo Kayama, RED BEARD) trains with the sword master Toranosuke Shimada (Toshiro Mifune, SEVEN SAMURAI). As the story progresses, Hyoma and Omatsu’s paths will cross, kindling a romance.
The film weaves three plotlines together, however its main focus is Ryunosuke Tsukue, played masterfully by Tatsuya. His cold detachment is haunting, however from time to time we get subtle glimpses that he is ashamed and tormented. He is motivated by the desire to be the best swordsmen alive. He seems to believe that his cruelty and unconventional style is the only way to achieve this legendary status. His internal conflict is never more evident than in the scene where the noble Shimada fights his attackers in the snow.
The film seems to be building to a conventional showdown, but it really does surprise us with its conclusion. Some will find it disappointing or unsatisfying, but in connection with the film’s themes and moral, it’s a perfect conclusion to encapsulate the tortured soul of the main character.
Okamoto has a unique style that influenced the work of Sergio Leone and Sam Peckinpah. The stark black & white cinematography and viciously choreographed fight sequences are highlights. One of the fight sequences reminded me greatly of a key fight in Chan-wook Park’s OLDBOY. Okamoto is a truly underrated director, whose accomplishments are newly being recognized via the recent release of several of his films on DVD from Criterion. THE SWORD OF DOOM feels right in place with many of the anti-hero tales of the 1960s, but also feels contemporary for having influenced the visual style of many contemporary filmmakers.
Rick DeMott
Animation World Network
Creator of Rick's Flicks Picks
