Jun 07 2010
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Sword of Doom is the best of the non Akira Kurosawa Samurai films. The action sequences are phenomonal, and the setting is so atmospheric and glorious it leaves you entranced. The snow scene where our anti-hero meets with his kharmic opposite for the first time (Mifune Toshiro) has to be the most glowing setting for a battle I have ever seen. The anecdote is of a thoughtful swordsman who is snide, yet unlike so many other films where there is no character or depth to a villains scandalous we really find to know Ryunesuke. His Father comments that he is fascinated with harmful and therefore he has sought it out and now it has overcome him. We later explore examples of his swordstyle even affected by his soul. He kills people that ask to be killed without thinking twice, and all in all he is a complex swordsmen who can’t necessarily be written off as objective an atrocious person. The ending leaves you gasping for more, wich I am told exists you impartial have to read the books or teach fluent japanese to ogle the rest. A must peruse. I recommend it highly.
The actions of a man can represent the man’s accurate identity, as the identity of righteousness and proper character are a reflection of a man’s actions. Bushido expresses honor before living, which was the arrangement of the samurai. This honor seemed to proceed away, as spacious numbers of samurai without masters accrued in cities and other locations around Japan during the 1860s. At the kill of the shogunate in 1868, which also changed the importance of the samurai in the Japanese society, warfare began a drastic change from swords to guns and cannons. The waste of samurai also indicated an raze to bushido, which lead many samurai into a more outrageous lifestyle where honor no longer had the same meaning.
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Sword of Doom opens in the spring of 1860 where a young woman and her grandfather climb a mountain pass where the grandfather is ruthlessly murdered without any apparent reason by the film’s antihero, Ryunosuke Tsukue (Tatsuya Nakadai) . Ryunosuke is the symbolic embodiment of the unification of steel and man, as it often was taught by sword masters that one must become one with the sword in order to approach perfection. When Ryunosuke callously let his sword topple over the girl’s grandfather a cramped bell falls on the rocks, which unsettles him. However, it seems to be the last time that Ryunosuke will point to emotion.
Later in the account the audience gets to meet the sword master and teacher Toranosuke Shimada (Toshirô Mifune) who suggests, “The sword is the soul. Gaze the soul to know the sword. Irascible mind, noxious sword.” Fundamentally, Toranosuke points out the faded arrangement of the samurai where the samurai is one with the sword, as the sword is only an extension of the samurai. Thus, if the man is detestable then the sword does unfriendly. It also implies that the sword is as guilty as the samurai Further interpretations of Toranosuke’s statement could suggest that stout responsibility and honor reach with carrying a sword, as one carries life at the raze of the sword. Toranosuke embraces the values of Bushido as he teaches his student the intention of the samurai through fencing.
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A more contemporary thought suggests that the mind guides the sword to its target, as the sword is frosty, distant, and without judgment. Nonetheless, the sword and other weapons continue to reap current victims such as the grandfather in the beginning of the film. Ryunosuke’s fencing technique, which many do not search for as the samurai are all of the passe and outmoded ways, appears cool, peculiar, and uncanny to those who leer him fight, as they wonder where the source of his technique originates. This brings the conception to the beginning of the film where Ryunosuke kills the grandfather, which seems to be the moment when he perfects his fencing style, a style that seems calm, callous, and without empathy, which seems to be derived from the sword itself. The epic develops this view even further by displaying Ryunosuke as a calculated and unsympathetic sociopath.
After Ryunosuke returns from the mountain pass he is to fight in a sword contest the following day against Bunnojo Utsuki (Ichirô Nakaya) . Bunnojo’s wife, Hama (Michiyo Aratama), visits with Ryunosuke in order to convince him that her husband must glean in order to assign her family’s face. This meeting leads Hama to face Ryunosuke’s coldhearted personality, as he demands her to offer herself to him. After powerful contemplation Hama visits Ryunosuke in a mill during the night before his sword contest. In the morning Hama is approached by Bunnojo who tells her that he has announced their divorce earlier the same morning, as he knows about what she had done. Infuriate and pride purchase Bunnojo who decides to destroy Ryunosuke in the sword contest as payment for his insolence. However, Bunnojo has no chance against Ryunosuke’s queer and distant fencing style.
The epic continues to surround Ryunosuke who goes into hiding with Hama, as he continues to lend out his sword to those who are willing to pay. It leads the audience into a downward spiraling yarn in which the audience can sense the outcome of Ryunosuke’s life. Nonetheless, it is never clear what will happen as director Kihachi Okamoto continues to darken the atmosphere while the fable unfolds. Death is dealt without consideration to whomever he is told to kill, as he stares down the eyes of those who gradually sink to the ground with a deep and deadly cleave in their flesh.
In the backdrop of Ryunosuke there is a samurai uprising that he seems to be enthusiastic in while the brother of Bunnojo intends to view an generous revenge by killing him. The young woman who found her grandfather monotonous in the mountain pass enters the legend, as the past seems to secure up with Ryunosuke. These elements are tied together through Ryunosuke’s existence, as he continues to slay for the highest payer. The continuation of Ryunosuke ruthlessness encourages the audience to believe that his destiny must eventually bag up with him and obtain a stout circle. Lastly, Ryunosuke seems to be a personification of the shogunate, which we know died at the kill of the 1860s.
Sword of Doom is a marvelously framed film with several though-provoking shots that indicate a meticulous spy for details. Many of the scenes have fabulous mise-en-scene that elevates the authenticity of the record, which is brought together with a well-performing cast. The contrasts between Tatsuya Nakadai’s character Ryunosuke and Toshirô Mifune’s performance as Toranosuke visually bring out the different personalities in these two characters. It is critical to gape this inequity, as it provides an insightful plan into how different these two are while being very great the same. Noteworthy of the film’s chemistry rests on these two characters, even though Toshirô Mifune is passe sparsely throughout the film. The unfolding Sword of Doom brings the audience a violent cinematic experience, which offers a historical account with depth and reflection.
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