A Espada do Mal

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.

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!

This early Hideo Gosha jidai-geki that was released by Criterion opens quite abruptly with a ronin named Gennosuke being hunted down for having killed his clan's counsellor. We're at 1857, on the brink of the Meiji reformation that saw Japan opening to the west after years of seclusion and the fall of the Tokugawa Shogunate. The central plot revolves around the struggle between the old and new in a country on the verge of change. Although short in duration (clocking in at 85 minutes), the story never lets up with numerous twists and a fast pace. A series of events will find Gennosuke and a prospector he meets along the way searching for gold in a mountain, until they get caught up in another clan's schemes. Nothing is what it seems though, and therein lies the beauty of Sword of the Beast. As the story progresses both forwards and backwards (with glimpses in Gennosuke's past in the form of flashbacks), the characters' motives are fully fleshed out and this provides the extra dramatic oomph that pushes Sword of the Beast above "merely OK" territory. Behind all the swordfighting (and there's enough of it to be enjoyed here, certainly not Lone Wolf and Cub though), Gosha has a story to communicate.

With beautiful natural exteriors photographed in stark black and white, confident directing from Gosha, very good swordfighting scenes from actors who know their trade and decent performances all around, Sword of the Beast should appeal to all jidai-geki fans. It's neither as monolithic and tragic as Masaki Kobayashi's work from the same time nor as lyrical as Kurosawa's, but it stands somewhere in the middle, stripped to the essentials with a focus on story and theme.

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?