The Sword of Doom (1966) 720p YIFY Movie

The Sword of Doom (1966)

Dai-bosatsu t?ge is a movie starring Tatsuya Nakadai, Michiyo Aratama, and Y?z? Kayama. Through his unconscionable actions against others, a sociopath samurai builds a trail of vendettas that follow him closely.

IMDB: 8.04 Likes

  • Genre: Action | Drama
  • Quality: 720p
  • Size: 990.85M
  • Resolution: 1280*800 / 23.976 fpsfps
  • Language: English
  • Run Time: 122
  • IMDB Rating: 8.0/10 
  • MPR: Normal
  • Peers/Seeds: 70 / 67

The Synopsis for The Sword of Doom (1966) 720p

Ryunosuke is a sociopathic samurai without compassion or scruples. When he is scheduled for an exhibition match at his fencing school, the wife of his opponent begs Ryunosuke to throw the match, offering her own virtue in trade. Ryunosuke accepts her offer, but kills her husband in the match. Over time, Ryunosuke is pursued by the brother of the man he killed. The brother trains with the master fencer Shimada. In the meantime, however, Ryunosuke earns the enmity of the band of assassins he runs with, and it becomes a question of who shall face him in final conflict.

The Director and Players for The Sword of Doom (1966) 720p

[Director]Kihachi Okamoto
[Role:]Michiyo Aratama
[Role:]Tatsuya Nakadai
[Role:]Y?ko Nait?
[Role:]Y?z? Kayama

The Reviews for The Sword of Doom (1966) 720p

A criminally neglected DirectorReviewed bygrendel-37Vote: 7/10

I saw this film first, years ago. Must have been 10 or more years back. And it made me think of Kurosawa. And how much more I enjoyed the films of Okamoto over Kurosawa.

I like Kurosawa, I'm just not one of the rabid legion of fanatics for his films. The remakes of his Yojimba, Seven Samarai (which really are remakes of John Ford westerns, translated to the east) such as Leone's Dollars movies, and Sturge's Magnificent Seven, I prefer to Kurosawa's films.

While technically a marvelous Director, Kurosawa's work can be cold, distant. There is a standoffishness there, that is similar to Fritz Lang's willingness to stand back and bask in his angles, and patterns, the frame of the story.

Directors like Sturges are about the meat of the story, they are directors of moments rather than motion. Which is why I rate his Magnificent Seven higher than the Seven Samurai. It connects with me more.

Leone, while also a clinical director, concerned with framing, alternates that with a consummate passion for closeups, that makes his spare films, bloody with warmth.

I used to write it off to just East West differences, that accounted for the regimented to the point of distance... films of Japan. However, then I saw this film, SWORD OF DOOM, a film as clinical, and precise as any made by Kurosawa or Lang, but filled with a pathos and passion that dripped from every frame.

A longing... for everything and nothing.

Others have commented on this film: -from the patently odd assertions of this film's protagonist as some "avenging angel sent by God" (if that was the case he would have felt no guilt for his crimes, and the glorious, berserk ending would not have come about. The beauty of this film is that it is about a man... floundering, peering into the last gates of hell, and hoping against hope for something to break his fall. What makes this film interesting, is that sense, given only through the eyes, of inner conflict in everything the Sword Bearer does.) -to the missing the point cries of "explanatory sequel/2nd half needed" and "compromised end". I've seen the films this movie is based off of. They are all, complete, informed, every "I" dotted, and every "T" crossed, and every single one is grossly inferior to this film.

This film doesn't need a beginning, and it doesn't need an end. Doesn't need a sequel or a prequel, it is a Masterpiece for the simple fact of it's open ended nature. It transcends Alphas and Omegas, because it lives in that freeze frame between them. It is forever a film of the now, and one man caught in it.

The best review of all posted, and the one I urge you to read, is one of the earliest. Done back in May of 2000 by tais0.

To that review of the film itself, I cannot add or subtract anything. It is the best of all that I have read, the most brilliant. However I will clarify several mistakes regarding the director.

Someone wrote this film was an aberration for the director, and mentioned NIGHT OF THE HUNTER. Though that is not a comparison that makes sense. NIGHT OF THE HUNTER, a brilliant film, was the only one ever directed by Charles Laughton. Okamoto, who just recently passed away this February, directed 39 films.

And while this is his best, he directed several nearly as good, and just as beautiful. At his heart the Director had a love for musicals, like many of the greatest directors he had the heart of a composer. His early films included three crime/Underworld films with Toshiro Mifune. his two John Ford inspired DESPERADO films (mixing action with humor),and then finally a musical... that bombed horribly.

After that he got into the Samurai genre (the genre that was profitable at the time), but brought to it an editing style, and a use of sound, that was completely musically inspired. What is startling and brilliant about SWORD OF DOOM, is the soundtrack. The use of sound and silence as bold counterpoint to the story unfolding before your eyes.

That style permeates all of his films from 1964 on, to include: Warring Clans(1964), Samurai Assassin (1965), Sword of Doom (1966), Kill! (1968), Red Lion (1969), Zatoichi series Zatoichi Meets Yojimbo (1970).

Two of his films I'm dying to see are later works, infused with the comedy and love of music that characterized his often overlooked career. Dixieland Daimyo(1986)- the story of a quartet of Black jazz musicians lost in 19th-century Japan, and Vengeance for Sale (2001- the director's final film)-light-hearted Samurai tale.

So by no means was Kihachi Okamoto a one hit wonder. I think history will reevaluate his contributions to film, and place his name up there with Kobyashi and Kurosawa and Seijun Suzuki as one of Japan's best.

Diorama of negative emotionsReviewed byoOgiandujaOo_and_Eddy_MerckxVote: 10/10

Sword of Doom / Daibosatsu Pass is a fundamentally tonal movie about an inhumanly isolated individual, fencing master Ryunosuke Tsukue, an ostracised man who has become an island, or rather a jagged reef, on which he allows people to be dashed. I think it's quite easy to write him down as either an evil or sociopathic man, however I think the film deals with more complex issues.

Ryunosuke is brimful of disdain. His hatred for the way people are, of how compromised and unworthy people become in order to fit in, is seen in several places in the film. Indeed Ryunosuke's exile arises out of his refusal to compromise and betray his code of fencing for the greater good. Many see his actions as provocative, but, like his fencing technique, Kogen Ittō-ryū, Ryunosuke is fundamentally passive until pushed. I have read people interpreting Ryunosuke's actions before his duel with Bunnojo Utsuki as designed to provoke his opponent, however in my opinion he was merely acting out of contempt for others' capacity for dishonour; contempt for one woman's easy virtue, and another man's illegal tactic.

His worldview reaches perfect expression during his militia's meeting with Lord Kamio, who earns a degree of respect from Ryunosuke, when he honestly and brazenly admits to the audience of hypocritical fanatics he controls, that he is not interested in politics. Serizawa's faction of the Shinsengumi, which Ryunosuke joins, were known as the wolves of Mibu, and are shown in this film as being ambitious agitators operating under an arbitrary flag, with only nominal political pretensions. Incidentally, Serizawa Kamo, and Kondo Isami, both characters in this film, were actual historic leaders of the Shinsen Group.

Every killing Ryunosuke performs in the film can be linked to the death wish of his victim. So despite the ease in which he cleaves flesh, I don't see him as an anarchical madman, more an amplifier of negative behaviour, a quasi-religious force.

The movie has supernatural elements, too late Ryunosuke begins to realise that his life is filled with rather too many coincidences and that he is being driven mad by his own nihilism and its karmic response. Sword of Doom is a hideous film, with a superb central performance from Tatsuya Nakadai. Watch it with the awe that it deserves.

A magnificently executed exploration of amorality.Reviewed byBessemerVote: 10/10

"Sword of Doom" is an unusual film. Firstly, it is one of the most brilliantly photographed films I have ever seen, in composition, mise en scene, and the play of black and white.

Secondly, "Sword of Doom" is that rare film in which the aim of the director and the power of the lead mesh together to form an unforgettable portrayal.

Tatsuya Nakadai plays Ryunosuke, a skilled swordsman, who, from the opening moments of the film, proves also to be homicidally indifferent to human life. Ryunosuke is a strange and difficult character. His fighting style is passive, and he remains mostly uninvolved, both with the political turmoil surrounding him, and with his family - from his dying father, who fears the evil in him, to his lover (the wife of an opponent he kills) and his child. Nakadai's performance is magnetic, comparable to Montgomery Clift in it's singleminded, unyielding intensity.

While some of the subplots without Ryunosuke aren't quite as compelling, the ending is memorable and disturbing, and the direction will remind in some ways of Orson Wells.

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