The Usual Suspects (1995), for example, is a mostly unremarkable crime film, but through the virtue of its indelible Keyser Söze twist ending it has stayed relevant in pop culture well beyond what its shelf-life might otherwise have been. Musashi Miyamoto is challenged to a duel by a confident swordsman Sasaki Kojiro. That’s why even a hanging ending like. View production, box office, & company info. , for example, is a mostly unremarkable crime film, but through the virtue of its indelible Keyser Söze twist ending it has stayed relevant in pop culture well beyond what its shelf-life might otherwise have been. ), still works, because while the abrupt cut to black takes us by surprise, we realize that the question it’s posing was inevitable from the start due to the premise of the film. To be clear: Okamoto, Nakadai, and all the rest of the cast and crew are certainly responsible for all the great (and not so great) things within the confines of the text, and the film would not be remembered at all had they not made as many canny creative choices as they did. Imagine Nakadai's murderous Onosuke from Yojimbo; then raise the level of his single-minded purpose an order of magnitude to the fated dancer of The Red Shoes and you get a vague idea of Ryunosuke, a psychopathic samuari hunted by the righteous and villainous alike. Unfortunately for Toho, The Sword of Doom was another strike for Okamoto. My favorite part of Sword of Doom is the story of the lead character as a father completely unable to relate to his child. Sometimes directors are able to roll with the accidents, like mechanical sharks not working, and sometimes they are not, like when planned sequels were canceled after the movie didn’t perform. The film, too, is one of agony and ecstasy, where flaws and brilliance walk hand in hand, and the greatest of either is the ending itself. The premise is a punchy one for a single-minded action film, but. While Shimada has no compunction about slicing his way through an army of attackers if he has to, he’s no killer; he spares the life of the leader of the assault, living by his own philosophy. Finally, Ryunosuke manages to stumble back into what at first glance appears to be the plane of reality, as he slices through a wall and finds himself surrounded by the clan of political assassins that are there to kill him in their own counter-machinations. Endings, perhaps more so than any other structural element of a narrative, are the most important to get right. In fact, so little that its planned sequels were cancelled and the film's infamously abrupt freeze frame ending is the final word on the film's story (at least in this particular adaptation of the popular 40 volume novel), leaving not just several important subplots unresolved --including an assuredly amazing duel between between Tatsuya Nakadai and Toshiro Mifune-- but the very climax of the movie. Film Review: The Sword of Doom (1966) by Kihachi Okamoto, Tokyo: Tatsuya Nakadai Set to Receive Lifetime Achievement Honor, Shinobu Hashimoto, Scriptwriter for Akira Kurosawa, Dies at 100. The hero is killed off-screen, the evil villain remains uncaught, and the film abruptly cuts to black and silence after a monologue describing a dream that offers no readily tangible explanation for the baffling narrative choices that came before.

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