This movie would be the same movie had its sequels come out, to be sure, but it’s narrative context would have certainly been altered had the next movie picked up immediately where this one dropped off and we see how Ryunosuke scrapes out of his predicament, instead of being trapped for all eternity as The Sword of Doom suggests to us now. It is unclear whether Ryunosuke even sees the men around him as they are, or if he believes he is still surrounded by ghosts of his past. Ryunosuke represents the opposite philosophy of Shimada, and where the latter achieves clarity and grace, Ryunosuke is ultimately paralyzed by his own relationship with his sword. Keep track of everything you watch; tell your friends. 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. Would Planet of the Apes (1968) have been anywhere near as enduring had it not ended with the ruins of the Statue of Liberty? the film breaks with its established style and plunges us into a claustrophobic expressionist nightmare. 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. Press question mark to learn the rest of the keyboard shortcuts. The sword is the soul. At first glance there are not even any causal threads between the scene itself and its choice to end there, unlike Inception where the cut in its hanging ending is an obvious choice to punctuate the question it poses. So again, in order to dive into why this ending is so strong, we need to divorce it from any authorial intent, either assumed or documented. This FAQ is empty. stars the great Tetsuya Nakadai as a psychopathic sword for hire who seems to exist solely for the pleasure of killing and proving his ultimate mastery of his blade. My favorite part of Sword of Doom is the story of the lead character as a father completely unable to relate to his child. ‘s ending works for the film it serves, today I’m going to talk about a movie that falls into this latter camp of divisive endings that doesn’t satisfy the audiences desires…only in this case, it wasn’t intentional at all, and yet it still manages to better the movie. Certainly its remarkable cinematography and action direction, as well as Nakadai’s performance, play a significant part, but I would argue that not only does its unsatisfying freeze-frame ending elevate the rest of the film, but its accidental status as a standalone film actually makes it a stronger story than it likely would have turned out as a complete series. But what separates a “good” ending from a “bad” one? 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.

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