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The Beast and the Magic Sword (1983)

La bestia y la espada mágica (original title)
n the 16th Century, the lycanthrope Waldemar Daninsky goes from his native Europe to Japan, seeking a way to cure himself of being a werewolf. Only a Japanese sorcerer named Kian and a magic silver sword can save him.

Director:

(as Jacinto Molina)

Writer:

(screenplay) (as Jacinto Molina)
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Cast

Cast overview, first billed only:
... Count Waldemar Daninsky / Irineus Daninsky (as Paúl Naschy)
... Kian
Beatriz Escudero ... Kinga
Junko Asahina ... Satomi
Violeta Cela ... Esther
Yôko Fuji ... Akane (as Yoko Fuji)
... Salom Jehuda
... Otton el grande (as Gerard Tichy)
José Vivó
Yoshirô Kitamachi ... Yukio Goto
Sara Mora
Helena Garret ... (as Elena Garret)
Jirô Miyaguchi
Charly Bravo ... (as Charlie Bravo)
Antonio Durán
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Storyline

n the 16th Century, the lycanthrope Waldemar Daninsky goes from his native Europe to Japan, seeking a way to cure himself of being a werewolf. Only a Japanese sorcerer named Kian and a magic silver sword can save him.

Plot Summary | Add Synopsis

Genres:

Horror | Fantasy

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Details

Country:

|

Language:

|

Release Date:

25 November 1983 (Spain)  »

Also Known As:

The Beast and the Magic Sword  »

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Box Office

Budget:

ESP 200,000 (estimated)
See more on IMDbPro »

Company Credits

Production Co:

,  »
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Technical Specs

Sound Mix:

Color:

(Eastmancolor)

Aspect Ratio:

1.66 : 1
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Did You Know?

Connections

Followed by Licántropo: El asesino de la luna llena (1997) See more »

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User Reviews

 
THE BEAST AND THE MAGIC SWORD (Jacinto Molina, 1983) **1/2
23 January 2010 | by See all my reviews

This was Paul Naschy's ninth outing as tragic werewolf Waldemar Daninsky and the eighth I have watched; I'm pretty much fifty-fifty on them, as four proved quite worthwhile but just as many came off as dismal disappointments. This falls in the former category and is probably the one to give the character biggest scope, being mostly set in feudal Japan and running a hefty 110 minutes; that said, at such length, the film eventually outstays its welcome (especially given the frequent concessions to irrelevant swordfights). I have always admired the fact that Naschy would change his werewolf make-up from one film to the next: here, perhaps in keeping with the Oriental theme, its forehead unaccountably sports prominent wrinkles (for lack of a better word) but is otherwise as vicious as ever (incidentally, the first attack is even presented saturated from the monster's P.O.V. – possibly as a nod to WOLFEN [1981]). The film (bolstered by an appropriately rousing score) starts off in medieval times – as was the case with the previous Daninsky entry, THE CRAVING (1980) – with the hero's ancestor defeating a feared invader but, as a result, his lineage is cursed by the warrior's witch acolyte. In the 16th century, Waldemar is forced to flee his country when the sorcerer he consults for a cure is turned upon by the townsfolk but, before expiring, the old man tells him to seek a Japanese practitioner of magic and also to take along and protect his blind female charge. With no fixed address to go to, many a full moon comes along and with it bloody murders by the lycanthrope which strikes terror in the populace; unaware of Naschy's odyssey, the Oriental mystic becomes interested in the case – even coming face to face with the monster outside a brothel – and follows his tracks to our hero's shack; though under obligation to report him (especially since his General uncle has staked his honor on the fiend's capture), he commits himself to help Daninsky…but the eventual concoction, made from extracts of a Tibetan plant, fails to provide the requisite remedy. Meanwhile, Waldemar's other companion is approached by a sorceress claiming she can release him – but, when they go to her (against the extra-sensitive blind girl's better judgment), soon reveals her evil designs and enslaves our hirsute hero!; she even brandishes the titular weapon (molded from silver, naturally) and wounds the werewolf. Anyway, after much activity – including the magician helping out at his uncle's hara kiri ritual! – we reach the climactic showdown between monster and mystic; however, it is the latter's sister (who has conveniently fallen for Naschy) who deals him the coup-de-grace. All in all, an interesting change of pace for both Naschy and Daninsky; actually the samurai/werewolf concept would resurface – indeed be fused – in KIBAKICHI (2004; itself followed by a sequel) which I watched fairly recently…


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