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Satan's Sword II (1960)

Daibosatsu toge: Ryujin no maki (original title)
Ryunosuke awakens in the forest having no more idea what happened that previous night, as he'd been drunk & hallucinatory. He is surrounded by corpses & can surmise it's his own handiwork.

Director:

Kenji Misumi

Writer:

Kaizan Nakazato (novel)
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Cast

Cast overview:
Raizô Ichikawa Raizô Ichikawa ... Tsukue Ryunosuke
Kôjirô Hongô Kôjirô Hongô ... Uzuki Hyoma
Tamao Nakamura Tamao Nakamura ... Otoyo
Fujiko Yamamoto ... Omatsu
Yutaka Nakamura Yutaka Nakamura
Akihiko Katayama Akihiko Katayama
Reiko Fujiwara Reiko Fujiwara
Tokiko Mita Tokiko Mita
Mieko Kondô Mieko Kondô
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Storyline

Ryunosuke awakens in the forest having no more idea what happened that previous night, as he'd been drunk & hallucinatory. He is surrounded by corpses & can surmise it's his own handiwork.

Plot Summary | Add Synopsis

Genres:

Drama | Action

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Details

Country:

Japan

Language:

Japanese

Release Date:

27 December 1960 (Japan) See more »

Also Known As:

A Espada Demoníaca: Segunda Época See more »

Company Credits

Production Co:

Daiei Studios See more »
Show more on IMDbPro »

Technical Specs

Runtime:

See full technical specs »
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Did You Know?

Trivia

This sequel was released only nine weeks after the original film. See more »

Connections

Follows Satan's Sword (1960) See more »

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User Reviews

 
Classic Misumi swordplay and drama.
6 April 2006 | by alice_fryeSee all my reviews

While Misumi would continue to improve his riffs as a top-drawer director, this second episode shows all of the hallmarks of the mature Misumi in its fight choreography, choice of establishing scenes and camera angles, and character development.

Ryunosuke, having given up all attachments to his family and former associates, travels like a kite over central Japan, relentlessly pursued by coincidence and chance. Repeatedly confronted with his stunningly rapid karma, he seems to grow from the selfish, murderous young man of the first episode into an adult with a growing sense of responsibility for his actions.

The way Misumi set up his shots is classic Japanese cinema, reminiscent of Inagaki and even Kurosawa at times. Notice the dojo scene, when young Hyoma accepts a lesson from the wise old Lord, who has seen Ryonosuke in action. The final group fight scene is perfect in its timing, style and economy. This is what the Chinese directors acknowledged in the documentary "Chop Socky Cinema," when they gave a nod to the Japanese directors of the early 60's for innovations in action choreography. Misumi would repeat this staging effect in almost all of his later work. Eight or ten enemies surround the hero, who stands quietly in the center until he mows everyone down with just a few strokes. This scenario is the heart of the Nemuri Kyoshiro (Sleepy Eyes of Death,) Zatoichi and Lone Wolf series, all shaped largely by Misumi.

Like that other Kenji, Mizoguchi that is, Misumi was well-known for his ability to work effectively with women. He allowed his actresses to be interesting and more fully formed than the typical decorative set pieces of contemporaries. They bring a real world quality and depth to his films, one which is often missing in jidai geki.

Volume 2 is a mini-masterpiece and one which we can, thankfully, enjoy without the inevitable comparisons to "Sword of Doom" and the splendid, intense Tatsuya Nakadai as Ryunosuke. This episode has plenty to recommend it to fans of chanbara.


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