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.

The second Daibosatsu Toge (Satan's Sword) film improves on the first one, and is the best of the three films where Ichikawa Raizo plays Ryunosuke Tsuke, the murderous protagonist of the series.

The first film ended in a cliffhanger, the second film opens somewhat unsatisfyingly after the climatic duel at the end of the first film. Hyoma is still seeking vengeance for his dead brother. O-Matsu, the girl's whose grandfather Ryunosuke killed at the beginning of the first film, has been sold to a courtesan. The film introduces a new character, a ronin that Ryunosuke meets on the road who gets our anti-hero involved with members of the Tenchu Group, a rebellious group which wants to overthrow the shogun. I believe Ryunosuke worked for a pro-shogunate group in the first entry, but Ryunosuke is first and foremost a killer. Politics do not mean much to him.

Once again, the film's strengths are its bright colors (Kenji Misumi returns as director) and Ichikawa Raizo's performance as the smug killer Ryunosuke. This second entry has more excitement, particularly in the second half. Ichikawa Raizo gets even more of a chance to shine in the role. The climax builds to a mountaintop duel while a fire rages in the village below. This is a visually arresting, if sudden (another cliffhanger ending is coming soon),finale.

This one is the second in a trilogy, and is marginally less dull than the first. Having killed his wife and put his son in care, Raizo finds another woman who looks just like his wife (played by the same actress) and chops up a few more unfortunates.