The top-shelf video release BY THE SWORD depicts a contest of wills between an old master and a young disciple, set in the world of championship fencing. This generally well-produced formula film is enhanced by the caliber of acting talent enlisted, as well as by the rich,
turn-of-the-century texture of the New York settings.
Fencing maestro Alexander Villard (Eric Roberts) is an undefeated Olympic champion, a second-generation master swordsman who walked away at the top of his game. Now he instructs Olympic hopefuls at a gym in lower Manhattan. Chief among these is his young protege Trebor (Christopher Rydell), whom
he criticizes for lacking the innate ruthlessness of a true champion. Enter Suba (F. Murray Abraham), a strange old man who announces his wish to study with the master. The imperious Villard quickly makes mincemeat of his technique, but is intrigued enough to hire him as towel boy and janitor.
Suba is soon second-guessing the master's methods, training long into the night, and offering tidbits of wisdom to the other students--particularly Clavell (Mia Sara), a talented intermediate and Trebor's girlfriend. Feeling threatened, Villard humiliates Suba in a sparring match that quickly
turns nasty and draws blood. But Suba's skills slowly return to him, and as they do, the rivalry between the two of them is heightened. Suspicious, Villard pores over the school's enrollment records, until he connects Suba's name to one of his late father's ex-students. When confronted with this
fact, Suba makes a shocking confession: he was the elder Villard's prize pupil and heir apparent, who cuckolded the master, murdered him in a reckless duel, and spent 20 years in prison for the crime. Villard immediately banishes him from the school. However, during the final rounds of the
national Olympic trials, Suba re-enters the premises to coach Clavell. This pushes Villard over the edge, and he challenges Suba to a final duel, winner take all. Suba prevails in a hard-fought match; as he's poised to run Villard through, he steps down, disavowing his own actions of 20 years
earlier.
BY THE SWORD makes optimum use of its worthy cast, carrying the fencing conceit over into the acting styles, and the contest for individual scenes. As this thespian thrust and parry reaches its climax, both Roberts and Abraham rise to the occasion, implicitly recognizing each other's talents as
something of an anomaly in this end of the video bin. Also, certain of the backstory elements--the affair, and the resultant duel--are represented in stylish, impressionistic black-and-white interludes, suitably punctuating the tension. By prevailing standards of straight-to-video releases, BY THE
SWORD is a cut above. (Sexual situations, profanity.) leave a comment