008 4 This was one of the movies which set the standard for samurai movies for
that decade . A deep forcful story which ends in great sword at the end .
Typical of the 60 ' s great samurai movies from Japan .
024 4 Very pleased that Criterion is finally giving this a release and a deluxe treatment . This is an amazing drama with one of the most suspenseful and moving finales I've ever seen . By today's standards it's rather slow moving but yet it's always completely engrossing . Director Masaki Kobayashi also did the masterful KWAIDAN but this tops it . So brilliantly crafted that in my humble opinion it rivals anything the great Akira Kurosawa made . In beautiful black and white cinemascope .
045 4 One of the best films I've seen . Very sad and heroic . A powerful show . I would recommend it to anybody who can read subtitles .
046 4 Very good movie , this japanese classic is a must for samurai movie collectors like myself . Great story line and wonderfull acting , but like most samurai movies there are parts that are a little slow . I loved it though . really shows a glimps of what the japanese culture is about .
All names are in Western order , given name then family name . Now , on to the review . . . ) This is probably the finest chambara film you'll ever see , or at least that is my humble opinion . When I decided some time ago to go on a binge of watching so-called samurai films , I did a small amount of research and decided to see this one first . I had previously only seen Kurosawa's films , and , in my humble opinion , he did not make optimum use of the great Tatsuya Nakadai the way that Masaki Kobayashi has in this film and others . I think Kobayashi / Nakadai is at least as powerful a collaborative combination as Kurosawa / Mifune . What is more , the film is a visual and conceptual masterpiece , symmetrically drawn by meticulous master Kobayashi ( like Kurosawa he trained as an artist ) and scripted by Shinobu Hashimoto , who also did great service for the more well-known ( in the West anyway ) Kurosawa .
This film concerns the happening ( as shown at the beginning chronicled by the scribe of the House of Ii ) in the case of a middle-aged ronin , Hanshiro Tsugumo ( Nakadai , at age 29 , playing age 50 ) , who requests the use of the clan's forecourt so that he may commit seppuku ( hara-kiri as it is also known ) to end his days honorably , for he is starving in this post-Warring States economy . As a samurai warrior in peacetime , his services are no longer in demand , so he is forced to take piecemeal employment , observing all the prohibitions inherent in the Japanese class system ( for instance , a samurai may not make footwear because of a sandal's proximity to the ground - - thus only lower class craftsmen may do this ) . Clan Councilor Kageyu Saito ( Rentaro Mikuni ) hears Tsugumo's request and proceeds to tell him what he considers a cautionary tale of another ronin who had earlier made the same request . Mikuni is appropriately reserved , soft-spoken and serious ; these requests have caused the Ii and other houses serious problems , because many ronin have been given a few coins to hold them over and told to go away , or in other cases , they have been given low-level employment because the appeal was so audacious and extreme . This has caused a problem , and Saito as representative of the powerful Ii family must address it .
What follows is the slow unfolding of the sad tale of Tsugumo's fallen fortunes and the uncovering of the Ii's conception of samurai honor . Kobayashi called it an anti-samurai film , and indeed it is . Tsugumo , by slow recitation and careful maneuvering , presents his appeal and the reasons for it in a manner that builds a powerful and scathing indictment of what officially passed for honor in the days of the Tokugawa Shogunate . We are treated ( if you can call it that ) to a graphically horrible scene of ritual disemboweling at which the honorable swordsman and loyal Ii retainer Hikokuro Omodaka ( Tetsuro Tamba in fine restrained form , the very picture of the ideal samurai swordsman ) presides as kaishakunin ( the second who performs the decapitation , which ends the ceremony ) . Omodaka recites the traditions of the ritual and takes care to project the image of the Ii clan as one who is the pinnacle of adherence to traditional honor . He is a true believer .
Presiding mutely over the entire formalized stageplay atmosphere is a symbol that might as well be the meat of the Ii's code of honor and the message of this film - - it is an empty set of armor , the master's armor , which is set up and revered beyond measure . If it is disturbed or threatened , the retainers must defend it as if it were the most important of living beings . And yet it is empty , having not been required since the closing battles of the last era of warring states ( relatively recent though they were in this setting ) . This is Kobayashi's message - - the notion of honor as codified can only be an empty platitude in the face of the true human condition as represented by Tsugumo , who makes sure that Saito and the full measure of attending retainers are completely aware of that fact and its ramifications . Tatsuya Nakadai was trained as a stage actor primarily , and his resonant , very loud declamatory tone as he addresses the assembled Ii retainers is evident and creates an effect that rivets all watchers , both on-screen and in armchairs at home . This film was my first real introduction to just how powerful Nakadai is as a personality - - he is at least Mifune's equal , although they are characteristically quite different ( thus making films in which they clash with each other ultra-enjoyable , but I digress . . . ) .
This film can be called a jidai-geki , as it is set in historical times , but more properly it is in the tradition of the chambara , the swordplay film . It is a fictional account in specifics , but set in 1630 , not terribly long after the forces of Ieyasu Tokugawa united the bulk of the country under his rule . Basically , Ieyasu had consolidated his victory , and his grandson Iemitsu reigned . Many institutions of the Shogunate were still in their formative stages at this time ; samurai who had previously been active were decommissioned and idled . Many more were disenfranchised or unseated due to having been aligned against Ieyasu as well .
Tsugumo is shown in a flashback ( a device used a lot in this film ) repairing the battlements of Hiroshima Castle with his good friend Jinnai Chijiwa ( Yoshio Inaba , one of the original Seven Samurai ) , a fellow samurai ( on the orders of his lord at the time ) . This seemingly innocent action was taken by the Tokugawa to be a possible threat - - the act of preparing for hostilities by getting a castle into order . ( The repairs to Hiroshima Castle were an actual piece of history , having been undertaken in 1619 by Lord Fukushima after damage from a flood ; he was stripped of his lordship by the Shogun for this action ) . Thus , in our story , Tsugumo's lord comes to the attention of the Shogun , and the domain is seized , and Tsugumo and many thousands of samurai are set adrift to become ronin ( literally wave men ) who had to seek their own way in life and secure whatever employment they could to survive . The lord is forced to commit seppuku , and some of his samurai would follow him in death ( the practice of junshi , which was outlawed later by the Tokugawa ) . That action , too , had consequences , as it set the survivors of these samurai adrift without their family head , often at young ages .
The House of Ii , on the other hand , is one of those fortunate houses that was allied with Ieyasu and thus given the honor of being named fudai ( major domain , given active roles in the Shogunate administration ) . To indict Ii in the manner Kobayashi has done is to indict the Tokugawa system itself , for the Ii are full beneficiaries and representatives of the ruling elite .
Kobayashi's style of visual blocking will be obvious in this film . The courtyard at which much of the exposition takes place is symmetrical and neat , the interiors spare . However , when it comes to the living space of Tsugumo the ronin and his house , the spare quality is darkened and cramped . We see Tsugumo receive an unexpected visitor while he is plying his typically ronin-practiced trade of crafting umbrellas . There is only enough room for Tsugumo , the skeletal unfinished parasol and the stooping visitor . The message is obvious . Although this is chambara , the mood is patient and the progression slow and formally stylized ; those watchers who hunger for sword action will have to wait , but the wait and build-up is well worth it , making the denouement eminently satisfying and appropriate . Kobayashi has a framing device of the scribe for the House of Ii which encapsulates the event and makes an even more scathing statement about history and those who write it . This device is also used to great effect in Okamoto's
Samurai Assassin
, but I think it has even more effect here as a punctuating end note . ( That movie , interestingly , concerns one prominent member of the House of Ii as well . )
One aspect I have failed to mention is the score , which is spare and quite appropriate . Toru Takemitsu's music uses traditional Japanese instrumentation , achieving auditorily what Kobayashi achieves visually with his carefully symmetrical and spare sets . It is an auspicious collaboration ; the two masters of their crafts blend in perfect harmony in this film .
I watched the Criterion version on DVD , and the interviews on the second DVD are most illuminating as well . Shinobu Hashimoto tells how he came up with the idea for the story ; Tatsuya Nakadai reveals that they used real swords for the action and that he was rather frightened by this aspect . Tetsuro Tamba had previous training in sword arts , whereas this was Nakadai's first attempt in the genre ( apart from
Yojimbo
a year earlier , but as we remember , he carried a gun in that one ) . ( Also I don't think we can count his 2 second walk-by in
Seven Samurai
that you will miss if you blink . . . . ) We hear from an interview with Kobayashi about the reception of the film at Cannes , which was quite extreme , and the introduction to the film by Donald Richie , which appears on the first DVD , should not be viewed until later if you want to maintain the surprise . I don't think I've revealed too much here in this review , although I did want to clarify some historical and thematic notes .
Seppuku as a thematic element is thickly marbled in the fabric of the tale : Tsugumo's disenfranchised lord , other ronin in his situation , samurai who have failed their lords in important tasks - - all these merit this punishment , and yet it is counted an honor afforded only to the samurai class and those above . It is a means of control but also a special privilege ; therein lies its uniqueness and its status as a sort of double-edged sword , so to speak . Just as with the sword itself , the way in which this ritual is utilized is key to whether a character or institution is honorable or not , and it can be used to make a powerful statement for good or ill . Prepare for a keen lesson and an unforgettable experience !
001 4 Hara Kiri is directly translated as belly cutting , and is the name best known in the West for Seppuku , a traditional act of suicide that was considered an honorable method of death amongst the Samurai of medieval Japan . To die by Seppuku was a privilege reserved for honorable men , and was formal and ritualized as is common in Japanese tradition . It was an extremely painful way to die , and required absolute will and self-control .
Kobayashi Masaki ( Kwaidan , Samurai Rebellion ) , a master director of Samurai films , uses this ritual as the focus of his film Hara Kiri ( Japanese title Seppuku . ) The stage is set in the late Tokugawa period , a time when centuries of peace had rendered the warrior class moot , and Samurai without a rich lord to serve had nothing but their honor to sustain themselves . Forbidden by law , culture and training to seek their substance through less-honorable means such as farming or trade , the lordless Samurai were expected to starve and die with no word of complaint . One day , a hungry Samurai by the name of Hanshiro Tsugumo arrives at the gate of a local lord , requesting permission to perform Seppuku and end his suffering poverty through honorable means . And then the true story unfolds .
Probably his greatest film , Kobayashi dissects what it is to be honorable , and who is the true possessor of this abstract concept . The rigid code of the Samurai is symbolized through the relentless use of straight lines , as hard and unyielding as the swords which are the supposed soul of a Samurai . The code has long outlived its usefulness , and is a contradiction in the world of peace . Both the code and the men are dinosaurs , needing to either change or die .
Hanshiro Tsugumo is played by the legendary Nakadai Tatsuya ( Sword of Doom , Yojimbo ) . He is incredible as Hanshiro , being both the ultimate Samurai ideal and at the same time one who's wisdom and compassion far surpasses those who speak of honor , relaxing comfortably behind their money and position . Hanshiro's surface is one of acceptance and resolve , a man who has accepted his fate , but underneath is rage and righteous action , hidden and waiting to explode .
The pacing is typical of a Kobayashi film , and follows his pattern of a slow , slow build up that explodes with a violent and unexpected climax . Hara Kiri , like other Kobayashi films , is a slow fuse leading to a large bomb . Hanshiro's story is complex , and he unfolds it delicately , so that all points are clear to the Lord and his men , as well as the viewers .
Criterion has recognized both the importance and the excellence of Hara Kiri , and put forth a DVD worthy of the film . Aside from a beautiful transfer and improved English subtitles , they have assembled video interview with Nakadai Tatsuya and scriptwriter Hashimoto Shinobu , as well as an introduction by Japanese-film expert Donald Richie . In print , there is an essay by film scholar Joan Mellen and a re-print of her Kobayashi interview .
Any fan of Japanese film and / or Samurai films simply must see Hara Kiri . Easily amongst the top 3 or 4 films of the genre , it is a masterpiece by every definition of the word .
002 4 Hara-Kiri , is an absolute classic . It is also one of the 3 greatest [ if not greatest ] Samurai films of all time . Not only is this a great Samurai film , it is also an outstanding drama . In fact , director Masaki Kobayashi stated that this film was more of an anti-samurai film , and he is correct . I must tread very carefully with this review , as to write too much of this film will destroy it for those of you who have not had the opportunity to see this MASTERPIECE of cinema . Directed by Masaki Kobayashi , the film deals with ONE individuals attack against the corruption and arrogance of the state . And in particular , one clan known as the House of Iyi , which is representative of the new unified state of Japan .
This is one of those films that transcends borders and nationalities - - for it is universal . By this I mean that the films main protagonist , Hanshiro Tsugomo ( Tatsuya Nakadai ) represents the individual against the powers that be who are in charge . And in Hara-kiri , Hanshiro is about to give this House of Iyi a costly lesson in humility , with a touch of vengeance thrown in - - that this clan's own arrogance has brought upon themselves . The period that this film takes place is circa 1630 : not too long after Lord Tokugawa has established the Shogunate as the supreme power in the now unified Japan .
However , unification comes with a price . In order to consolidate his power , Tokugawa has purged many of the clans spread throughout Japan of their status . Therefore , many clans begin to fold up , and their Samurai must eke out a living within the confines of a profession befitting a samurai . This was very difficult to do , as farming was not acceptable to their Bushido code . Therefore , many of these former samurai found themselves starving since there were very few occupations they were allowed to do . The now masterless samurai are referred to as Ronin . Without the clan , and near starvation , many samurai wandered the country in search of work with another clan in the hopes of securing employment .
Yet , with so many ronin roaming the country , and many clans now purged by Tokugawa , work was a near impossibility . Which brings us to our main protagonist in the film : Hanshiro Tsugumo ( Tatsuya Nakadai ) in his most celebrated role to date . The films narrative begins with Hanshiro Tsugumo coming to the gates of the House of Iyi . Hanshiro Tsugumo is a proud man , yet something has occurred recently that brings him to this particular clan which boasts of its honor and courage . He has asked for permission to commit Hara-kiri in the courtyard of this House . It is here that the Counselor of this clan , Kageyu Saito ( Rentaro Mikuni ) proceeds to tell Hanshiro Tsugomo of another samurai who also wanted to commit Hara-kiri in this courtyard .
But there is something very different about this ronin Hanshiro Tsugumo . As the Counselor relates his story of this other ronin , Hanshiro listens intently - - - for Hanshiro too has a story to relate to this Counselor in charge of the House of Iyi . Hanshiro has not just come to this clan to commit Hara-kiri , there are more profound reasons why he has come to this House . And it is here that film begins with the telling of a story of poverty and sadness which has occurred in Hanshiro's life . Hanshiro Tsugumo has come to the manor of the house of Lord Iyi , not only to seek permission of this Counselor to commit Hara-kiri on this clans property , but to lecture this clan . . . . . and WOW , how he lectures them .
The Counselor of the Iyi clan , Kageyu Saito , is in charge - - as the Lord of this Domain is away on business . And it is here that Hanshiro Tsugumo recounts a tale to this Counselor on the fate of his beloved son-in-law , daughter and grandson . You can sense the resentment of Hanshiro Tsugumo as he sees the hypocrisy of those around him . Hanshiro understands that the Bushido code , like the samurai , have changed . And with this , the film builds to an ever greater climax . I don't wish to spoil this film for you , so I will not go any further , other than to write that this film belongs in EVERY cinema lovers collection .
Whether you like samurai , or foreign films in general , this film is POWERFUL . I have seen this film more times on the big screen , and video , than any other I have seen . And I NEVER tire of viewing the film . This is a MASTERPIECE of a film . As a warning to viewers who have not seen this film - - DO NOT view the Donald Richie interview in the beginning of the film , as he gives away important parts of the film . Also , there is a terrific booklet that comes with this film , and you should read it - - - but only after you have seen the film . Once more , this is one of the GREATEST films in cinema . And it is one of my personal favorites . The film is a must see . Highly , highly recommended . [ Stars : 5 plus infinity ]
003 4 After Japan emerged from its civil wars in the early 17th century , many clans were banned by the victorious Tokugawa Shogunate . Thousands of samurai warriors who knew the arts of war but precious little else suddenly found themselves thrown out onto the street .
HARAKIRI tells of the chain of events set into motion when a destitute samurai goes to one of the remaining clans and offers to commit suicide according to the harakiri ritual . His real intent was to get a handout once the Iyi clan elder had seen his determination . This clan , however , had been hit up by other samurai in similar straits . The elder praises him and immediately has him prepare for suicide by disembowelment . When the young samurai requests a delay , the elder insists he begin immediately .
I do not want to ruin the picture for anyone by giving anything away . Some time later ( though earlier in the film , which skips around with the chronological story ) , the young samurai's father-in-law - - also a samurai - - shows up at the gate making the same request . This time the samurai is the redoubtable Tatsuya Nakadai . His intention is revenge , and he damned near lays waste to the entire clan to attain it .
Kobayashi's direction of this elegant wide-screen epic may seem to be stodgy and talky at times , but the tale it tells will curdle the marrow of your bones . There is relatively little swordplay until Nakadai produces three small items from the folds of his kimono resulting in an all-against-one battle royal .
This is one of the greatest of all the samurai films . No Jacobean revenge tragedy by Cyril Tourneur or John Webster can hold a candle to it in its ferocity . Kobayashi's film is Shakespearean in its breadth and holds up well to multiple viewings . This is a letterboxed print , so you see ALL the action .
004 4 this is definitely one of the best classic movies , not just in samurai genre , out of the great japanese movie production industry .
what a sad story yet so sublime . the ' bushido ' tradition in some way was just a malicious and vicious manipulation mean from the powerful the rich to force their retainers die for some big yet hollow bondage . it's the same like the ancient egypt , when their phorah died , almost all of his wife , concubines , slaves had to be buried alive in the pyramid with him . like chin dynasty in ancient china , forced hundreds even thousands to be buried alive with his corpse .
samurai to commit harakiri with bamboo blade sword was such a horrible scene to be watched .
this is a great and very very sad story to be hauntingly told in black and white .
looking back to the japanese movies produced in the golden years of the 60s and 70s , then looking at the movies produced nowadays by the japanese movie producers and directors , what a day and night difference . under the brainless and illogical influences of the animation , the video games and the comic books polluted japan and the world , nothing could be fairly compared to what they've achieved in the 60s . what a shame that japanese movie industry still failed to realize such miserable loss so far . . . . .
this movie is not just great , it's hauntingly great .
005 4 I've said it once about another movie , incidentally by the other great Japanese director as well and I want to repeat my words in regard to Harakiri : There are good , very good , and even great movies . But among them there are just a few that go beyond great . They belong to the league of their own . Masaki Kobayashi's Harakiri aka Seppuku is one of them . The film of rare power and humanism , of highest artistic achievements , profoundly moving , tragic like the best Shakespeare's plays , universal and timeless even if it takes place in the faraway country of 1630 , by the words of one of the reviewers Harakiri is to cinema as the Sistine Chapel is to painting . Unsurpassable !
The film grabbed me from the very first shot , from its opening credits with their perfect harmony of kanji ( I believe it is correct word to describe the writings ) characters , with the unusual disturbing score and with the dark beauty of the images . And then the story begins that centers on Hanshiro Tsugumo ( Tatsuya Nakadai ) , one of hundreds or maybe even thousands unemployed lord less samurais , ronin , that in the blessed times of peace had not many choices to adjust to new life and often preferred to commit a ritual suicide , hara-kiri or seppuku on the property of the wealthy estate owners . According to Bushido , the way of the samurai , One who is a samurai must before all things keep constantly in mind , by day and by night . . . the fact that he has to die . That is his chief business .
At the same time , samurai and anti-samurai film , Harakiri offers the masterfully screened scenes of swordfights , not plentiful but exquisitely choreographed , perfectly paced and unbearably intense but the film is much more than that . It is also a gripping court drama where the truth is unfolded in the flashbacks . The viewers are allowed to look closer at the noble Samurai code of behavior and to reflect on how its abuse impacts the fate of an individual and the society in general . Compelling , poetic , and tragic , the movie has one of the most pessimistic endings ever that makes you wonder how the history is made , how the historical events are interpreted and who decides what would be written in the chronicles and important documents and what would be left out .
A Masterpiece , one of the best movies ever made , Harakiri deserves all its praise . It is not in my nature to force my opinion on anyone but if you call yourself a movie buff or a movie lover , you MUST see this film .
Five stars is not enough to rate it .
006 4 This just might my be my favorite samurai film of all time and one of the best I've ever seen . Harakiri is based during the Edo period around the early 1600 ' s . A man named Hanshiro Tsugumo apears infront of the house of Kageyu Saito to commit Harakiri , also known as seppuku , which is the Japanese ritual for suicide . To discourage Hanshiro from doing so , Kageyu Saito tells the story of another samurai , Motome Chijiiwa . Moteme is actually Tsugumo's son-in-law , he tells the story of how hard the struggle has been in the past months for the poverty stricken family . While watching this retelling you start to understand how hard it was for this mans family .
Tsugumo's friend , also a samurai committed seppuku and left Tsugumo to look after his son . It turns out that his son was Motome Chijiiwa . While looking after Chijiiwa and also his own daughter Miho , Hanshiro is unable to choose the honorable way to end his life so he has to live in poverty and work degrading jobs in order to support his family . When the children got older Tsugumo wanted his daughter to marry Motome . Motome wanted to but didn't think he could support anyone else in such hard times . The two ended up getting married and having a child . As the story goes on and Tsugumo keeps talking you and the samurai start to realize what's really going on but you'll have to watch to find out .
One of my greatest concerns with a film made long ago is the quality of the picture and sound and both are as good as you are gonna get them but it's decent . Everything else is perfect ; this film has some of the best samurai action scenes you'll see . Tatsuya Nakadai is amazing making this film feel real , like he was actually a samurai and this character . The way the story builds up suspense is perfect ; it grabs you in more and more as it goes by . First Tsugumo's telling this heartbreaking sad story and then his story gets faster . More action is added with revenge and courage . It's filmed in a stylish and realistic beginning , middle , and certainly the end . This is an amazing movie that can never be touched , anyone who loves samurai films I would definitely recommend this for you .
007 4 I have seen all Japanese masterpieces , but this one is absolutely the very best Japanese samurai movie ever made . Director Kobayashi used his piercing observing eyes to tell the world that there are painful agony and undisclosed black truth of the overly golorified Harakiri ( suicide by self-inflicted abdomen cutting and openning ) . I first watched this movie in 1973 and immediately was convinced this one is the best Japanese movie ever made . Only Akira Kurosawa's movies like Rashomon , etc . can match with Harakiri's depth and enlightenment . A must see movie , it makes you think , and realized that many of the glorified - virtures the society adores and admires are actually nothing but sad lies .
009 4 This film is of such a high quality I can begin to praise it enough . I would give it six or seven stars . Amongst palm d'or or criterian films this one is a stand out . It has an emotion depth that even surpasses some ( most ? ) of karasawas best work .
010 4 This is one great samurai flic . I must say i was blown away by the brilliant directing and the story just blew me away .
WOW ! ! !
014 4 Bushido , the way of the samurai , in theory , provides a noble idea , but like all ideas , some change to fit personal goals and agendas . Derived from four major philosophical and spiritual sources ( Buddhism , Confucianism , Shintoism , and Zen ) the samurai generated the Bushido , as the samurai had to be fearless , enlightened , and reflective while displaying both compassion and self-control . The samurai sought the true way to become the ultimate warrior where he displayed respect and reverence for both friend and foe . For centuries , the samurai had sought an inner path to enlightenment , righteousness , and dexterity while serving a clan with their skills in swordsmanship . Here Masaki Kobayashi , a proponent against authoritarian power , directs a samurai tale that illustrates how the concept of the Bushido transforms into a self-serving design .
In the year 1630 , the island that now goes under its native name , Nippon , also known as Japan to westerners , was only in its beginning of the Tokugawa shogunate , which lasted for some 250 years . The major difference with the Tokugawa compared to previous military leaders was that they unified their powers while exterminating smaller and less prosperous clans . It left numerous samurai without masters , as they had to drift into an unemployed existence also known as ronin . In Harakiri , known as Seppuku , in Japan , the audience learns about the socioeconomic and political changes that a ronin faced after the loss of a position while suffering from poverty and hunger . This story is set within the walls of the Iyi clan's stronghold . The audience should also know that the Iyi clan was a supporter of the Tokugawa shogunate .
Images of the Iyi clan's traditional armor open the film with a hauntingly stark presence , as the dark background contrasts the armor while fog drifts aimlessly around the armor . Analogously , the opening imagery presents a notion of a dark , resistive , and hollow presence , as no human fills the armor . It also provides the impression of lacking compassion while this clan's symbol represents the clan's merciless power and might . Eventually , the imagery forcefully fades into reality where it sits on the clan's high seat overlooking the clan and its fiefdom .
Out of the Iyi clan's log , a narration informs the viewer about a samurai and former retainer of the Fukashima Clan that arrives to the Iyi clan's grounds , which brings the audience back in time through a flashback . This man is Hanshiro Tsugumo ( Tatsuya Nakadai ) . Hanshiro requests to use the Iyi clan's forecourt of the Iyi's stronghold for a ritual suicide ( harakiri ) where the samurai cuts open his own abdomen in order to uphold his honor . Before the clan approves of his request , the senior counselor of the house of Iyi , Kageyu Saito ( Rentaro Mikuni ) meets with him . In his meeting , Kageyu informs Hanshiro about a recent incident where another man arrived who made a similar request . Together with Hanshiro the audience learns that other ronin have made the same request in the hope of obtaining a position , or getting a little money . However , the Iyi clan does not deviate , as they will make sure that the ronin executes harakiri by following the rules of Bushido . The story does not deter Hanshiro who remains steadfast in his decision of performing harakiri .
Well spread hearsay has reached Hanshiro's ears that the Iyi clan possesses a number of terrific swordsmen , as he requests one to be his assistant . The assistant's sword skills will serve the purpose of decapitated the Hanshiro's head when the pain of gutting himself becomes too painful , which in a way helps save face , no pun intended . However , none of the men that he requests are present , as they all are absent for the day due to illness . Yet , Hanshiro requests one of these men , as he wants the job done properly . Consequently , Kageyu sends for them , and while they wait Hanshiro begins to share his life story for Kageyu and the present samurai . Hanshiro's story is a perplexing and mesmerizing tale that will pull the audience in several unexpected directions , as director Kobayashi portrays a strong criticism of authoritarian rule of Iyi clan and their abuse of the Bushido .
Kobayashi's vision does not only reflect of historical incidents several centuries ago , but also , he freely criticizes the abusiveness of despotic power which shows complete disregard for the individual . This is something he personally experienced as a private , even though he was offered an officer position , in World War II , a war he referred to as , the culmination of human evil . Now less than two decades after the war , Kobayashi ironically sets the tale during the Tokugawa shogunate , which we now know exists no more . This knowledge serves an intentional reminder that despotic rule never lasts , as people eventually will always overcome the oppressiveness , as they did after World War II . In regards to the aftermath of both World War II and the Tokugawa shogunate , Kobayashi points out that the individuals of the lower socioeconomic levels suffer far worse than those in power , as those in power always find away to bend the rules to their favor .
Harakiri offers much more than mere sword fight , as Kobayashi allows the audience to reflect over the social application of the Bushido and the abuse of the samurai code . In addition , Kobayashi playfully applies masterful symbolism that intentionally criticizes the political perspective of totalitarian rule in a jidaigeki ( also known as chambara , or sword fight in a period film that takes place between 1600 and 1868 . ) This is why Harakiri emerges as one of the bewildering cinematic masterpieces that compares with Rashômon ( 1950 ) , with its mysterious element , and Seven Samurai ( 1954 ) by Kurosawa and Miyamoto Musashi's samurai trilogy with its social impact in the shadow of Bushido . Lastly , through the combination of brilliant camerawork , a clever script , and terrific performances by the cast all are come together under Kobayashi's skillful direction that leaves the viewers with a lasting and truly amazing cinematic experience .
015 4 This is an incredible film that is more art than just a movie . This is movie making taken to its highest form . I would say this is probably one of the best movies I have ever seen . A very tragic story told through wonderful acting and filmwork.This is more than just a samurai chambara film . This is a film about life and death and the beauty and tragedy of the human condition .
A powerful thought provoking work of art .
016 4 I caught the last thirty minutes of ' Harikiri ' in 1975 and could not believe what I was seeing . It was on a station that didn't bother to identify what was showing ( thanks , PBS ! ) so it took me some time to track it down .
I was not disappointed . This is a rare film that succeeds on all levels , as a character study , as pure cinema , as a social commentary , and as one hell of great story .
This is one of the most intense films ever made , despite the fact that the basic narrative unfolds in one spot , the courtyard of a Japanese estate , with the characters arranged in nearly ritual tableau . The tension builds almost unbearably as the retainers - - a squalid crew hiding a casual sadism behind the bushido code - - realize who the vagabond ronin in their hands is , and begin to grasp what he's there for . The climax , one of the finest examples of Japanese swordsmanship ever filmed , fulfills the film on each level of execution , with the ' samurai's ' dishonor rendered complete as they call for guns to defeat the intruder . I was as shaken seeing the complete film as I'd been thirty years before .
This is Nakadai's finest performance in a long and distinguished career , a tour de force of naturalist minimal acting . As in most Japanese films , the camera work and cinematography are magnificent , carried out on a level only rarely achieved in other countries . The transfer is excellent , made from a first-class print . Why this film ( along with most of the Japanese cinematic canon ) isn't on DVD I'll never know .
It's no insult to the master to say that ' Harikiri ' outdoes any of Kurosawa's samurai films . While I wouldn't do without ' Ran ' or ' Throne of Blood ' , ' Harikiri ' is , alone and unmatched , the epitome of Japanese Shakespearean film .
017 4 In the early ` 60s I entered in touch with Japanese filmography when I was attending an introductory course at Buenos Aires ' University . Since then I've come to appreciate Japanese delicate and sophisticated film language .
Westerners usually associate Japanese films with the outstanding director Akira Kurosawa ( author of Ran , Seven Samurai , Dreams and Kagemusha amongst other ) .
Masaki Kobayashi stands at the same height , not less , than Kurosawa . He has authored the present film but also the colossal trilogy The Human Condition ( Ningen no joken ) .
Harakiri ( Seppuku ) gives the viewer a direct access to Samurai's ethos . Heart and soul of the true warriors are shown with masterful hand .
Each scene is aesthetically perfect . They are structured in a dramatic crescendo that will culminate in the final showdown . Actors move as in a ballet performance with an astounding economy of displacements .
The black and white photography due to Yoshio Miyajima , usual collaborator of Kobayashi , is just perfect . Playing with light and shadow every photogram is a beautiful piece d'art .
The story is placed in the early stages of the Tokugawa Shogunate ( circa 1650 ) ; when all the feudal structure was shattered to pieces and masterless samurai ( ronin ) overflow the country without employment .
Some of those ronin tried , as a last resort , to act on the conscience of The Elder of any of the surviving Great Houses . To attain this , they ask to commit Seppuku in the inner yard of the Castle . Some times the moved Elder will take the ronin into his retinue .
When such a ronin comes to Iyi House , The Elder obliges him to immediately commit Seppuku with his own sword . Unfortunately for the young and desperate ronin he has sold the blade and replaced by a wooden one . The Elder sticks to the rules and doesn't allow the helper to behead the ronin putting an end to his misery .
After this ill-fated event an old aged ronin come and ask the same admittance . From here on , the epic tragedy evolves step by step .
This is not an easy going film . Its more than two hour extension requires a special compromise from the viewer . Nevertheless it is , arguably , one of the best and purest Samurai movies .
Reviewed by Max Yofre .
018 4 There is no question that this is the best Samurai movie ever made . Masaki Kobayashi's film is an indictment of the hypocrisy of the establishment , any establishment , would it be in feudal 17th Century Japan or in any other time . Dogma , on which the establishment's authority rests , is evil . The established , codified order , with all its smoke and mirrors , must be preserved at all costs , and nothing must be allowed to come in its way . It is the duty of each member of any government , organization , church , or brotherhood not to spare any effort and to go to any length to protect the appearances and status quo , to achieve this essential goal of survival . The end justifies the means , and no lie or deceit can be eliminated if this survival is at stake .
In Japan , Seppuku is the formal term for ritual suicide by disembowelment . Harakiri , as it is known in the West , is the common term , which literally means stomach cutting . It was an integral part of bushido , the code of conduct of the samurai warrior class . Seppuku was ordered by a superior as punishment to redeem some offence , or chosen over a dishonorable death at the hands of an enemy . In both cases , it demonstrated the honor , courage , loyalty , and high moral character of the individual . Except when performed on a battlefield , it was a very formal ceremony , requiring certain etiquette , witnesses and considerable preparation .
Harakiri is a particularly painful and rather messy way of ending one's days . In this ritual , the performer opens his abdomen , starting from left to right and then finishing from top toward bottom . But there is so need to be left for hours contemplating one's entrails . Another swordsman acting as a second , called kaishakunin , is standing by to decapitate the departing at a pre-arranged moment in the ceremony . Lord Ieyasu Tokugawa , who founded Japan's last great shogunate dynasty in 1603 , ordered the practice of harakiri to be discontinued by both secondary and primary retainers . Later on , in 1663 , a stronger edict from Lord Nobutsuna Matsudaira of Izu , put an end to the practice altogether . By that time , the ritual had become an idle formalism , and the performer was decapitated at the instant he took his sword out of the scabbard , thus avoiding a painful death . In some instances , the sword was replaced by a fan .
Hanshiro Tsugomo ( Tatsuya Nakadai ) comes to the castle of the Iyi Clan to seek revenge for the humiliation and cruel death of his son-in-law , Anjiwa Motome ( Akira Ishihama ) . Kobayashi is a superb storyteller , and in a slow and deliberate rhythm , he develops his story , which could have been taken from the pages of the Iliad or of the Mahabharata . The tension grows , as the Clan members slowly realize that they are in turn being humiliated by this stranger who truly believe in the samurai code of honor : he must be terminated to prevent him to broadcast his truth .
The final duel with the master swordsmen of the Clan , Hikukuro Omodaka , on the Plains of Gojin-in , is like a meditation , a ballet of death . The film ends in a spectacular combat , and the coup de grace to Hanshiro Tsugomo's seppuku is fittingly not applied by a gallant swordsman , but a cowardly platoon of muskets . Even to the end , the samurai honor code has been violated by the Clan .
The screenplay by Shinobu Hashimoto is based on a novel by Yasuhiko Takiguchi . The cinematography , by Yoshio Miyajima , in black and white , is gorgeous . Many on the shots are haiku-like in the imagery . The musical score , written for an ensemble of ancient instruments and percussion by the renowned classical composer Toru Takemitsu , is used sparingly throughout the film . The music speaks as the dialogs sing .
As Toshiro Mifune has long been associated with the success of Kurosawa's films , so are Kogayashi's films enhanced by the brilliant interpretation of Tatsuya Nakadai ( also staring in the leading roles in Kurosawa's Kagemusha , and Ran ) . This outstanding actor contributed further to the success of this director's films , Kwaidan and the Samurai Rebellion .
Although taking place almost five centuries ago during the Tokugawa Shogunate , this film is also a strong denunciation of the entrenched cultural legacy of coercive rituals , blind obedience , and chauvinism that resulted in the tragedy of the Pacific War .
019 4 This review is from :
Harakiri - Criterion Collection ( DVD )
Some good reviews and good attempts to summarize the plot . I urge that no one be put off by the anticipation that it will be confusing or overly complex . The story is told largely in flashback , and somewhat out of sequence , but it makes perfect sense to tell it that way , somehow . It is in no way hard to follow , and the exposition unfolds perfectly .
This movie is very strongly made up of Japanese cultural influences and history , yet the themes and underlying conflicts are universal . This is a human drama , told through strong empathetic characters . Hanshiro is one of the most admirable characters I have ever seen depicted . . . from his ( anecdotal ) heroism at Sekigahara , his honorable action when the clan is disbanded , raising his son , to whom he exhibits great love and loyalty , to the fact that when reduced to making umbrellas , he seems to be a painstaking and diligent craftsman . AND he gets to be a doting grandpa , babytalking and mugging to his little grandson .
Then when he has lost it all , he acts , again , with honor , in the only way left to him . Much is made of Kobayashi's undeniable attacks on authoritarianism , but it is also undeniable that to the end Hanshiro is the MOST honorable and the MOST true to the ideals bushido would have an individual uphold . The failure of bushido , as with any system of ideals , is in the imperfect humans who try ( or do not ) to uphold them , not necessarily in the ideals themselves .
This is a wonderful film , beautifully composed and well-acted . The actor portraying the Chamberlain does a fine job , in particular . Hanshiro's rebellion is directed fully at him , and in the end , it is difficult to tell what effect the exposure of so many dishonorable actions has had on him .
SPOILER ! ! ! ( as if you don't already know . . . )
One thing that has been little mentioned is the bleakness of the ending . . . in the end , the scribe notes only that on that date , one samurai committed honorable bushido in the House of Iyi , and a large number of retainers died of illness . Indeed , the narrator records that publically , the Iyi clan got away with everything , covering up the truth . The last shot , of the armor restored , soulless and imposing , is chilling . The more so noting the date of the action was 1630 , and the code and society that drove Hanshiro to his desparate action was to continue for over two centuries .
020 4 Some good reviews and good attempts to summarize the plot . I urge that no one be put off by the anticipation that it will be confusing or overly complex . The story is told largely in flashback , and somewhat out of sequence , but it makes perfect sense to tell it that way , somehow . It is in no way hard to follow , and the exposition unfolds perfectly .
This movie is very strongly made up of Japanese cultural influences and history , yet the themes and underlying conflicts are universal . This is a human drama , told through strong empathetic characters . Hanshiro is one of the most admirable characters I have ever seen depicted . . . from his ( anecdotal ) heroism at Sekigahara , his honorable action when the clan is disbanded , raising his son , to whom he exhibits great love and loyalty , to the fact that when reduced to making umbrellas , he seems to be a painstaking and diligent craftsman . AND he gets to be a doting grandpa , babytalking and mugging to his little grandson .
Then when he has lost it all , he acts , again , with honor , in the only way left to him . Much is made of Kobayashi's undeniable attacks on authoritarianism , but it is also undeniable that to the end Hanshiro is the MOST honorable and the MOST true to the ideals bushido would have an individual uphold . The failure of bushido , as with any system of ideals , is in the imperfect humans who try ( or do not ) to uphold them , not necessarily in the ideals themselves .
This is a wonderful film , beautifully composed and well-acted . The actor portraying the Chamberlain does a fine job , in particular . Hanshiro's rebellion is directed fully at him , and in the end , it is difficult to tell what effect the exposure of so many dishonorable actions has had on him .
SPOILER ! ! ! ( as if you don't already know . . . )
One thing that has been little mentioned is the bleakness of the ending . . . in the end , the scribe notes only that on that date , one samurai committed honorable bushido in the House of Iyi , and a large number of retainers died of illness . Indeed , the narrator records that publically , the Iyi clan got away with everything , covering up the truth . The last shot , of the armor restored , soulless and imposing , is chilling . The more so noting the date of the action was 1630 , and the code and society that drove Hanshiro to his desparate action was to continue for over two centuries .
021 4 This review is from :
Harakiri - Criterion Collection ( DVD )
Every so often someone asks me , what is the best film ever made .
My answer to this common question - Director Kobayashi's film Harakiri . This film is beautiful , powerful , poetic , unforgetable . It is a samurai film , not an epic , about the meaning of justice , compassion , and humanity . Although there is very little action of the type that one expects in Samurai dramas , the tension mounts to an explosive climax . Every gesture , every sound reinforces the themes of the film . This movie is to cinema as the Sistine Chapel is to painting . Unsurpassable !
022 4 Every so often someone asks me , what is the best film ever made .
My answer to this common question - Director Kobayashi's film Harakiri . This film is beautiful , powerful , poetic , unforgetable . It is a samurai film , not an epic , about the meaning of justice , compassion , and humanity . Although there is very little action of the type that one expects in Samurai dramas , the tension mounts to an explosive climax . Every gesture , every sound reinforces the themes of the film . This movie is to cinema as the Sistine Chapel is to painting . Unsurpassable !
023 4 I've watched what many would consider the ten must-see samurai classics :
- The Samurai Trilogy
- Seven Samurai
- Rashomon
- Yohimbo
- Zanjuro
- The hidden fortress
- Throne of blood
- Sword of doom
- Kagemusha
- Ran
They're all awesome !
Both or either Toshiro Mifune and tatsuya Nakadai star in all of them , and 8 are directed by Akira Kurosawa .
Now little did I know that Harakiri was not only in the same league , but above them all .
That is shocking considering that Seven Samurai , Rashomon , & Ran are included in the best 100 foreign films of all time .
Why only a handful of people out there know about this film is beyond my comprehension . This is not only the best japanese movie I've seen , but in my opinion probably one of the best 30 movies ever , and I've watched most of the essential ones .
If you don't like samurai or japanese movies because . . .
A . You Have not learn to appreciate this art in its entirety or
B . You are superficial minded and simply don't care
in that case this movie won't change your mind , or who knows ?
If you dig true cinema , it does not get any better than this . . .
025 4 I heard so much about Masaki Kobayashi's Harakiri , so I bought it at Amazon and watched it . Wow , this movie is awesome ! ! Now I don't know who is my #1 favorite director , Akira Kurosawa or Masaki Kobayashi . This black and white movie intensifies the theme of this movie along with the music by Tohru Takemitsu . In addition to these assets , the camera is wonderful . I pick this movie as one of my movies of my life . Tatuyua Nakadai was shining in this movie . I like him more after seeing Harakiri .
026 4 This review is from :
Harakiri - Criterion Collection ( DVD )
What a haunting , searing film . It is my favorite film , of all genres including modern . And I do watch a lot of films .
The film was made in 1962 and it features people who lived in 17th century Japan . And yet here we are in the 21st century , still discussing the still-relevant issues that the film raises , and also the compelling , human people who are shown in the film .
The film starts calmly , with Tsugumo Hanshiro ( masterfully played by Nakadai Tatsuya ) , a middle-aged ronin who once served a clan that has been abolished by the Shogunate , appearing at the gate of the Edo headquarters of the Ii clan . He requests a spot within their mansion to commit seppuku , as he no longer wishes to live in the extreme poverty that he has lived in for the past years .
In the course of the film , details are given about 17th century Japanese history and society , so that a viewer does not have to have studied extensively to know of the situations confronting the characters . To sum up : thousands of samurai retainers had been thrown out of their positions , made into lordless ronin , by the wholesale abolishing of clans by the bakufu government . In the rigid class system ( samurai , farmers , artisans , merchants ) that had been set up by the bakufu after the Tokugawa shoguns had established their reign , these displaced ex-retainers had no place at all ; they were forced into marginal modes of subsistance - - either as outlaws or into very low-paying teaching or artisan trades .
The film unfolds after its stark beginning . In his inner headquarters , Saito Kageyu ( Mikuni Rentaro ) , the chief retainer of the Ii clan , bemoans the fact that hordes of starving ronin have been making similar requests at various clan gates ; most have wanted handouts rather than to actually commit seppuku , and Kageyu suspects the same of Hanshiro . But he agrees to meet with him .
Kageyu attempts to discourage Hanshiro with a tale of another ronin , a younger man from the same abolished clan , Chijiiwa Motome ( played poignantly by Ishihama Akira ) . Motome had appeared at the clan's gate a few months earlier , requesting to commit seppuku for the same reasons . Kageyu reveals to Hanshiro that this younger man had been discovered to be carrying sword blades of bamboo ( he had pawned his real swords ) and tells of the outrage that his clan members had felt when a man requests to commit seppuku but does not possess the weapon for carrying out this request ( a wakizashi made of metal , not bamboo ) - - so it had been obvious to the Ii clansmen that Motome had wanted to extort the clan for a handout and had no intention of committing seppuku . So as an example to other scrounging , poor ronin , particularly those who don't carry real blades , the Ii clan members had decided to make an example of Motome . They had forced him to commit seppuku with his own bamboo wakizashi .
What happens following Kageyu's tale told to Hanshiro will tear your heart and drive you to view the film over and over . The story proceeds onward , toward its inevitable end , playing out like the best of Greek or Shakespearian tragedy .
027 4 What a haunting , searing film . It is my favorite film , of all genres including modern . And I do watch a lot of films .
The film was made in 1962 and it features people who lived in 17th century Japan . And yet here we are in the 21st century , still discussing the still-relevant issues that the film raises , and also the compelling , human people who are shown in the film .
The film starts calmly , with Tsugumo Hanshiro ( masterfully played by Nakadai Tatsuya ) , a middle-aged ronin who once served a clan that has been abolished by the Shogunate , appearing at the gate of the Edo headquarters of the Ii clan . He requests a spot within their mansion to commit seppuku , as he no longer wishes to live in the extreme poverty that he has lived in for the past years .
In the course of the film , details are given about 17th century Japanese history and society , so that a viewer does not have to have studied extensively to know of the situations confronting the characters . To sum up : thousands of samurai retainers had been thrown out of their positions , made into lordless ronin , by the wholesale abolishing of clans by the bakufu government . In the rigid class system ( samurai , farmers , artisans , merchants ) that had been set up by the bakufu after the Tokugawa shoguns had established their reign , these displaced ex-retainers had no place at all ; they were forced into marginal modes of subsistance - - either as outlaws or into very low-paying teaching or artisan trades .
The film unfolds after its stark beginning . In his inner headquarters , Saito Kageyu ( Mikuni Rentaro ) , the chief retainer of the Ii clan , bemoans the fact that hordes of starving ronin have been making similar requests at various clan gates ; most have wanted handouts rather than to actually commit seppuku , and Kageyu suspects the same of Hanshiro . But he agrees to meet with him .
Kageyu attempts to discourage Hanshiro with a tale of another ronin , a younger man from the same abolished clan , Chijiiwa Motome ( played poignantly by Ishihama Akira ) . Motome had appeared at the clan's gate a few months earlier , requesting to commit seppuku for the same reasons . Kageyu reveals to Hanshiro that this younger man had been discovered to be carrying sword blades of bamboo ( he had pawned his real swords ) and tells of the outrage that his clan members had felt when a man requests to commit seppuku but does not possess the weapon for carrying out this request ( a wakizashi made of metal , not bamboo ) - - so it had been obvious to the Ii clansmen that Motome had wanted to extort the clan for a handout and had no intention of committing seppuku . So as an example to other scrounging , poor ronin , particularly those who don't carry real blades , the Ii clan members had decided to make an example of Motome . They had forced him to commit seppuku with his own bamboo wakizashi .
What happens following Kageyu's tale told to Hanshiro will tear your heart and drive you to view the film over and over . The story proceeds onward , toward its inevitable end , playing out like the best of Greek or Shakespearian tragedy .
028 4 While Kurosawa was settling back into commercial comfort , making samurai comedies , Masaki Kobayashi was approaching the genre with more serious intentions . A glorification of feudal values was defintitely not Kobayashi's concern , having been a survivor of Imperial Japan's violent and , luckily , abortive bid to dominate Asia . Kurosawa was too sickly to serve in the Imperial Army , or so the legend goes . Kobayashi focuses directly on feudalism precisely because he realized that it had never been completely eradicated . The same values that had driven Japanese soldiers to commit atrocities throughout Asia were still principally intact in postwar Japanese society . Feudalism was tacitly alive and kicking , and Kobayashi knew just how to expose it . ' Seppuku ' ( the original title ) is a frontal attack on Japanese institutionalized feudalism , as expressed in its inherent cronyism , its stupid adherence to the samurai ethic . Although the last fifteen minutes of this film are electrifying , wherein a lone , masterless samurai is set against a mob of lesser swordsmen ( by now a familiar scenography in Japanese film ) , it is his selfless revenge on the clan that forced his impoverished son-in-law to commit seppuku with a bamboo short-sword that lays waste to the very root of Japanese feudalism .
029 4 This film was released around the same time ( 1962 ) as Kurosawa's Sanjuro , the sequel to Yojimbo from the previous year . Being a Kurosawa fan from way back and wishing to see more of his classic films , Netflix recommended this one to me as well , so I gave it a whirl .
I'm glad to say I was not disappointed in the least . While Kobayashi's directorial methods are different from Kurosawa's , he ultimately delivers a payoff every bit as dramatic and satisfying as those Kurosawa was known to deliver . Hara-Kiri is ultimately heartbreaking and , like Kurosawa , Kobayashi does not shy away from showing the darker aspects of feudal Japan . Tatsuya Nakadai ( who has also worked extensively with Akira Kurosawa on such films as Throne of Blood , Kagemusha and Ran ) plays a middle-aged samurai in the early Tokugawa period who is down on his luck and offers himself to the house of a powerful shogun to commit ritual suicide in the only honourable manner left to thousands of dispossessed samurai of the time . The shogun lord doubts his intention , as apparently many other samurai have come before him seeking a handout , and tells him as much . He soon finds out that his son-in-law , a younger warrior , came seeking the same destiny some time earlier ; what follows is a wrenching look at desperation and revenge . Highly recommended .
030 4 If I were to name the greatest Samurai movie ever , this would be it . Kobayashi tells the story of a Samurai reduced to penury upon his clan's abolishment . It is a harrowing tale of Samurai as pawns in the hands of the feudal lords , to kill and be killed at a whim when an ex-samurai ( Tsugomo played by Tatsuya Nakadai ) sets out to avenge the cruel , forced harakiri of his impoverished son-in-law .
There is great dialogue and plenty of black humour in this movie - especially when Tsugomo sarcastically ridicules the feudal lord and the Samurai code .
This movie avoids the Samurai gets mad and chops up dozens formula and depicts action sequences extremely realistically . The narration style is flawless and movie is perfect in every detail .
The great Tatsuya Nakadai gives a truly amazing performance . Especially not to be missed are Tsugomo confronting the feudal lord's arrogant Samurai on a windswept field and the explosive ending .
031 4 The samurai code as everyone who has some acquaintance with Japanese culture knows is a severe code in which ritual suicide called hara kiri is the mainly the punishment or even expiation for any kind of dishonor . Numerous examples of this ritual suicide were taken note of by so many Allies during the last World War . In this wonderful , yet unsung masterpiece of a movie we see two terribly tragic examples of hara kiri , or seppuku as one hears it referred to in the movie . The last one is a daring , yet strangely just and convincing way of sending a message to the unjust . The first is the one which is the cause of the great buildup to a very dramatic fight scene and the last example of hara kiri .
The problem begins when a certain young samurai looking for employment is inextricably caught in a web of misunderstandings concerning honor . He presents himself as someone who wishes to commit hara kiri merely as a pretext to join a clan . Despite his positive outlook and tell tale signs he may join he is taken up on his offer by the chief of the clan . He has no intention of following through with this offer , nevertheless he is forced into committing seppuku with a bamboo sword - - a truly heart-wrenching scene !
Now all of the above-mentioned is told from the point of view of the clan chief who ordered the swordless samurai to commit ritual suicide as he is speaking with another ronin who interestingly enough is the father in law of the young samurai who had been forced to kill himself with a bamboo sword .
The father in law a very unsung , yet wily samurai recounts his own tale and what led to his son in laws unfortunate end . The movie from this point is clinching because of the tension now stirred between arrogant and cruel samurai daimyo and the ronin that has come to discuss the issue once more .
This is the whole crux of the story . The arrogance and complete lack of pity on the less fortunate is the problem ; and such an honor as bushido has caused it . A family trying to save its honor , or image , deals a cruel blow to a poor aspirant and feels no pains of conscience because of it . Is that honor ?
As the story leads to its bloody climax the daring father in law reveals that he has taken the top-knot of three samurai who directly handled his son's execution . From there he proceeds to take on his own method of hari kari by creating havoc in the midst of the guilty and returning the pain that was caused by such a cruel system of thought .
The film brings the ultimate question : what is real honor ? It is the ability to stand and fight for what is truly just instead of taking on the hard facade of honor which is merely punishing those who are not as strong or as proud as you are . This movie unsung as it is has been from the moment I finished my first viewing will always remain as a counter beacon , if you will , against all types of fraternities which hold only pride and strength as its mottos and not justice .
032 4 Often in my reviews , I touch on elements of the plot . I wouldn't call them spoilers per se , but I went in to this movie almost cold , and that turned out to be an immensely rewarding experience ! Harakiri rewards patience . I was actually bored for the first 30 minutes of the film , and then it all comes together . Somewhat light on action , this film is an articulate criticism of the corruption power brings and the length one man goes to expose the hypocrisy .
033 4 Harakiri deals with the samurai in Japan in 1630 . The Tokugawa shogunate is in control in Japan a several families have been removed from power . Because of this , many samurai have been forced to become ronin because of how peaceful Japan is . These ronin are doing anything to survive . Including going to the families in power and asking to commit ritual suicide ( seppuku , better known in western cultures as hara-kiri ) in hopes of being offered a minor job or some money to hold them over for a few days .
In this film , Hanshiro Tsugumo ( played by Tatsuya Nakadai ) is a ronin who arrives at the Iyi house requesting permission to commit ritual suicide in their house . The Iyi clan has a strong dislike of the growing number of ronin making this request try to persuade Hanshiro from doing this . This film tells the tale of a previous ronin who requested to committed seppuku at the Iyi facility and how the Iyi clan handled it . Once this is completed , Hanshiro tells his reasons for wishing to commit seppuku at their facility .
The movie is fresh , exciting , and strongly told . The opening is a little slow , but that's to set things up and to permit you to learn the situation . The plot takes several twists that aren't readily noticeable . Kobayashi's story telling is as good as Kurosawa's in his better movies . Tatsuya Nakadai's performance compares very favorably to Toshiro Mifune's performance in Yojimbo . The rondori scene is fabulous ! Because of the strength of the acting and story telling , I give this a strong 5 stars !
034 4 . . . but the materials Criterion put together for this great two disc set shed new insight and light to one of the greatest chambara films ever made . Thank you , Criterion , for taking my email ( and who knows how many others ) seriously and for bringing this pristine and wonderful DVD transfer of a true classic . This movie should be in every serious cinephile's collection , and I highly recommend this two disc set .
035 4 I finally found a DVD version of this masterpiece , it was a 2003 release filled with all sorts of extra . One big problem , FULL SCREEN ! Who in their right mind would put this movie on DVD and put it on FULL SCREEN ! Somebody is tauting us fans big time !
It's a great movie , but one that demands to be viewed , if not on the big screen , then at least letterboxed DVD format !
036 4 Harakiri is a samurai masterpiece , and one of the best films to come out of Japan in the 60s . There are so many underlying messages in this film that the subtle actions of it's charcaters resonate much deeper than first perceived . Director Kobayashi gets incredibly dramatic performces from his actors , and the cinematography is stark and beautiful . Instead of using the samurai genre as a catalyst for action and shallow characterization , Kobayashi looks at every detail of the samurai class and how it affects the individual . The film builds nicely with tension and the ending is dark and unforgettable . Harakiri is a film that truly transcends it's genre .
037 4 This review is from :
Harakiri - Criterion Collection ( DVD )
The story has everything in it , including tragedy and dark humor . The main theme is revenge , but also apotheosis : a Samurai breaking with the definition of his life to be true to his inner self . He calls the Samurai code a facade , and then proves it by kicking butt in the most realistic one-man stand I have ever enjoyed in movies . This film has the most realistically correographed sword fights I have ever seen . None of the fashionable flashing swords and furious ( jiggly ) camera work that typifies filmed sword fights , especially in recent years . Even in 1962 , this was a uniquely faithful depiction of kendo - the discipline of the perfect cut . The fighters like to stay well out of range until they can attack or counter attack without getting hurt ! No duh . But how many movies really show this natural caution in fighters ? No others that I can think of off-hand .
This masterpiece blows away Kurosawa's stuff , which I also enjoy a great deal . Harakiri is just as artfully done , both the cinematography and the direction , but it is far more realistic visually . ( I am glad it was in black and white ! ) It is very tight and fast-paced , despite a lot of scenes where people are just looking at each other and talking . I wish more films were this balanced , instead of the steady move toward more gratuitous action and less drama that feels connected to real life .
The characters are alien in the way they act , to American eyes , but their emotions are completely reachable . Harakiri is a perfect reminder of why I enjoy foreign film so much : it puts me in touch with humanity from another place and time . And being in touch , I know that we are at the core always the same . Tradtion and culture do not change our emotions or desires for happiness . And family lies at the very center of achieving it , or becoming so grief stricken that we welcome death .
( A technical observation about correography of sword duels in films : this film has the right feel about what we see . I think that depicting a sword and shield duel in Viking Iceland would , if authentically portrayed , show the same thing : a lot of long range circling and feinting , with constant eye contact , and a few bursts of attack and reaction . )
038 4 The story has everything in it , including tragedy and dark humor . The main theme is revenge , but also apotheosis : a Samurai breaking with the definition of his life to be true to his inner self . He calls the Samurai code a facade , and then proves it by kicking butt in the most realistic one-man stand I have ever enjoyed in movies . This film has the most realistically correographed sword fights I have ever seen . None of the fashionable flashing swords and furious ( jiggly ) camera work that typifies filmed sword fights , especially in recent years . Even in 1962 , this was a uniquely faithful depiction of kendo - the discipline of the perfect cut . The fighters like to stay well out of range until they can attack or counter attack without getting hurt ! No duh . But how many movies really show this natural caution in fighters ? No others that I can think of off-hand .
This masterpiece blows away Kurosawa's stuff , which I also enjoy a great deal . Harakiri is just as artfully done , both the cinematography and the direction , but it is far more realistic visually . ( I am glad it was in black and white ! ) It is very tight and fast-paced , despite a lot of scenes where people are just looking at each other and talking . I wish more films were this balanced , instead of the steady move toward more gratuitous action and less drama that feels connected to real life .
The characters are alien in the way they act , to American eyes , but their emotions are completely reachable . Harakiri is a perfect reminder of why I enjoy foreign film so much : it puts me in touch with humanity from another place and time . And being in touch , I know that we are at the core always the same . Tradtion and culture do not change our emotions or desires for happiness . And family lies at the very center of achieving it , or becoming so grief stricken that we welcome death .
( A technical observation about correography of sword duels in films : this film has the right feel about what we see . I think that depicting a sword and shield duel in Viking Iceland would , if authentically portrayed , show the same thing : a lot of long range circling and feinting , with constant eye contact , and a few bursts of attack and reaction . )
039 4 I hesitate to add my two cents to this collection of excellent reviews . I have long been a fan both of Japanese cinema and Sword films , as well as a life long student of Zen . Samurai culture has roots in Zen traditions , and the most sophisticated Sword films address this spiritual context . These principles are illustrated profoundly in the famous Samurai Trilogy , by Inagaki
Samurai Trilogy Box Set - Criterion Collection
. It is said that the soul of a Samuai is his sword . To approach a craftsman and request that he polish your sword is a form of metanoia , the surrender of a student to the guidance of an expert . So , if the sword IS the soul of a Samurai - - what does it mean to polish the sword ? This is the essence of Zen - - the Sword of Discriminative Wisdom . How does one polish the sword of discriminative wisdom , which separates truth from illusion , or right Being from wrong Being ?
Of course , mastery of swordsmanship , commitment to tradition , even sitting Zazen , is no guarantee of right understanding . Social status and pride is no certification of right understanding . Neither is adherence to custom and convention . The essence of the film reminds me of the admonition by Paul in his letter to the Corinthians : ' We are all qualified by the Spirit to minister the new covenant , not in the written word , which kills , but in the Spirit , which gives life . If it is possible to describe right understanding in Zen , this comes very close to the target .
Here is a Clan who misunderstood their moral imperative , and must accept a brutal lesson from a man they regard as worthless - - but who demonstrates he is more worthy than the lot of them put together . The heart of Buddhist teaching is compassion . Compassion is identical with the recognition of the law of interdependent causation . The pursuit of the Noble Eightfold Path is no slight undertaking . A man who comes to your door requesting to commit suicide on your doorstep deserves special consideration . His situation is dire by definition . Why condemn him out of a rigid adherence to a sense of duty ? Why condemn him just to send a message to other would be deadbeats ? What would Buddha do ? Why not lift the veil for a second and discover what brought him to your doorstep ? Thing are not always as they appear . Not always as they seem . Is that so ? , asks the student of Zen with a smile .
This is a compelling , challenging film - - a great lesson in moral obligation , in the inviolate supremacy of compassion as a guiding principle in the pursuit of justice , in the false aspects of presentation , and how the truth is often more concealed , and deeper , and more profound than you are capable of imagining .
I cannot recommend this film highly enough . It is comparable to Shakespeare in its depth , scope , and elegance . A true classic .
040 4 Following the Battle of Sekigahara and the Tokugawa clan's final assumption of national rule as the last and most powerful shogunate , Japan experienced a large and enduring influx of ronin as a result of this shogunate's calculated , underhanded elimination of numerous influential daimyo and provincial clans . As a result of this collective fall from grace ( the likes of which would not be witnessed again until the onset of the Meiji Restoration ) , a trend occurred in which impoverished ronin visited the houses of thriving clans and requested permission to commit ritual suicide on their grounds as a means to end their suffering and preserve their honor . Many of these requests were legitimate ; many more were ploys to obtain a position or monetary handout in response to the pitiable state of these former warriors .
Adapted by famed screenwriter Shinobu Hashimoto from a story by novelist Yasuhiko Takiguchi and directed by Masaki Kobayashi with the intense and maudlin milieu common to his films , Harakiri is a tragedy of two such samurai - one a disgraced and desperate fraud , the other a weathered and earnest veteran of the late Sengoku war . At different times in the same year , both men arrive at the Edo compound of a flourishing and rigorous clan , the leadership of which has no intention of affording charity or anything other than seppuku to those samurai who come calling for it . However , neither man is quite what he seems to be , and the terrible consequences of the clan's brusque adherence to lawful bushido slowly unfold , revealing institutional hypocrisy and personal devastation of an unspeakable magnitude .
Even by Kobayashi's usual standards , the technical quality of this picture is beyond critique . His flawless , dynamic anamorphic composition is enhanced by some of the most beautiful , nuanced photography ever committed to black and white stock . Of the set and costume design , the period detail is exquisite . The only film of greater beauty and aesthetic merit in Kobayashi's oeuvre is the ornate ( and incomparably expensive )
Kaidan
. Alternately frantic , mournful and haunting , Toru Takemitsu's muscular , noisy , biwa-driven score is complemented by a chamber string orchestra - arrangements typical of his 1960s output .
Befitting a production of such excellence , its famous performers are entirely credible in their demanding roles . Tatsuya Nakadai potently expresses grief , desperation and moral outrage as the honest and truly honorable protagonist in opposition to Rentaro Mikuni's arrogant counselor and the cruel retainers at his command . As in the
The Human Condition
trilogy and
Samurai Rebellion
, Kobayashi ably depicts the suffering of the individual as a result of authoritarian abuses of power . Although the particular target of this film's scathing indictment is the society of the Edo period - in which the image of honor was often deemed more important than honorable acts - its condemnation of tyrannical abuse possesses a universal appeal . Kobayashi had no interest in pushing an agenda or promoting ideology ; where he perceived infamy in Japanese society ( and especially that of its military ) , he sought to expose it .
Carefully paced , emotionally exhausting and consistently unpredictable , Harakiri is among the most heart-wrenching and thrilling of all filmic jidaigeki . Challenging and often difficult for its audience , its crushing misery and impressive swordplay are only matched by the outrageous injustice of its denouement .
041 4 This is a truly great great movie . It is actually more literature than film , which beautifully displays the shadow side fo the human condition . It may be the best movie ever made . . .
042 4 I had never seen this film until I found a copy at a local Hollywood outlet in Albuquarque , New Mexcio , a few years ago . I took it home , saw it , and was absolutely bowled over by it . Kobayashi's view of Harakiri bespeaks the age when the film was made as it is quite a materialistic interpretation of Harakiri but nonetheless truthful for that . ( Forget the cheap eulogy of samurai-death in the recent Last Samurai . )
This is a film-making elevated to the realm of art . The serenity of a Noh play and the theatrical panache of Kabuki are combined to create this absolutely engrossing masterpiece . This is arguably the finest Japanese film ever made . It is perverse that this work , perhaps outshodowed by numerous Kurosawa films , is almost never talked about in Japan .
This is one of those films that cry out for a release in a DVD format ( It is already available in Japan ) .
043 4 Rage when FOCUSED on a Single purpose is a very powerful weapon . . .
HARAKIRI ( 1962 ) ( aka . Seppuku ) is the award-winning film from Masaki Kobayashi ( Samurai Rebellion , Kwaidan ) and has been pronounced as Kobayashi's masterpiece by his mentor Kinoshita and as one of the TOP Five Greatest Japanese films ever made . The film was originally titled Seppuku in Japan which translates into ritual suicide . Western audiences are more familiar with the word Harakiri ; Hara means belly and Kiri means cut . The two kanji ( Chinese characters ) are reversed to form Seppuku a more formal term . In the full ritual , the samurai would cut his belly open and then the shakunin ( second ) would behead him . During the Tokugawa period , the Shogunate ordered quite a large number of lords to commit seppuku to curb the number of Daimyos to avert disorder and possible challenges to the rule .
1630 . Following the collapse of his clan , unemployed samurai Hanshiro Tsugumo ( Tatsuya Nakadai ) arrives at the manor of Lord Iyi , begging to be allowed to commit ritual suicide on his property . Iyi's clansmen , believing the desperate ronin is merely angling for charity , tells Tsugumo the tale of another samurai who they forced to commit Seppuku after they had determined that his intentions were only for show . The Iyi clan have greatly underestimated Tsugumo's honor and his past - - who is this stranger and what does he really want ?
An empty suit of samurai armor opens and closes the film , it represents the samurai of old as an active warrior who fights for his Daimyo who after the Tokugawa era is reduced as a wandering Ronin . While it has all these connotations ; Harakiri's focus is its emptiness . For this film is a scathing , devastating indictment of the hollowness and hypocrisy of the way of Bushido , the warrior's code . The colliding characteristics of giri ( the duty to Bushido ) and ninjo ( human feelings , compassion and conscience ) are the central themes that Kobayashi has incorporated into his film . If you saw his The Human Condition trilogy , the director was highly critical of the Japanese martial condition ; whether in the olden samurai traditions or in the modern Japanese army . Kobayashi's thesis expresses that such systems are inhumane and such inhumanity are only hidden behind such noble sounding rules that are hypocritical and meaningless . Of course , it was extremely easy to see which side the filmmaker comes down on . Kobayashi's rebellious themes portrays the samurai code as superficial , that after all the rules and supposed nobility exuded by retainers ; he delves into the rotten core of the system that reveals naught but cowardice among certain clansmen .
Kobayashi's direction is flawless ; the film depicts its social themes through allegory . He is more an expressionist than a realist . The contrasts of black and white depicted by Tsugumo's black kimono against the white matted platform on which he tells his tale , represents the Iyi clan's intransigence . Kobayashi sets the mood for the film successfully as the lead character unveils his tale , the proceedings are extremely intense and immersive . I have never been so engaged in a film as much as I've been with Harakiri . Even during that time , Kobayashi exhibits excellent film techniques . He uses the widescreen format with such skill that signifies the endless horizontality of the feudal period . Kobayashi's frames and cuts are examples of more a modern film style that solidly defies the rituals of the past ; that expresses his stance that society mustn't be destructive in the face of authoritarian power and that such things , however may seem permanent , is not invincible to the rivers of change .
It was no accident that Kobayashi had picked Tatsuya Nakadai as the lead . Kobayashi chose him because during that time , the actor had embodied postwar individualism and youthful culture as an actor of modern Shingeki . Nakadai has a very clear enunciation and a powerful deep speaking voice that expresses all the emotional aspects of his character . With almost an uncanny quality , the actor expresses his soul with his body movement , facial mannerisms on behalf of the outworn notion of samurai dignity . Also worth mentioning is the performance of Rentaro Mikuni as the clan elder , Kageyu Saito . His performance has the outward appearance of an individual so engaged and committed in the system , that while he sees what is happening he is so dedicated that he incapable of doing the right thing . Another very human flaw is shown , indifference and that some individuals are so used to their ways that they would do anything to prolong it .
While Kobayashi's masterpiece is so gripping and truly engaging , the film also has its share of realistic swordplay that contains a lot of violent intensity and visceral attitude , that almost look like a Ballet of eventual destruction . The dialogue by Shinobu Hashimoto ( Samurai assassin ) in the hands of Kobayashi , becomes a meditative , brooding play that creates an intimidating aura that is very menacing and that exudes the strong hand of fate as an inevitable doom . Strong and powerful with its expressions , Tsugumo ` s disrespectful treatment of the empty armor was meant to express pure disgust of such pretentious nobility and cowardice in the Iyi clan . This film truly hurts and quite painful in its expressions of social and political ways .
Dark , moody and gripping , Harakiri remains as a perfect example of excellent Japanese filmmaking . It is a very POWERFUL expression of Masaki Kobayashi's beliefs that human feelings and consideration must take precedence to superficial rules and beliefs that merely beautifies the surface . It is a vibrant depiction that Injustice must be confronted with unrelenting force and single-minded purpose that is worth sacrificing one's life for .
HIGHEST POSSIBLE RECOMMENDATION ! [ 5 + Stars ]
044 4 I have both versions . The video is cleaner now and the translation / subtitles make MUCH more sense .
Kudos to the production company for Improving the movie and not just re-releasing the old version ! ! ! !
049 4 Let me make it clear that I need this movie on DVD . When will it happen ? Anyway .
This film is the pinnacle of the Japanese cinema . It uses the traditional format of the chambara ( or sword-play ) to its strength ; the contrast between the artifice of constricting structure and human emotion , action , is beuautifully displayed . Most are familiar with Kurosawa and equate him with Japanese film . I don't know if that is due to the lack of exposure , research or interest but I hope the general masses will understand there are many others in the genre of Samurai films that have matched or surpassed his marks . Kobayashi's Hara-Kiri is such a film .
050 4 This review is from :
Harakiri - Criterion Collection ( DVD )
The movie Harakiri , by director Kobayashi has a complex plot , and is rather unexpected . Since many haven't seen it Im not going to tell what it is about , but here are some highlights . . .
A powerful family vs . a ronin family
A strategy based on force and samurai code vs . a strategy based on a need to survive physically and morally .
Snobish attitudes vs . true martial luminaries
ancestor worship vs . cynisism towards anything official
rise in the ranks vs . fall in the ranks
I hope this will help you to make a decision on whether you want to watch this movie , furthermore there s plenty of other reviews .
051 4 The movie Harakiri , by director Kobayashi has a complex plot , and is rather unexpected . Since many haven't seen it Im not going to tell what it is about , but here are some highlights . . .
A powerful family vs . a ronin family
A strategy based on force and samurai code vs . a strategy based on a need to survive physically and morally .
Snobish attitudes vs . true martial luminaries
ancestor worship vs . cynisism towards anything official
rise in the ranks vs . fall in the ranks
I hope this will help you to make a decision on whether you want to watch this movie , furthermore there s plenty of other reviews .
052 4 The retainer log book for the Official Residence of Lord Iyi reports that at midday on an otherwise uneventful day on the thirteenth of May 1630 , during the absence of the Honorable Heir Bennosuke , a gaunt , former retainer of the Lord of Geishu arrives at the mansion gates and is granted an interview with the Iyi clan elder , Saito Kayegu ( Rentaro Mikuni ) . The solemn and enigmatic ronin ( masterless samurai ) , Tsugumo Hanshiro ( Tatsuya Nakadai ) , has led a dire life of poverty since the abolition of the Geishu clan in 1619 , and now expresses his desire to die with dignity and commit harakiri ( ritual disembowelment ) in the sanctity of warlord grounds . However , in an era of peace with few employment prospects for samurai in the dwindling local feudal clans that were allowed to remain after the centralization of power by the Tokugawa shogunate , the request has become commonplace . Spurred by reports of generosity and benevolence towards the destitute ronins among the surviving clans , many desperate samurai have insincerely requested admission to commit harakiri with the expectation of being turned away with a small pittance . Saito cautions Tsugumo against making such a request , citing a pathetic and tragic incident involving another Geishu retainer , Chijiwa Motome ( Akira Ishihama ) , who insincerely threatened harakiri as a ruse to obtain charity , and was compelled by the Iyi retainers to carry out the agonizing ritual using only a bamboo blade - the empty tokens of his privileged class pawned long ago to provide for his family . Undeterred , Tsugumo reaffirms his determination to perform the sacred act of seppuku ( the disembowelment ritual performed in the presence of a second officiate swordsman who carries out the final head cutting ) , and requests the services of swordsman , Omodaka Hikokuro ( Tetsuro Tamba ) , to act as his second officiate . Upon learning that Omodaka has taken a leave of absence , Tsugumo names two other Iyi retainers to carry out the task , Kawabe Umenosuke ( Yoshio Aoki ) , then Yazaki Hayato ( Ichirô Nakaya ) , to no avail . As Tsugumo waits for the indisposed retainers , he proceeds to recount the story of his disillusioned life that led to this fateful day .
Based on a novel by Yasuhiko Takiguchi , Harakiri is a scathing indictment on the hypocrisy , repression , and barbarism of codified behavior . Using rigid rectangular framing against fluid tracking shots and exquisitely composed long shots that delineate class station and social disparity , Masaki Kobayashi visually reflects the oppressive confinement and regimentation of the samurai bushido ( code of conduct ) : the title sequence presented against shots of the empty passageways that lead to the sacred chamber of the Iyi clan's ancestral armor ; the isolating , diagonal shots of Saito's interviews with Tsugumo and Chijiwa ; the repeated image of Tsugumo on a ceremonial mat encircled by retainers . By illustrating the class stratification and imposed social conformity fostered by the Tokugawa shogunate ( 1600 - 1867 ) as a means of retaining and centralizing authority , Kobayashi presents a harrowing indictment of the ingrained cultural legacy of coercive , outmoded rituals , chauvinism , and blind obedience that resulted in the inhumanity and senseless tragedy of the Pacific War .
053 4 ( Note : All names are in Western order , given name then family name . Now , on to the review . . . ) This is probably the finest chambara film you'll ever see , or at least that is my humble opinion . When I decided some time ago to go on a binge of watching so-called samurai films , I did a small amount of research and decided to see this one first . I had previously only seen Kurosawa's films , and , in my humble opinion , he did not make optimum use of the great Tatsuya Nakadai the way that Masaki Kobayashi has in this film and others . I think Kobayashi / Nakadai is at least as powerful a collaborative combination as Kurosawa / Mifune . What is more , the film is a visual and conceptual masterpiece , symmetrically drawn by meticulous master Kobayashi ( like Kurosawa he trained as an artist ) and scripted by Shinobu Hashimoto , who also did great service for the more well-known ( in the West anyway ) Kurosawa .
This film concerns the happening ( as shown at the beginning chronicled by the scribe of the House of Ii ) in the case of a middle-aged ronin , Hanshiro Tsugumo ( Nakadai , at age 29 , playing age 50 ) , who requests the use of the clan's forecourt so that he may commit seppuku ( hara-kiri as it is also known ) to end his days honorably , for he is starving in this post-Warring States economy . As a samurai warrior in peacetime , his services are no longer in demand , so he is forced to take piecemeal employment , observing all the prohibitions inherent in the Japanese class system ( for instance , a samurai may not make footwear because of a sandal's proximity to the ground - - thus only lower class craftsmen may do this ) . Clan Councilor Kageyu Saito ( Rentaro Mikuni ) hears Tsugumo's request and proceeds to tell him what he considers a cautionary tale of another ronin who had earlier made the same request . Mikuni is appropriately reserved , soft-spoken and serious ; these requests have caused the Ii and other houses serious problems , because many ronin have been given a few coins to hold them over and told to go away , or in other cases , they have been given low-level employment because the appeal was so audacious and extreme . This has caused a problem , and Saito as representative of the powerful Ii family must address it .
What follows is the slow unfolding of the sad tale of Tsugumo's fallen fortunes and the uncovering of the Ii's conception of samurai honor . Kobayashi called it an anti-samurai film , and indeed it is . Tsugumo , by slow recitation and careful maneuvering , presents his appeal and the reasons for it in a manner that builds a powerful and scathing indictment of what officially passed for honor in the days of the Tokugawa Shogunate . We are treated ( if you can call it that ) to a graphically horrible scene of ritual disemboweling at which the honorable swordsman and loyal Ii retainer Hikokuro Omodaka ( Tetsuro Tamba in fine restrained form , the very picture of the ideal samurai swordsman ) presides as kaishakunin ( the second who performs the decapitation , which ends the ceremony ) . Omodaka recites the traditions of the ritual and takes care to project the image of the Ii clan as one who is the pinnacle of adherence to traditional honor . He is a true believer .
Presiding mutely over the entire formalized stageplay atmosphere is a symbol that might as well be the meat of the Ii's code of honor and the message of this film - - it is an empty set of armor , the master's armor , which is set up and revered beyond measure . If it is disturbed or threatened , the retainers must defend it as if it were the most important of living beings . And yet it is empty , having not been required since the closing battles of the last era of warring states ( relatively recent though they were in this setting ) . This is Kobayashi's message - - the notion of honor as codified can only be an empty platitude in the face of the true human condition as represented by Tsugumo , who makes sure that Saito and the full measure of attending retainers are completely aware of that fact and its ramifications . Tatsuya Nakadai was trained as a stage actor primarily , and his resonant , very loud declamatory tone as he addresses the assembled Ii retainers is evident and creates an effect that rivets all watchers , both on-screen and in armchairs at home . This film was my first real introduction to just how powerful Nakadai is as a personality - - he is at least Mifune's equal , although they are characteristically quite different ( thus making films in which they clash with each other ultra-enjoyable , but I digress . . . ) .
This film can be called a jidai-geki , as it is set in historical times , but more properly it is in the tradition of the chambara , the swordplay film . It is a fictional account in specifics , but set in 1630 , not terribly long after the forces of Ieyasu Tokugawa united the bulk of the country under his rule . Basically , Ieyasu had consolidated his victory , and his grandson Iemitsu reigned . Many institutions of the Shogunate were still in their formative stages at this time ; samurai who had previously been active were decommissioned and idled . Many more were disenfranchised or unseated due to having been aligned against Ieyasu as well .
Tsugumo is shown in a flashback ( a device used a lot in this film ) repairing the battlements of Hiroshima Castle with his good friend Jinnai Chijiwa ( Yoshio Inaba , one of the original Seven Samurai ) , a fellow samurai ( on the orders of his lord at the time ) . This seemingly innocent action was taken by the Tokugawa to be a possible threat - - the act of preparing for hostilities by getting a castle into order . ( The repairs to Hiroshima Castle were an actual piece of history , having been undertaken in 1619 by Lord Fukushima after damage from a flood ; he was stripped of his lordship by the Shogun for this action ) . Thus , in our story , Tsugumo's lord comes to the attention of the Shogun , and the domain is seized , and Tsugumo and many thousands of samurai are set adrift to become ronin ( literally wave men ) who had to seek their own way in life and secure whatever employment they could to survive . The lord is forced to commit seppuku , and some of his samurai would follow him in death ( the practice of junshi , which was outlawed later by the Tokugawa ) . That action , too , had consequences , as it set the survivors of these samurai adrift without their family head , often at young ages .
The House of Ii , on the other hand , is one of those fortunate houses that was allied with Ieyasu and thus given the honor of being named fudai ( major domain , given active roles in the Shogunate administration ) . To indict Ii in the manner Kobayashi has done is to indict the Tokugawa system itself , for the Ii are full beneficiaries and representatives of the ruling elite .
Kobayashi's style of visual blocking will be obvious in this film . The courtyard at which much of the exposition takes place is symmetrical and neat , the interiors spare . However , when it comes to the living space of Tsugumo the ronin and his house , the spare quality is darkened and cramped . We see Tsugumo receive an unexpected visitor while he is plying his typically ronin-practiced trade of crafting umbrellas . There is only enough room for Tsugumo , the skeletal unfinished parasol and the stooping visitor . The message is obvious . Although this is chambara , the mood is patient and the progression slow and formally stylized ; those watchers who hunger for sword action will have to wait , but the wait and build-up is well worth it , making the denouement eminently satisfying and appropriate . Kobayashi has a framing device of the scribe for the House of Ii which encapsulates the event and makes an even more scathing statement about history and those who write it . This device is also used to great effect in Okamoto's
Samurai Assassin
, but I think it has even more effect here as a punctuating end note . ( That movie , interestingly , concerns one prominent member of the House of Ii as well . )
One aspect I have failed to mention is the score , which is spare and quite appropriate . Toru Takemitsu's music uses traditional Japanese instrumentation , achieving auditorily what Kobayashi achieves visually with his carefully symmetrical and spare sets . It is an auspicious collaboration ; the two masters of their crafts blend in perfect harmony in this film .
I watched the Criterion version on DVD , and the interviews on the second DVD are most illuminating as well . Shinobu Hashimoto tells how he came up with the idea for the story ; Tatsuya Nakadai reveals that they used real swords for the action and that he was rather frightened by this aspect . Tetsuro Tamba had previous training in sword arts , whereas this was Nakadai's first attempt in the genre ( apart from
Yojimbo
a year earlier , but as we remember , he carried a gun in that one ) . ( Also I don't think we can count his 2 second walk-by in
Seven Samurai
that you will miss if you blink . . . . ) We hear from an interview with Kobayashi about the reception of the film at Cannes , which was quite extreme , and the introduction to the film by Donald Richie , which appears on the first DVD , should not be viewed until later if you want to maintain the surprise . I don't think I've revealed too much here in this review , although I did want to clarify some historical and thematic notes .
Seppuku as a thematic element is thickly marbled in the fabric of the tale : Tsugumo's disenfranchised lord , other ronin in his situation , samurai who have failed their lords in important tasks - - all these merit this punishment , and yet it is counted an honor afforded only to the samurai class and those above . It is a means of control but also a special privilege ; therein lies its uniqueness and its status as a sort of double-edged sword , so to speak . Just as with the sword itself , the way in which this ritual is utilized is key to whether a character or institution is honorable or not , and it can be used to make a powerful statement for good or ill . Prepare for a keen lesson and an unforgettable experience !
054 4 This review is from :
Harakiri - Criterion Collection ( DVD )
This review is for the Criterion Collection DVD edition of the film
Harakiri known in Japan as Seppuku is the story of a samurai who has lost his job with his clan having broken up . He then asks a feudal lord permission to commit hara-kiri on his property .
That is all I want to say about the plot but it does get interesting .
The double disc set has some nice bonus features too .
Disc one contains the film with a theatrical trailer and an intruduction by Donald Richie . Disc two has a poster gallery and interviews with director Masaki Kobayashi , actor Tatsuya Nakadai , and writer Shinobu Hashimoto .
Fans of classic Japanese films will not want to miss this .
055 4 This review is for the Criterion Collection DVD edition of the film
Harakiri known in Japan as Seppuku is the story of a samurai who has lost his job with his clan having broken up . He then asks a feudal lord permission to commit hara-kiri on his property .
That is all I want to say about the plot but it does get interesting .
The double disc set has some nice bonus features too .
Disc one contains the film with a theatrical trailer and an intruduction by Donald Richie . Disc two has a poster gallery and interviews with director Masaki Kobayashi , actor Tatsuya Nakadai , and writer Shinobu Hashimoto .
Fans of classic Japanese films will not want to miss this .
056 4 This review is from :
Harakiri - Criterion Collection ( DVD )
I will spare you the superlatives because the past 50 or so reviews took care of that . . . but there is one thing I must mention . . . the last 15 minutes was one of the most surprising and intense climax I've even seen . . . truly a claasic worthy of anyone's collection !
058 4 This movie continues themes found in other Kobayashi movies like The Human Condition I-III . It is a stark , riveting portrayal of a twisted system whose central act is shown up in a manner that was , for me , unexpected . Many subtleties made this an excellent movie to watch again and again . Kobayashi is truly one of the masters of movies .
059 4 This is one of the Top films ever made in Cinema ' s story . Not only due its intrinsic and undeniable artistic virtues , but besides alludes the core of the Shoguns Institutions . The rules and nothing more the rules , when the pretended and always well prominent honor sense has to face against a ethic crossroad that will arise a mythical revenge .
I am absolutely convinced there has not been until this date any other film that had narrated with such crudeness a moral dilemma like this one . The mystery will be increasing and the generated violence alike the seminal roots of the Greek tragedy is a way and not a task by itself . The cathartic experience will surround you at the end of the film .
Shocking , blooding , brutal , explosive , violent portrait , where the true Samurai soul will display the last essence of its own nature and has nothing to do with outer ideologies . The dramatic parallelism between our tragic hero raiding in the Holy Room and demolishing the symbol and Achilles outrage destroying Apollo statue is breathtaking .
Masaki Kobayashi ( Kwaidan ) built a bravura script , a cinematographic avalanche of violent outburst of historical resonance in the universal cinema . Under this perspective , your personal collection of great jewels of the Cinema certainly will be unfinished , in case you don ' t acquire this radiant gem . Luxuriant and genuine authentic expression of a supreme masterpiece .
060 4 This review is from :
Harakiri - Criterion Collection ( DVD )
If you're even halfway interested in Japanese history , or how the Japanese became what they are today , this film is a must . It moves along nicely , has a lot of interest , and will educate in all kinds of ways without making you feel that you're being educated . Production and transfer ( to DVD ) values are uniformly excellent .
061 4 If you're even halfway interested in Japanese history , or how the Japanese became what they are today , this film is a must . It moves along nicely , has a lot of interest , and will educate in all kinds of ways without making you feel that you're being educated . Production and transfer ( to DVD ) values are uniformly excellent .
062 4 Harakiri - Criterion Collection
One of the best samurai movie ever made.The single word to represent it : grandiose !
063 4 Incredibly good Japanese flick - - a Kurosawa-like competence of film-making , and a Dostoyevsky-like sense of drama ; visually brilliant , with excellent performances , moving dramatic moments , and some rather brutal violence for a movie of its time . Superb .
064 4 This review is from :
Harakiri - Criterion Collection ( DVD )
. . . and yet the action takes only the last five or ten minutes of the film ! Mr Zack Davison's most helpful review describes the premise of the movie very eloquently ; it's helpful indeed , since I don't feel like writing a straight expository essay , just a few impressions :
Black and white ! Every frame of such stunning black and thoughtful white that it rivals a Zen garden in stones , or closer to home , an Ansel Adams photo of Yosemite in winter . The new print from Criterion captures most of the black intensity of the film I saw first run decades ago .
Tatsuyo Nakadai ! Mifune got more fame in the West , but Nakadai was the actor , Kabuki trained , who could make you cry or make you grab the back of the seat in front of you in panic . He was the Jack Palance bad gunfighter , by the way , to Mifune's Clint Eastwood . In this film , he portrays a man of such honorable concern for his family , both the household and the clan , that his sword is inspired by righteousness , until the clan proves utterly unworthy .
The historical context ! Kobayashi isn't into comic book fantasies of martial magic . This is a film of detailed and precise historical realism ; even the virtuosic swordsmanship of the Nakadai character is realistically justified . The moment of history portrayed is the very moment when Japan closed its doors to Western influence , when the aristocracy gave up the gun and thus preserved the monopoly of violence of the samurai class . Imagine if the feudal lords of Europe had prohibited not only the gun but the long bow . No Agincourt , no Crecy , and we'd be writing this review in French .
The suspense ! The Nakadai character enters the hall of the clan chief , sits cross-legged , and stays seated throughout the first 90% of the film ( though much movement is shown in flashbacks ) . And then . . . well , I won't spoil the suspense , except to say that all samurai H_ll breaks loose .
065 4 . . . and yet the action takes only the last five or ten minutes of the film ! Mr Zack Davison's most helpful review describes the premise of the movie very eloquently ; it's helpful indeed , since I don't feel like writing a straight expository essay , just a few impressions :
Black and white ! Every frame of such stunning black and thoughtful white that it rivals a Zen garden in stones , or closer to home , an Ansel Adams photo of Yosemite in winter . The new print from Criterion captures most of the black intensity of the film I saw first run decades ago .
Tatsuyo Nakadai ! Mifune got more fame in the West , but Nakadai was the actor , Kabuki trained , who could make you cry or make you grab the back of the seat in front of you in panic . He was the Jack Palance bad gunfighter , by the way , to Mifune's Clint Eastwood . In this film , he portrays a man of such honorable concern for his family , both the household and the clan , that his sword is inspired by righteousness , until the clan proves utterly unworthy .
The historical context ! Kobayashi isn't into comic book fantasies of martial magic . This is a film of detailed and precise historical realism ; even the virtuosic swordsmanship of the Nakadai character is realistically justified . The moment of history portrayed is the very moment when Japan closed its doors to Western influence , when the aristocracy gave up the gun and thus preserved the monopoly of violence of the samurai class . Imagine if the feudal lords of Europe had prohibited not only the gun but the long bow . No Agincourt , no Crecy , and we'd be writing this review in French .
The suspense ! The Nakadai character enters the hall of the clan chief , sits cross-legged , and stays seated throughout the first 90% of the film ( though much movement is shown in flashbacks ) . And then . . . well , I won't spoil the suspense , except to say that all samurai H_ll breaks loose .
066 4 After the wars the samurai are unemployed and doing what work they can . Times are hard . I get emotional even now years later revisiting this movie . One young samurai needs money for his pregnant wife . I will not give away the plot . . .
Some may think that this is an indictment of standards . . . but I think not . I found it an indictment of hypocrisy . The lords believe they have found a hypocrite . . . yet the father-in-law of this supposed hypocryte is like a mirror revealing the true hypocrites .
This is a must see .
068 4 Kobayashi's film features ( at least ) three depictions of samurai ritual suicide practice ( hara-kiri - - > properly called seppuku ) ; originally , I viewed part of this film for a Japanese Civilization class - - and the film is rich in detail . Like the recent 2002 film Twilight Samurai , Harakiri shows that life as a samurai was not as glorious and idealistic as one might expect from a Kurosawa movie ( not to diss Kurosawa ) . It is not as gritty as Twilight and instead artfully weaves in-and-out of a series of narratives ( not unlike Kurosawa's Rashomon ) . Harakiri is less about samurai sword action and more about talking . Samurai fanboy : buyer beware .
The movie hinges on the defintion and re-definition of samurai honor . Like the Lone Wolf and Cub franchise , it has a cynical view on what the Tokugawa shogunate did for Japan . We see the dark world of samurai bureaucracy and the cover-ups ( where are the black helicopters ? ) involved in maintaining the myth of the samurai : who suffers and who profits from it ?
One thing to note : the film takes place in the first half of the 17th century ; Tokugawa's shogunate has made the samurai's role more of an ideal than a practice . Ritual suicide was originally performed in the previous Warring States period ( 16th century ) to cut open one's belly , pull out the guts and show one's anger ( the guts ) to one's opponent : though beaten in battle , the samurai is allowed to display his warrior resolve and discipline . By the time of the film , this anti-authority display is curtailed and it's abbreviated into a short routine of making the gesture so the executioner can cut off one's head bringing the ritual to quick close . Nakadai Tatsuya , the main character in the film , makes his ritual suicide as long as possible perhaps for this reason - - to painfully display his contempt for his enemies . Thankfully , we see less of his intestines - - we get the contempt through his stories and mocking laughter .
A curious film indeed . 3 stars ( the film is a bit long and the middle / end pacing cannot match its incredibly well constructed 1st third ) .
Harakiri [ VHS ] ( VHS Tape )
The story begins towards the end . The lead character begins his tale as his so-called end draws near . Slow at first , the story picks up as the tale goes in depth into the psyche of one of the main characters , Chijiiwa , the lead character's son-in-law . As the end draws near , the ex samurai , set to commit harakiri or ritual suicide , states that the house of the current lord is just as hypocritical as certain unemployed samurai ; they must maintain a standard yet do not . In the end , Motome Chijiiwa , is avenged by his father-in-law . The movie deals with issues that individuals , families , groups , and corporations do ; what is right and what is wrong and where does one cross the line into the other to save face . An excellent movie concerning issues we all deal with near or far , in any language or country , regardless of time or space . The movie would get 4 1 / 2 stars but they do not have the 1 / 2 star graphic . My only minor gripe that prevented the 5 stars was the slightly overdrawn sword fight towards the end .
012 4 This review is from :
Harakiri [ VHS ] ( VHS Tape )
My first viewing of this film was in a Japanese history course at the University of Maryland Baltimore County . This isn't just another sword-fight movie ; this is a deep moral reflection on the choices that all soldiers must make in fulfilling their duties . The beautiful imagery , acting , and ironic twists are high art . The influences this film must have had on Anime are unmistakable . But this is not a young person's movie ; this movie is about death .
013 4 My first viewing of this film was in a Japanese history course at the University of Maryland Baltimore County . This isn't just another sword-fight movie ; this is a deep moral reflection on the choices that all soldiers must make in fulfilling their duties . The beautiful imagery , acting , and ironic twists are high art . The influences this film must have had on Anime are unmistakable . But this is not a young person's movie ; this movie is about death .
047 4 This review is from :
Harakiri [ VHS ] ( VHS Tape )
The story begins towards the end . The lead character begins his tale as his so-called end draws near . Slow at first , the story picks up as the tale goes in depth into the psyche of one of the main characters , Chijiiwa , the lead character's son-in-law . As the end draws near , the ex samurai , set to commit harakiri or ritual suicide , states that the house of the current lord is just as hypocritical as certain unemployed samurai ; they must maintain a standard yet do not . In the end , Motome Chijiiwa , is avenged by his father-in-law . The movie deals with issues that individuals , families , groups , and corporations do ; what is right and what is wrong and where does one cross the line into the other to save face . An excellent movie concerning issues we all deal with near or far , in any language or country , regardless of time or space . The movie would get 4 1 / 2 stars but they do not have the 1 / 2 star graphic . My only minor gripe that prevented the 5 stars was the slightly overdrawn sword fight towards the end .
